What to Listen for in Music by Aaron Copland

His first tentative steps included a correspondence course in writing harmony. He decided his career before the time he fifteen years in 1915. For the better part of four decades, people considered Aaron Copland the premier.įrom an older sister, Copland learned to play piano. His musical works ranged from orchestral to choral and movie scores.

“How We Listen.” Perspectives on Music (1963).Works of American composer Aaron Copland include the ballets Rodeo (1942) and Appalachian Spring (1944), which won a Pulitzer Prize, any of several awards that, conferred annually for accomplishment in various fields of American journalism, literature, and music, Joseph Pulitzer established. I was in a good mood and peaceful after listening to the music. The music transported me back in time, allowing me to experience what it was like to live in the medieval era. I was able to feel and express myself on the sensual and expressive levels. Using a variety of dynamic levels, ranges, and captivating melodies, the piece could engage its audience in a previously unimaginable way. In only a few minutes, this painting demonstrated how a few tweaks in color could transform a work of art. It is simple, one-of-a-kind, and full of vibrant hues. We need to listen to it, experience it, and comprehend it.įor my listening pleasure, I opted for Ravel’s famous Bolero. Copland’s theory that we cannot simply listen and cannot just remain at one hearing level is similar to this. Still, we must also feel, listen, and comprehend each piece of music carefully by our hearts when we are listening. My piano instructor once reminded me that we must admire and appreciate each term provided to each piece of music by writers. It does not matter how good or bad the music is it will still make us feel different when we hear or play it from various individuals. Arpeggio, sonata form, melodic or dolente, are only a few of the phrases used in music to describe a piece of music. When it comes to how we listen, I wholeheartedly agree with Aaron Copland.

I come from a musical family, and every kid must study music and play an instrument. I do agree with Copland’s ideas about how we listen. I recall every piece of classical music I have ever played after reading about each of the musicians he discusses in his post.

Tchaikovsky, Beethoven, Mozart, and Ellington are just a few legendary artists Copland discusses (Copland). During my reading of Aaron Copland’s “How We Listen,” I was able to grasp what he was trying to convey quickly.

What to Listen for in Music by Aaron Copland