10. Fundamental Forms １０．基本の音楽形式 I. SECTIONAL FORM I. ◯◯部形式 Two Part; Three Part; Rondo; Free Sectional Arrangement ２部形式； ３部形式； ロンド形式； 自由な順序の部形式 The easiest form for the listener to grasp is that built…

9. Musical Structure ９．音楽の構造 Almost anyone can more readily distinguish melodies and rhythms, or even harmonies, than the structural background of a lengthy piece of music. That is why our main emphasis, from here on, must be put up…

8. Musical Texture ８．音楽の仕組み In order better to understand what to listen for in music, the layman should, in a general way, be able to distinguish three different kinds of musical texture. There are three species of texture; monoph…

7. The Four Elements of Music IV. TONE COLOR ７．音楽の４つの要素 IV. 音色 After rhythm, melody, and harmony, comes timbre, or tone color. Just as it is impossible to hear speech without hearing some specific timbre, so music can exist onl…

6. The Four Elements of Music ６．音楽の４つの要素 III. HARMONY III. ハーモニー By comparison with rhythm and melody, harmony is the most sophisticated of the three musical elements. We are so accustomed to thinking of music in terms of ha…

5. The Four Elements of Music II. MELODY ５．音楽の４つの要素 II. メロディ Melody is only second importance to rhythm in the musical firmament. As one commentator has pointed out, if the idea of rhythm is connected in our imagination with …

4. The Four Elements of Music I. RHYTHM ４．音楽の４つの要素 I. リズム Music has four essential elements: rhythm, melody, harmony, and tone color. These four ingredients are the composer's materials. He works with them in the same way that…

3. The Creative Process in Music Most people want to know how things are made. They frankly admit, however, that they feel completely at sea when it comes to understanding how a piece of music is made. Where a composer begins, how he manag…

2 How We Listen We all listen to music according to our separate capacities. But, for the sake of analysis, the whole listening process may become clearer if we break it up into its component parts, so to speak. In a certain sense we all l…

Preliminaries All books on understanding music are agreed about one point: You can't develop a better appreciation of the art merely by reading a book about it. If you want to understand music better, you can do nothing more important than…

Preface(first edition 1939) To put down as clearly as possible the fundamentals of intelligent music listening is the object of this book. The job of “explaining” music is no easy one, and I cannot flatter myself that I have succeeded bett…

Foreword A. R. (1999) Turn back the clock. The year 1939. Aaron Copland, Brooklyn-born at the turn of the century (November 14, 1900), is already being widely hailed as the first genuinely American composer. Now he has produced a small but…

4. SHOP TALK: ON THE NOTATION OF RHYTHM pp.273- 第4章 同業者の皆様へ：リズムの記譜法について IN A RECENT ARTICLE in Modern Music, Marcelle de Manziarly demonstrated that there exist two different kinds of rhythm in music of a more sophisti…

3. THE DILEMMA OF OUR SYMPHONY ORCHESTRA pp.267-272 Address delivered at the Providence, R.I., convention of the American Symphony Orchestra League in June 1956. 第3章 板挟みに苦しむオーケストラの各団体 1956年6月 米国オーケストラ連盟 年次…

2. INTERPRETERS AND NEW MUSIC pp.261-265 Reprinted from the music page of the London Sunday Times, October 12, 1958. 第2章 演奏家は新しい音楽にどう向き合うべきか 1958年10月12日付 ロンドン「サンデー・タイムズ」誌 音楽欄より再掲 A VISITING C…

p.254 SECTION FOUR 第4節 Occasional Pieces 特別寄稿文集 1. “ARE MY EARS ON WRONG?” A POLEMIC pp.253-260 In 1955, Henry Pleasants, music critic, published a book entitled The Agony of Modern Music, in which he attacked the writers of seriou…

Aaron Copland アーロン・コープランド著 What to Listen for in Music 音楽を聴く時は、ここに注「耳」 SIGNET CLASSICS 2011年２月版 「第０回」は、2011年2月版の本編に先立ち寄せられた 指揮者 レナード・スラットキンの謝辞 編集者 アラン・リッチの前…

pp.246-249 The Life and Music of Bartok (1953) バルトークの生涯と音楽（1953年） COMPOSER, CRITIC, AND HEAD of the Composition Department at the University of Southern California, Halsey Stevens has written the first full-length study of Be…

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2. BOOK ABOUT: 第2章 〇〇の本 pp.242-245 Schonberg and His School (1949) シェーンベルクとその楽派（1949年） RENE LEIBOWITZ, Polish-born composer living in Paris, himself a student of Schonberg and Webern, is the latest, and in some ways th…

2. BOOK ABOUT: 第2章 〇〇の本 pp.237-241 Virgil Thomson's Musical State (1939) ヴァージル・トムソン「Musical State（音楽事情）」（1948年） VIRGIL THOMSON has written the most original book on music that America has produced. The State of M…

pp.233-236 William Schuman (1951) ウィリアム・シューマン（1951年） A COMPOSITION LIKE the String Quartet No. 4 makes one understand why Schuman is generally ranked among the top men in American music. Even a single hearing made it evident …

pp.230-232 Leon Kirchner (1950) レオン・キルヒナー（1950年） COMPOSED IN 1947, this Duo for Violin and Piano is the first published composition of Leon Kirchner, a comparative newcomer to the American musical scene. I doubt whether a more …

Stefan Wolpe (1948) シュテファン・ヴォルペ（1948年） IN THE WELTER of musical activity in America the publication of two more songs would seem to make little difference one way or another. But these songs (Two Songs for Alto and Piano from…

Benjamin Britten (1947) ベンジャミン・ブリテン（1947年） THE INTERESTING THING about Benjamin Britten's new opera, The Rape of Lucretia, is the impression one gets that it is better than his opera Peter Grimes. This is significant in view …

p.221 SECTION THREE 第3節 The Reviewing Stand 観閲台からみた風景 1. MUSIC BY: 第1章 〇〇の音楽 pp.221-225 Darius Milhaud (1947) ダリウス・ミヨー（1947年） I HAVE OFTEN WONDERED what the “big” public thinks about the music of Darius Milhaud…

BRAZIL ブラジル The name of Heitor Villa-Lobos dominates all talk of musical composition in Brazil. Villa-Lobos is, of course, the dominating figure, not only in Brazil, but on the whole South American Continent. Still, this fact should no…

3. THE COMPOSERES OF SOUTH AMERICA: 1941 第3章 南アメリカの作曲家達 ONE AFTERNOON IN 1923 I was introduced to a short and dynamic individual at the Paris apartment of my composition teacher, Nadia Boulanger. Someone told me that this gentl…

2. EUROPEAN FESTIVALS AND PREMIERES: A GLANCE BACKWARD 第2章 ヨーロッパ各地での音楽祭と初演公演 Berlin:1932 ベルリン：1932年 THE ONLY RIVAL New York has as the principal center of interest in world musical affairs is Berlin. The fall seaso…