You might enjoy this poem: "The Darkling Thrush", by Thomas Hardy.
Musical Excerpts
Musical excerpts in this chapter performed by Adam Matlock. In most instances, Adam plays the excerpt twice, the first time at reduced tempo. Page numbers refer to the recommended edition.
How to use excerpts: As you encounter each short musical score in the chapter, stop reading and listen to the excerpt using the videos on this page. Listen more than once if you do not recognize, in the music, the idea that Copland is presenting. Then continue reading.
Excerpts in Chapter 5
Page 43
Score for above: click to enlarge.
Page 44
Score for above; click to enlarge.
Page 45, first passage
Score for above; click to enlarge.
Page 45, second passage
Score for above; click to enlarge.
Page 47
Score for above; click to enlarge.
Copland's Musical Recommendations for Chapter 5 (melody)
1) Schubert—Symphony No. 8 (Unfinished)
2) Wagner—Tristan und Isolde
All four hours of it! A long time to sit still.
So here are a couple of famous bits:
Prelude and Liebestod
Duet from Act 2
3) Debussy—Prelude to the Afternoon of a Faun
4) Debussy -- The Girl with the Flaxen Hair (piano)
Additional, for Chapter 5 (melody)
The following composition is almost pure melody, with little discernible rhythm.
• Anton Webern -- Five Pieces for Orchestra
The melodies you love most are memorable; they stick in your head. So, try an experiment: If you find any one of Webern's Pieces pleasant to listen to, then listen to it repeatedly, and see if any aspects of the melody becomes memorable or familiar to you -- so that you can anticipate what will happen next. It might take many listenings, or it might not happen at all.
More to Think About
Who Has "Perfect Pitch"?
If you are curious about this ability, read these entries at Wikipedia:
1) Absolute Pitch
2) Relative Pitch
Understanding absolute and relative pitch should help you to distinguish various pitch-related talents and skills found in the population, and their relationship to musical ability.
