As I play piano, I got to know and appreciate classical music from an early age.  Even so, since I never learned music in a professional way, the more complex and less conventional (ala Schoenberg) music pieces often seem to me mysteries which are difficult to decipher. It is very common to hear among laymen concert goers that a musical piece sounded nice but they have no understanding of what went on, what the structure of the piece was and spent most of the listening time day dreaming, enjoying only the sensual part of the music. I would dare to speculate that the majority of concert goers which are non-professional musicians experience just that when listening to classical music.

Aaron Copland attempts to address the need of people that have an inclination to classical music, but lack the tools to properly or fully appreciate it, people that would like to become active listeners, enhancing their understanding and enjoyment of music. Being one of the greatest 20th century classical composers, there is no person more fit for the job.

In concise language, Copland explains first what he believes is required to be able to appreciate music (the ability to memorize a melody, something most of us posses), and the different dimensions by which people listen to music (sensual, expressive and musical), stating his belief that most people rely on the first two, without giving almost any attention to the third important musical dimension, which his book focuses on teaching.

Then Copland goes on to explain the creative process of composing a piece of music, the basic elements of music (rhythm, melody, harmony&tone color), musical textures (monophony, homophony&polyphony) and the most common structures that classical composers tend to follow when composing music (sonata, fugue, etc). Finally there are some additional chapters that include discussions on modern music, music’s part in movies and about music in the opera house.

By the end of this very short book the reader can get a better foundation of the elements and structures of which music is made and tools to better understand it. Like Copland mentions, reading a book on music can never replace the repetitive and attentive listening to music pieces, but proper tools can greatly enhance the enjoyment of listening to music, no doubt the most mysterious yet rewarding of art forms.