rtionate share of your interest. The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story. (1075)The understanding of sensuous plane and the actualization that there are more planes in the listening process is stressed.Copland then continues with the expressive plane, objecting to the notion of simple-minded people that music should have concrete meaning. He argues that meaning cannot be explained by words and that people should simply be satisfied with a general concept: feel the music.Moving to the third plane -the sheerly musical one- Copland talks about music in terms of notes. This plane concerns musicians and audience alike. What may go wrong with the makers of music themselves? According to Copland, professional musicians are sometimes too conscious of the notes:They [professional musicians] often fall into the error of becoming so engrossed with their arpeggios and staccatos that they forget the deeper aspects of the music they are performing. (1077)From this statement, I believe that theres a fear of losing the expressive plane, if this problem triggers. On the other hand, we have the general audience. Listeners often neglect them. He argues that a good listener should know the musical structure in order to enhance the enjoyment of music on this plane.ConclusionCopland stresses the fact that he wants the readers to have a clearer view of the listening process, which he successfully splits up in order to argue his point. The success of the essay are marked by the careful division of the aforementioned process.[Work Cited]Copland, Aaron How We Listen, The Norton Reader.Eds. Linda H. Peterson, John C. Brereton, and Joan Hartman.New York: W.W. Norton & Company, 1996.1175 - 1179...
