Analysis Of Aaron Copeland's What To Listen For In Music

The chapter “How We Listen” in Aaron Copland’s What to Listen for in Music addresses three different ways in which we listen to music. The first plane is the “sensuous plane”, the second is the “expressive plane”, and the third is the “sheerly musical plane” (Copland 7). As Copland discusses and critiques each plane, the reader quickly realizes that they gravitate towards certain planes more than others. While this piece is somewhat opinionated, Copeland thoroughly justifies his claims, allowing the reader to consider how his methods may apply to areas beyond music. Copeland addresses the sensual plane first. He defines this plane as listening to music “for the sheer pleasure of the musical sound itself” (Copland 7). Arguably, this form of listening requires the least amount of thought. Copland argues this point by claiming that listening in this way is “brainless” and “absent minded” (7). The text provides the example of someone attending a concert to escape, a process similar to listening to music while studying or enjoying the radio in the car. Copeland argues that sensuous listening does not distinguish and individual as a “qualified music lover” (8). The next plane that Copeland addresses is the …show more content…
This involves simply absorbing and enjoying the shapes and pictures that dance makes. These pictures can be created through formations, costumes, and lighting. Even an untrained eye can watch dance and appreciate the visual aspect of the piece. It is for this reason that choreographers such as Andrew Winghart are so popular. Even when his dancers are simply walking, the aesthetic of the piece and the specific formations make it mesmerizing. The costuming also falls under the realm of the visual plane. The way the dancer’s attire moves can alter the overall image the audience perceives. For example, when dancers wear full skirts it can create a frenzy of fabric and color that compliments the dancing