What to Listen for in Music (Signet Classics) Mass Market Paperback – February 1, 2011

Not being particularly taken with Aaron Copland's compositions, "What to Listen For In Music" is probably my favorite work by Copland. Reading the book greatly enhanced my understanding of and interest in classical music composition, and encouraged me to read more advanced books on music theory.Copland's book begins with the very basics of tonal harmony (key signatures etc) which will be familiar to anyone who has had any musical instruction at all. It later introduces more complex topics from counterpoint and musical form at a non-technical level. The reader will learn to recognize the difference between a canon and a fugue, between classical sonata form and a rondo thanks to the author's clear explanations and musical examples. Each chapter ends with a list of recommended compositions and recordings that illustrate the musical forms and styles being discussed."What to Listen for in Music" ends with Copland encouraging those who admire music from the 18th or 19th centuries not to shy away from the orchestral and vocal music of the 20th century, including "difficult" atonal or serial compositions by composers like Stravinsky, Schoenberg, etc.If the book has any shortcomings, it is that some theory topics such as Baroque counterpoint or serialism could have been covered in more detail. The book would have also benefited from a chapter devoted specifically to highlighting the differences between Baroque, Classical, Romantic vs. Modern musical styles, some of which is glossed over in passing throughout the text. Copland, being a professional composer, also lets his preferences and prejudices get in the way of objectively discussing the works of his contemporaries or predecessors at times, but that is to be expected.

This is a TERRIFIC book about music for music laypeople -- those of us who love music but don't know much about it, who want to learn more in order to enjoy it more. There is lots and lots written about music history, what composer wrote when and who influenced whom. But there isn't that much that I have found about the music itself which really helps me understand what is going on in a particular piece.Copland does this, by taking the reader through the building blocks of music. He starts with what he calls the four elements: rhythm, melody, harmony and tone color, Then he proceeds to musical texture, to musical structure, and then to five fundamental forms: sectional, variational, fugal, sonata, and free. After this, he concludes with brief surveys of opera, film music, and what was then contemporary serious music. Each chapter is followed with a list of suggested pieces of music to listen to.The book's advanced age has remarkably little impact on its usefulness, except for the fact that the "listening lists" refer to old recordings. The book first appeared in 1939 and was revised in 1957; the Signet edition that I read has a short chapter on music since Copland. Copland was a teacher of music as well as a composer, and it shows -- I would love to take a class for which this was the text.This book does, however, demand lots of effort, and lots of listening, at least for us "I don't know much about music, but I know what I like" types. What Copland wants the listener to do is go beyond pure sensuous enjoyment and use his or her brain to follow the music as it unfolds -- to listen, not just hear. Doing this requires listening again and again to pieces he discusses.Like some other reviewers, I wish very much that some kind person would put out a CD (or set up a website) with the specific passages Copland cites, as well as his broader listening list. Even without this, however, I have learned a great deal from this book. I expect to learn more, since I will be reading again and again as I listen.I doubt that the book would be nearly so useful to people who already know a lot about how music works, but for the groundlings, Copland's book is masterful

I am surprised it took me so long to discover this book, as it is so well written and so useful for better understanding the ways to enjoy concert music. I really did not know Copland was so articulate and good at writing. I can perceive a successful effort on his part in order to clearly explain something as abstract as music.This is not a book that will provide the reader with all that is needed to completely own this art form. However, it is a book that should be read by anyone that intends to grasp more enjoyment out of serious concert music. His point of view on many aspects of the music appreciation practice are very valuable. Throughout his discussion, he manages to present many useful tips that help the reader to better concentrate on what is important on any piece.In his book, Copland mentions many examples of pieces to make his point, and I guess one has to be familiar with those works in order to get it. However, here and there I found mentions of examples for which I am not familiar with, and even then, I could very well understand what he was trying to say.He does not assume that the reader is very knowledgeable about music and at the same time, he does not write as if the reader was stupid, as some of the books from the series “…For Dummies” series do.I highly recommend this book to better learn about appreciating music from the humble words of a great composer who is caring enough to make his reading enjoyable.

It's so good to hear from the horse's mouth even when some of the technical detail goes over, or under one's head. It's not a difficult read however and with a basic grasp of musical notation you can follow the musical quotations. These are a significant part of the early chapters. It really gets interesting when he gets on to contemporary music, an addition for a later edition. The description of various compositional forms is also reassuring for those of us with a still simplistic ken of serious music. The pedagogical assumptions behind the text may be outmoded but Copland's heard was in the right place in sharing his experience with so who bothered to enquire.

Really interesting insightful book.

By far the best read on the evolution of western music. My only regret that it ends from Copland view in the mid 1950's.. we are close to a hundred years on now and a more detailed view of the impact of technology, cultural styles mixing beyond the classical orientation would have been like having port after the meal.

Originally published in 1939, still relevant! Makes a good read and provides a good and different perspective for those interested in getting as much as possible from listening, enjoying and understanding music. Highly recommended

Interesting and engaging.