Josue Pichardo 

Professor Sara Jacobson 

English 11000 

29 September 2024 

In the excerpt “How we listen to music” by Aaron Copland (1900-1990), a professional and well know composer, presents the different ways people experience and engage with music. Copland argues that to fully understand and appreciate music, listeners must recognize all three music planes. The sensuous, expressive, and sheerly musical planes. By analyzing the rhetorical elements of purpose, audience, and stance, we can better understand how Copland conveys his insights and influences the reader’s perspective on music.  

Copland’s primary purpose is to educate readers about the different levels of listening and to inspire a more profound appreciation of music. He aims to illuminate the listening process, encouraging audiences to consider their relationship with music beyond mere entertainment. Copland describes this as understanding all the different planes of music. “In a certain sense we all listen to music on three separate planes. For lack of a better terminology, one might name these: (1) the sensuous plane, (2) the expressive plane, (3) the sheerly musical plane” (Copland 1). The sensuous plane is to listen for the sheer pleasure of the musical sound itself, the expressive plane is the feeling that the music gives off, and the sheerly musical plane is the analytical and intellectual way of listening to music. By categorizing listening into these three planes, he seeks to guide readers through a deeper understanding of how music should be appreciated while considering all of this.  

Copland wrote this excerpt for all kinds of audiences, ranging from casual listeners all the way to music enthusiasts. Copland criticizes those who consider themselves music lovers but engage only in sensuous listening, as he believes there is much more to music appreciation. “The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story. There is no need to digress further on the sensuous plane. Its appeal to every normal human being is self-evident… Don’t get the idea that the value of music is commensurate with its sensuous appeal or that the loveliest sounding music is made by the greatest composer” (Copland 2). Copland also says “Professional musicians, on the other hand, are, if anything, too conscious of the mere notes themselves. They often fall into the error of becoming so engrossed with their arpeggios and staccatos that they forget the deeper aspects of the music they are performing” (2). Music professionals often tend to over analyze the music which leads to them not enjoying it to its fullest. The author wants to educate all music listeners to listen to music the proper way, not to over analyze it, but to not block it out and use it as something to escape reality. By purposefully speaking to a wide range of music listeners, he not only grows the audience for his message but also supports the idea that music is a shared and universal experience that should be appreciated by all. The author makes examples out of famous composers, one of these examples is “If that were so, Ravel would be a greater creator than Beethoven. The point is that the sound element varies with each composer, that his usage of sound forms an integral part of his style and must be taken into account when listening” (Copland 2).  

Copland’s stance throughout the excerpt is reflective and inclusive, encouraging readers that if they themselves can feel something that it shouldn’t matter what people say, as stated here “Let us suppose that you are fortunate and can describe to your own satisfaction in so many words the exact meaning of your chosen theme. There is still no guarantee that anyone else will be satisfied. Nor need they be. The important thing is that each one feel for himself the specific expressive quality of a theme or, similarly, an entire piece of music. And if it is a great work of art, don’t expect it to mean exactly the same thing to you each time you return to it” (Copland 4). The author acknowledges that while an individual may articulate their understanding of a musical theme, this personal interpretation doesn’t necessarily resonate with others. This highlights the idea that music is inherently subjective, and different listeners can have different meanings from the same piece. He stresses the importance of personal connection to music and how we can even interpret the same work differently each time. This reflects the idea that our perceptions and emotional states can change, influencing how we interpret art. Copland’s ideas are still relevant in today’s age, even though music consumption has changed drastically. This can happen when we are blasting music in our headphones using music streaming services. 

In conclusion, Aaron Copland’s “How We Listen to Music” effectively employs rhetorical elements of purpose, audience, and stance to convey his message about the importance of understanding music. His educational purpose aims to inspire listeners to engage more deeply with music, while his consideration of a broad audience ensures that his insights resonate widely. Additionally, his reflective and inclusive stance encourages a personal connection to the material, fostering a community of shared experiences. Through these rhetorical strategies, Copland enriches our understanding of music’s role in our lives, ultimately urging us to become more mindful and engaged listeners. 

Works Cited 

Copland, Aaron. “How we listen to music.” Excerpt from What to Listen for in Music (New York: McGraw-Hill, 1988). 195728712 (blackboardcdn.com). Accessed 29 September 2024