Copland

Dmitri Shostakovich and Aaron Copland are two major composers of the 20th century who were both influenced by politics in their time. While Shostakovich publicly opposed the communist regime in the Soviet Union, Copland quietly embraced communist ideologies while in America. Shostakovich’s political stance is demonstrated in his Symphony No.5, a bombastic and triumphant piece of music in which Shostakovich voices his distaste with Stalin’s rule. Copland’s “Into the Streets May First” was the product

and differences."(Copland, 940) Lastly, the sheerly musical plane described by Copland is the different type of melodies, rhythms, harmonies, etc. that you can identify in the music, "It is very important for all of us to become more alive to music on its sheerly musical plane. After all, an actual musical material is being used. The intelligent listener must be prepared to increase his awareness of musical material and what happens to it."(Copland, 941-2) Just like Frye, Copland has a three-step

What is the purpose of music? Music is created to bring happiness to the world. In “How We Listen”, Aaron Copland mentions “The simplest way of listening to music is to listen for the sheer pleasure of the musical sound itself.” (“Copland”) Music is defined as “an art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony, and color.” (“Dictionary”) Different genres relate to different groups of people. People often use music as entertainment

where she first experience a different perception of art. This essay encompasses a first encounter in appreciating all art in different ways, leading to a basic understanding of three different planes mentioned in Aaron Copland’s “How We Listen.” Copland narrows down how to perceive art, specifically music, through three different planes: sensuous, expressive, and sheerly musical. He explains the sensuous plane as the first level of perceiving music, through the basic senses (seeing, hearing, touching

Format Word Count: (1098) Since I was young, I have always been fascinated with the “Wild West” and everything that encompassed the cowboy lifestyle. While searching for a musical piece for this assignment, I stumbled upon “Hoedown” by Aaron Copland, and immediately knew this was the correct musical piece for me. When listening to the music, you feel as if you are truly embedded into the feel of the “old west”. I chose to adapt the music to a story line of a cowboy who aspires to be a rodeo champion

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” (1074). 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

despite their differences in belief, personality and culture. Music is one of the only elements of life that allows us as individuals to enjoy something cohesively. The mystifying element that we call music almost seems impossible to define but Aaron Copland, one of the many renowned composers and conductors of the 20th century, attempts to condense the idea of how we as listeners analyze and evaluate music in his book, What to Listen for in Music. This book written upon a, “compilation of lectures he

Schoenberg, Aaron Copland, and Igor Stravinsky each greatly impacted the musical world around them. Schoenberg’s journey away from tonality to serialism changed the way that composers wrote for the rest of the century, while Copland’s music emancipated American sound from the European styles. Stravinsky brought many musical styles to the height of what could be accomplished in each one, and his excellence influenced many composers during and after his time. Schoenberg, Copland, and Stravinsky represent

Emily Rush March 22, 2016 MUS 303 Final Project Fanfare for the Common Man: Aaron Copland Fanfare for the Common Man immediately draws the listener in with the beginning with a forceful crash on the tam-tam and sharp timpani and bass drum hits. The resonance within the Royal Albert Hall, London contributed to the overall sound and effectiveness especially with the solo timpani strikes at the beginning. The listener waits in anticipation of the brass section to enter, feeling as though the percussion

"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) Aaron Copland discusses three levels of listening to music: