The Value Of Music In The Language Of Copland And The English Language

I understand and appreciate the three planes of listening that Copland had broken up for his readers, but the tone and manner in which some of the planes were discussed did not resonate well while I was reading this. Throughout almost all of the chapter, Copland’s tone was harsh and condescending towards the reader, as if he knew absolutely everything about music and the reader knew nothing. I am also not sure what it takes to be a “qualified music lover,” (Copland, 8) but I am sure that it is not much.

Knowledge is the best weapon that Americans possess today. Without the knowledge of why and how things occur; the world would end up like the book “Fahrenheit 451”. The world where the citizens blindly follow those who are in power. Knowledge gives the people the ability to process information and find the lessons behind it. To be able to remember, understand, and apply the lessons learned from the reading into real life situations. Also, to understand the connections that the authors made between the book and the society that he/she resides in or a society in the future. Literature classes are important and are needed in schools because it gives people the freedom to learn and write what they

When looking at the characteristics of his work, Copland could most likely be described as an experimentalist. He often enjoyed mixing various stylistic ideas of Jazz and Mexican dance rhythms into his music and did not shy away from including these styles into his film scores and

Aaron Copland was a conductor, teacher, writer and composer, he was born Nov.14,1900 in Brooklyn, New York. Aaron is the youngest of 5 children's. Copland older sister gave him lessons on the piano which he had developed an interest for. After graduating high school Copland furthered his lessons in music and studied at the American Conservation in Fontainebleau where he had a French teacher named Nadia Boulanger. He had spent the final years of his life living in New York. Copland died in December 2, 1990 in New York, New York. Copland was remembered as someone who encouraged composers to find their voice, no matter the style just as him hisself did.

Growing up on the streets of New York made Copland independent, as his music conveys. He revealed a great interest in music during his early life, composing songs when he was only eight years old (“UXL Biographies”1). Composing at this young age was already a sign of a true gift. Copland’s family had already invested a significant amount of money in the four older children with less than stellar results (“UXL Biographies”1). Copeland’s siblings all took after music for a hobby, but his talent was unmatched. His parents finally paid for private piano lessons with Leopold Wolfsohn when he turned 13 (“UXL Biographies” 1). Short after that he attended Boys’ High School in Brooklyn, where he took music theory classes with Rubin Goldmark for the next four years (“Encyclopedia of World Biography” 1). Goldmark was a very well-known educator in Brooklyn which is why George Gershwin, another great American composer, also studied with Goldmark (“Newsmakers” 1). The teacher of Copland not only taught one, but two, amazing composers, artists, and musicians. In 1924 Copland went to France to study at The

Music is there whenever you need it. It’s everlasting. We hear it everywhere; the phones that take up most of our time, the tv in the background, the stores we walk in and out of, in the car getting from

For example, most people listen on the sensuous plane by just losing his or herself in the mellifluous sound and rhythm of a music. Instead, Copland argues that people should also listen on an “expressive” and “musical” plane as well. The “expressive plane” of listening to music is where people begin to propose their own opinions of what they think a music really means; in Copland’s opinion, he believes that the “expressive plane” is a controversial ground where the meanings of a music are always shifting for everyone. As for the “musical plane” of listening, this is the last step where Copland suggest people to listen to the harmon and tone color of a music; this step allows people to listen for and learn about musical forms and such. Overall, all these steps lead back to Copland’s purpose of helping people enrich his or her’s musical experience.

In his essay “How we listen “, Aaron Copland discuss the three ways (plane) people listen to music. Those four ways are sensuous plane, expressive plane and the sheerly musical plane. The sensuous Plane is when we listen to music for our own pleasure of the sound. For example, when one turns on the radio while doing something, or while reading a book in a room, one note is enough to change the atmosphere of the room. In this plane people use music as an escape and to take them into a dream world.

the two works both tend to return to a main musical theme. The both tend to use ornamentation in there melodies. Copland tends to limit the range of the instruments in both pieces. I think he did that to help portray a more wild west American image.

Aaron Copland was one of the most respected American classical composers of the twentieth century (American Masters). Today, his compositions are still very known and they have inspired many composers and piano performers worldwide.

II. Audience Relevance: If your like me you cant go a day without listening to music and even when your not songs are usually flowing in your head. When your walking to class, getting ready to go

Literature is a work of art that is constructed with the fundamental purpose of conveying meaning and messages to readers. Although the idea that is expressed is decided by the author, its underlying messages can be interpreted in various ways by different readers. Literature often explores the gap between reality and imagination. Such an examination can easily lead to a false sense of reality, which promotes the oversimplification of life at a great cost. By oversimplifying reality, people may turn a blind eye to issues that need to be addressed for the sake of social justice. Often times, facing reality is despised because it may create problems that individuals are unable to solve. This is important to note because literature has the

"The selections by Copland, taken from his 1957 book What to Listen for in Music, express his belief that one listens to music on several planes-the sensuous, the expressive, and the sheerly musical. After a brief discussion of what constitues each of these planes, he admits that rarely does one listen on only one plane, but rather the astute listener is constantly moving from one plane to another as the musical work unfolds," (Pitman)

Listening during a rehearsal to detect errors and interpret musical details is an essential skill when teaching instrumental music. Conductors must correct note and rhythmic errors while also making artistic decisions about dynamics, style, articulations, and other musical elements. Teaching students to create characteristic tone quality, balance, and blend adds to the complexity of these musical elements. Score study is one way directors establish an internal aural image, later attempting to recreate this picture in rehearsal and performance. Ideally, score study helps create a mental sound image or “musical landscape” (Battisti & Garofalo 1990, p. 3). Directors may often find that teaching students to evaluate mistakes and self-correct is a difficult task.

Many people believe that simply reading the literature is enough or that only certain people need while others can be exempt from the process. It is logic to note that by simply reading the works, information would be gathered. No additional information would be gained over time and by studying it,