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How We Listen by Aaron Copland

e notes and offers a more intellectual approach in enhancing musical appreciation. The actual structure of the music as such the length of the note, pitch, harmony, and tone color are emphasized in this section of the essay. This basic study of the structure is a must to form a firm foundation in the musical piece and to understand the diagnosis of it. This technical and more scientific plane is contradictory to the philosophical sensuous plane. Therefore, it is another good technique of Copland to write one right after the other to cover the whole listening process.after expounding his theory on the way we listen, Copland uses the analogy of a theoretical play to drive the point home. This is yet another good technique used by Copland: allowing him to clearly demonstrate the interrelating of the three planes.Regarding the ideal listener, Copland says:In a sense, the ideal listener is both inside and outside the music at the same moment, judging it and enjoying it, wishing it would go one way and watching it go anotheralmost like the composer at the moment he composes it; because in order to write his music, the composer must also be inside and outside his music, carried away but it and yet coldly critical of it. (1078)It is obvious that in Coplands view the best approach consists of the balanced mixture of all three planes.Answering and addressing to problemsCopland uses the three planes of the listening process to mark the division of his essay. For great clarity, the text is very clearly organized.He starts with the introduction and tackles the sensuous plane in the second paragraph. Many people may wonder what kind of a problem lies in a purely entertainment plane. He claims that the sensuous plane is abused by people who listens to music to escape reality, yet still addresses themselves as a good music lovers. Copland warns:Yes, the sound appeal of music is a potent and primitive force, but you must not allow it to usurp a dispropo...

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