Rating: 
Summary: that cello's not a walrus!
Review: I checked out this book hoping to gain a new perspective on the music I was listening to, unfortunately chamber music hardly dominates my music playlist. Nevertheless this book provided invaluable information to not only a music lover, but also an active musician. The in-depth description of the various musical forms was interesting and foreign to me. Although I find it hard to believe that this book is really that accessible to non-musicians those music lovers that have never studied music theory would seem to be lost through this at times lofty guide. The most comprehensive method used to illustrate his points in this book were the actually notated music figures and the recommendations of each form at the end of each chapter. Enjoy this book, but beware those not versed in music theory you could be in for some heavy reading.
Rating:
Summary: Listening to Copeland
Review: I first heard about Copeland's book a few years ago in a college English composition class, where we had to read a section of the book and write a reader response. The chapter we read was called "How we Listen," and I was immediately struck by how clearly Copeland addressed such a complicated subject, and admired his candidness and honesty. "What to Listen for in Music" is excerpted from Copeland's series of lectures at the New School in New York City in the late 1930s, lectures that were open to the general public. As such, Copeland's goal was to cover a wide range of musical topics that appealed to musicians and non-musicians alike, from general music theory and harmony to how composers work and the differences in operatic forms, with the premise that one can enjoy music better if he understands the underlying technical aspects better. Copeland's ideas are very interesting, especially when he talks about the methodological differences between several well-known composers. He talks matter-of-factly about music and the creative process; even comparing a musician's working method to a plumber's so as to de-mystify it. Indeed, Copeland's is a fresh perspective about a subject that has become bogged-down in jargon and egos since its invention. The only forgettable sections of the book come toward the end where Copeland discusses opera and music drama, and some of the fundamental forms such as sonatas and fugues. Frankly, his descriptions become too detailed and I lost interest, feeling like a student in a lecture hall. But, for my intents and purposes, Copeland's work was done.
Rating:
Summary: Listening to Copeland
Review: I first heard about Copeland's book a few years ago in a college English composition class, where we had to read a section of the book and write a reader response. The chapter we read was called "How we Listen," and I was immediately struck by how clearly Copeland addressed such a complicated subject, and admired his candidness and honesty. "What to Listen for in Music" is excerpted from Copeland's series of lectures at the New School in New York City in the late 1930s, lectures that were open to the general public. As such, Copeland's goal was to cover a wide range of musical topics that appealed to musicians and non-musicians alike, from general music theory and harmony to how composers work and the differences in operatic forms, with the premise that one can enjoy music better if he understands the underlying technical aspects better. Copeland's ideas are very interesting, especially when he talks about the methodological differences between several well-known composers. He talks matter-of-factly about music and the creative process; even comparing a musician's working method to a plumber's so as to de-mystify it. Indeed, Copeland's is a fresh perspective about a subject that has become bogged-down in jargon and egos since its invention. The only forgettable sections of the book come toward the end where Copeland discusses opera and music drama, and some of the fundamental forms such as sonatas and fugues. Frankly, his descriptions become too detailed and I lost interest, feeling like a student in a lecture hall. But, for my intents and purposes, Copeland's work was done.
Rating: 
Summary: Beginners Only
Review: If you know the first thing about music, this is not the book you need. If you know what melody, harmony and rhythm is, have seen a cello before, if you don't need pages of text and printed music examples to explain to you what ABA form is - there's gotta be other books out there. I came to this book from a somewhat musical background, thinking it might be a good introduction to classical music. Don't. It'll only make you think "is that all there is to it?", that the emperor is very thinly dressed.
Rating: 
Summary: An excellent primer for those truly interested in listening
Review: In this book, Copland outlines all the salient topics required for a motivated beginner to understand what goes on in a composer's head. Being a musician myself, I felt like he read my mind. Throughout the years, I've caught myself explaining many of the concepts in this book to interested, interesting and intelligent non-musicians, but now that I've found this book, I can just direct them to it! I see this book as a good springboard for the beginner to gauge their interest level in *really* learning about appreciating music and also their current degree of knowledge.
Rating:
Summary: Why we listen to music?
Review: Most people listen to music simply because we enjoy it. It's ridiculous to divide the whole listening process into several planes. Aaron has made listening to music too complicated. This book may help if somebody wants to pose as an expert in music while actually he doesn't know much about music. If your purpose is to enjoy music, forget this book£¡
Rating:
Summary: You will learn something
Review: Music, especially great music, is spoken in its own language. If I were to listen to poetry in French (which I don't understand), parts of it may sound pleasing, and overall, be an enjoyable experience, yet, I'd be willing to bet that I'm missing at least some of the author's point. The more you understand a composer's 'vocabulary,' the more enlightened you will become. So, if you are interested in understanding more of what you are listening to, than here is a great place to start. The book is not pious or needlessly academic. Instead, it reads like a conversation with your buddy who happens to be one of this country's most influential composers. Casual listeners and students will both find a few nuggets to take with them on the road of music apprecitation.
Rating:
Summary: A timeless classic for all music lovers
Review: No music lover should go without reading this book by the dean of American composers, Aaron Copland. People of all musical backrounds can find enjoyment in this book. Copland does an excellent job of making his words appeal to the person who has no musical backround and to someone who has an extensive backround in listening to classical music.
Rating:
Summary: Great stuff!
Review: Obviously the previous reviewer feels affronted by the fact that there might be more to music than a pretty tune, and is slagging off the late Copland's masterpiece because he/she spends all his/her time listening to "Twinkle Twinkle Little Star" (by Mozart by the way). But for anyone who wants to delve deeper into music than "my what a pretty tune", you can't do better than this book. There arene't enought books like this! Long live COpland!
Rating:
Summary: Enlightening, but should come with a CD.
Review: The idea: achieve a deeper understanding of all kinds of music by listening intelligently. Although I play piano, whatever deep understanding I have of music is limited to just a few aspects of it. This book has indeed broadened my appreciation a bit. Since Copland frequently demonstrates his points by referring to particular segments of particular pieces, I think the concept might be better served by a radio documentary. Or at least it should come packaged with a CD, like computer books do!
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