What to Listen for in Music

What to Listen for in Music is a non-fiction book on the subject of music by renowned composer and lecturer Aaron Copland. Compiled from a series of lectures Copland gave in the late 1930s, the book was initially published in 1939, and was later revised into its current form in 1957. Despite the passage of time, many of the concepts and lessons included in the book remain pertinent to modern-day musicians and music lovers.

In the introduction, Copland asserts that this is a ‘composer’s book’ designed to answer the fundamental questions of whether those listening to their works are hearing everything they put into it, and whether their emotional response to the music is clear and as intended.

Copland begins by outlining what he terms ‘preliminaries,’ basic concepts that must be agreed upon to understand what he’s doing in the book. First and foremost, he states that the best way to appreciate and understand music is to listen to it, rather than study it in books. While grasping music theory and technique can enhance your appreciation of a composition, especially the skill and creativity that went into it, nothing can replace listening intelligently. Copland also notes that many assumptions about what it means to be ‘musical’ are incorrect, and that we should all have more confidence in our innate ability to appreciate and analyze a piece of music instead of being intimated by mere skill.

Copland then introduces the idea that we all listen to music on three distinct ‘planes’: The sensual plane, the expressive plane, and the solely musical plane. The first refers to the sheer pleasure of listening to music. The second refers to being aware of how a piece of music makes you feel, and thus seeking out certain pieces or styles to either match or affect your mood. In the last plane you are able to separate musical compositions into their component parts—pitch, tempo, etc.

Copland then attempts to demystify the composition process, noting that many people treat musicians as magicians of a sort, whereas composers themselves simply do what their nature pushes them to do. The process of creating music is not nearly as magical as people imagine.

Copland explains the four basic elements of music: rhythm, melody, harmony and tone color. Copland states that all music incorporates these elements; while each is vitally important on their own, they only truly come into their own when combined into a composition. Most people are not aware of these elements separately when listening to music.

Copland delves into each element specifically, first exploring rhythm. He notes it has a hypnotic effect, advising that listeners should not resist this effect and should relax into it and let the rhythm do its work. Rhythm is, in Copland’s estimation, just as important as melody. Copland explores melody next, asserting it is the next most important aspect of music, and that we experience it as emotion. He states that its power is mysterious and even composers are not certain how it works, but since people can generally agree on what makes a good melody there must be a standard we have not yet discovered or codified.

Next Copland talks about harmony and tone color. Harmony is the most sophisticated aspect of music; where rhythm and melody evolved naturally, Copland states that harmony was the result of intellectual effort, and only emerged in the 9th century. Tone color refers to the different aspects of a sound, much like the different pigments used in a painting: bass, tenor, alto, soprano, and whether each sound is composed of several aspects or just a small number.

Copland discusses the three structures of compositions: monophonic, homophonic, and polyphonic. The first is the most challenging, a single melodic line without embellishment. Homophonic compositions add a chordal accompaniment but are not much more complex than monophonic compositions. The most complex form is polyphonic, incorporating many different aspects in a complex piece of music. Copland then delves into how musical compositions are separated into sections, with the three-part structure being most common in the modern day. Fugues are a form of musical structure where several melodies play simultaneously, and require intelligent listening more so than simpler forms. Copland also discusses sonatas and so-called ‘free’ forms of musical structure.

Copland then discusses how people tend to lump music together because of superficial similarities, adding to people’s general confusion about music. Opera and classical music are vastly different, for example, but are frequently pushed together by modern-day audiences who see them simply as old styles of music. Being able to properly categorize musical styles is key to a real appreciation for them.

Copland closes by noting that the musical experience requires three elements: A composer, a performer, and an audience. These are not separate entities, but must work together to create a musical experience, and each understanding the role and needs of the other is crucial.