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Aaron Copland composed How We Listen in 1957. People who study music or are passionate about music, mainly classical music, are the primary audiences of How We Listen. The goal of How We Listen is to help audiences who were previously familiar with music or had a passion for listening to it deepen their listening skills and then listen and reflect on various levels. In Coplands paper, he discusses three distinct levels of listening: sensuous, expressive, and purely musical (Copland). He explains the differences between each level by talking about three hearing levels. He strives to develop audiences listening skills and to teach them the art of listening to music.
During my reading of Aaron Coplands How We Listen, I was able to grasp what he was trying to convey quickly. Tchaikovsky, Beethoven, Mozart, and Ellington are just a few legendary artists Copland discusses (Copland). I recall every piece of classical music I have ever played after reading about each of the musicians he discusses in his post. I do agree with Coplands ideas about how we listen. I come from a musical family, and every kid must study music and play an instrument. When it comes to how we listen, I wholeheartedly agree with Aaron Copland. Arpeggio, sonata form, melodic or dolente, are only a few of the phrases used in music to describe a piece of music. 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. My piano instructor once reminded me that we must admire and appreciate each term provided to each piece of music by writers. Still, we must also feel, listen, and comprehend each piece of music carefully by our hearts when we are listening. Coplands theory that we cannot simply listen and cannot just remain at one hearing level is similar to this. We need to listen to it, experience it, and comprehend it.
For my listening pleasure, I opted for Ravels famous Bolero. It is simple, one-of-a-kind, and full of vibrant hues. In only a few minutes, this painting demonstrated how a few tweaks in color could transform a work of art. Using a variety of dynamic levels, ranges, and captivating melodies, the piece could engage its audience in a previously unimaginable way. I was able to feel and express myself on the sensual and expressive levels. The music transported me back in time, allowing me to experience what it was like to live in the medieval era. I was in a good mood and peaceful after listening to the music.
Work Cited
Copland, Aaron. How We Listen. Perspectives on Music (1963).
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