In this case, the texture he is referring to is how the elements of music must be combined to give one great composition. Copland outlines all the difference between music done in mixed colors (sound of multiple instruments) and one color (the sound of a single instrument).Ĭopland further describes how the texture of the music should be arranged. Finally, he addresses the tone color to any good music. Good music should also have a great harmony in composition. At this point, Copland discusses keys and scales as these are the key ingredients of melody. He puts it clear that since the rhythm is connected to us in our physical motion, then the melody of the song should be connected to our mental motion. Also, a good music should have a good melody. The notes to the music should be well coordinated. The next stage of his writing he covers the elements of music that every good piece of music should have. Finally, we have the traditional composers who take up the music of their period and better it more than any other person. Then we have the constructive composers-these composers start with a theme and build on it. The inspired composer-this group of composers is characterized by their ability to produce massive amounts of music as the music flows from within. The book further categorizes composers into three. He argues that any composition starts with a real musical idea. The process of composing musical lyrics should be a natural one inspired by nature. Sleep comes naturally, and an inspiration to sleep is never solicited and so is music composition. He argues that music composition is a natural process that is more than sleep. The book presents its arguments that most composers wait for inspiration to compose a song. He argues that there is a general misconception about composers. He calls this stage the creative process. To begin with, the author talks about the basic foundation of good music. The book What to Listen For In Music is divided into different segments and thoughts. The book explains what the listener should know about and pay keen attention to when listening to classical music (of any period). Nonetheless, Copland provides elaborate ways of identifying good music. The book was written in the year 1939, at this time very little was known about music. What to listen for in music is a unique book in the sense that instead of focusing more on the philosophical origins of music it gives an insight into the real essence of music. Those who do not care for music will disagree with his assessment.

The author begins by addressing the question, 'Why a book about what to listen for in music?' According to the poet, in order to get the most out of music, you must listen to more of it. What to Listen for in Music is one of the most beautiful works of art I've ever come across in my search for wisdom and soul liberation.

What to listen for in music copland