Gapplegate Classical-Modern Music Review Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog.
Aaron Copland classifies and divides the listening process into three parts: I believe by this mechanical separation, Copland succeeds in discussing difficult topic, so natural that most people tend to by pass it.
He uses analogy and sometimes stresses on certain situation where these planes are abused or become a cause of a problem. The main purpose for Copland to separate the listening process is for the reader to learn and study how they listen.
Categorizing the listening process People listen on the sensuous plane for pure entertainment.
Copland continues talking about the? Good listener should realize that lovely sounding music is not necessarily great music. I believe putting the? Second plane is the expressive one. Copland now discusses the notion of meaning in music. In his view, music has a meaning but this meaning is not concrete and sometimes it cannot be expressed in words.
This plane explains why we get moved or relaxed by music. It is more difficult to grasp and required more deep thought because Copland claims that meaning in music should be no more? This issue is very philosophical and one must accept the train to understand this plane.
The next plane deals with the manipulation of the 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.
This is yet another good technique used by Copland: 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 another??
Answering and addressing to problems Copland uses the three planes of the listening process to mark the division of his essay. For great clarity, the text is very clearly organized.And Aaron Copland would look to American folk music.
But before any of them was Antonin Dvorak. And before the birth of jazz, R&B and hip-hop, this old, white European predicted that the future of. How We Listen In his essay “How We Listen,” Aaron Copland classifies and divides the listening process into three parts: “the sensuous place, the expressive plane, and the sheerly musical plane” ().
Aaron Copland was an American composer known for his ability to musically portray the American midwest. He was born in New York City on November 14, to Russian immigrant parents. In What to Listen for in Music (), Aaron Copland claims that we listen to music on three planes: a.
the sensuous plane As Copland points out, the appeal of music at this level is self-evident. Aaron Copland is one of America's best-known composers and writers on twentieth century music. This volume brings together for the first time the best of his published essays on music, with previously unpublished material from his diaries, letters, and writings to present a complete picture of Copland .
Aaron Copland How We Listen This essay How We Listen by Aaron Copland deals with the three ways in which we listen to music. The three planes he talks about are sensory, expressive, and musical.
Copland begins the essay with the simplest way of listening to music, or the sensuous plane.4/4(1).