Author: Aaron Copland

Publisher: Forgotten Books

Published: 2017-12-11

Total Pages: 30

ISBN-13: 9780266559924

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Excerpt from The Pleasures of Music That music gives pleasure is axiomatic. Because that is So, the pleasures of music as a subject for discussion may seem to some of you a rather elementary dish to place be fore so knowing an audience. But I think you will agree that the source of that pleasure, our musical instinct, is not at all elementary; it is, in fact, one of the prime puzzles of consciousness. Why is it that sound waves, when they strike the ear, cause volleys of nerve impulses to flow up into the brain, resulting in a pleasurable sensation? More than that, why is it that we are able to make sense out of these volleys of nerve signals so that we emerge from engulfment in the orderly presentation of sound stimuli as if we had lived through a simulacrum of life, the in stinctive life of the emotions? And why, when safely seated and merely listening, should our hearts beat faster, our temperature rise, our toes start tapping, our minds start racing after the music, hoping it will go one way and watch ing it go another, deceived and disgruntled when we are unconvinced, elated and grateful when we acquiesce? We have a part answer, I suppose, in that the physical nature of sound has been thoroughly explored; but the phe nomenon of music as an expressive, communicative agency remains as inexplicable as ever it was. - We musicians don't ask for much. All we want is to have one investigator tell us why this young fellow seated in row A is firmly held by the musical sounds he hears while his girl friend gets little or nothing out of them, or vice versa. Think how many millions of useless practice hours {might have been saved if some alert professor of genetics had developed a test for musical sensibility, The fascination of music for some human beings was curiously illustrated for me once during a visit I made to the showrooms of a manufacturer of elec tronic organs. As part of my tour I was taken to see the practice room. There, to my surprise, [i found not one but eight aspiring organists, all busily practicing simultanely on eight organs. More surprising still was the fact that not a sound was audible, for all eight performers were listen ing through earphones to their individual instrument. It was an uncanny sight, even for a fellow musician, to watch these grown men mesmerized, as it were, by a silent and in visible genie. On that day I fully realized how mesmerized we ear-minded creatures must seem to our less musically inclined friends. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Download or read book The Pleasures of Music (Classic Reprint) written by Aaron Copland and published by Forgotten Books. This book was released on 2017-12-11 with total page 30 pages. Available in PDF, EPUB and Kindle. Book excerpt: Excerpt from The Pleasures of Music That music gives pleasure is axiomatic. Because that is So, the pleasures of music as a subject for discussion may seem to some of you a rather elementary dish to place be fore so knowing an audience. But I think you will agree that the source of that pleasure, our musical instinct, is not at all elementary; it is, in fact, one of the prime puzzles of consciousness. Why is it that sound waves, when they strike the ear, cause volleys of nerve impulses to flow up into the brain, resulting in a pleasurable sensation? More than that, why is it that we are able to make sense out of these volleys of nerve signals so that we emerge from engulfment in the orderly presentation of sound stimuli as if we had lived through a simulacrum of life, the in stinctive life of the emotions? And why, when safely seated and merely listening, should our hearts beat faster, our temperature rise, our toes start tapping, our minds start racing after the music, hoping it will go one way and watch ing it go another, deceived and disgruntled when we are unconvinced, elated and grateful when we acquiesce? We have a part answer, I suppose, in that the physical nature of sound has been thoroughly explored; but the phe nomenon of music as an expressive, communicative agency remains as inexplicable as ever it was. - We musicians don't ask for much. All we want is to have one investigator tell us why this young fellow seated in row A is firmly held by the musical sounds he hears while his girl friend gets little or nothing out of them, or vice versa. Think how many millions of useless practice hours {might have been saved if some alert professor of genetics had developed a test for musical sensibility, The fascination of music for some human beings was curiously illustrated for me once during a visit I made to the showrooms of a manufacturer of elec tronic organs. As part of my tour I was taken to see the practice room. There, to my surprise, [i found not one but eight aspiring organists, all busily practicing simultanely on eight organs. More surprising still was the fact that not a sound was audible, for all eight performers were listen ing through earphones to their individual instrument. It was an uncanny sight, even for a fellow musician, to watch these grown men mesmerized, as it were, by a silent and in visible genie. On that day I fully realized how mesmerized we ear-minded creatures must seem to our less musically inclined friends. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.