“Understanding Music on a Deeper Level”

Music is the art form that combines rhythm and sound to form a functional melodic line. Music itself transcends time, space, and cultures. Music can carry a mood without speaking any specific words. It can also be captured and recorded in a written universal language unique unto any other art form.

Aaron Copland, one of the most influential American composers of the 20th century, didn’t just create iconic music, he also sought to explain and demystify the art of listening to music. In his article “How we Listen to Music”, Aaron Copland (1988) states that music is listened to on three different planes. He describes them as the sensuous plane, the expressive plane, and the sheerly musical plane. The reason for listening to music for the pure rhythm and harmony is the sensuous plane. Music is powerful and can cause people to dig deep in order to find its true meaning. However, two people may never agree on the meaning of a song because they interpret it differently. Another point is that “themes or pieces need not express only one emotion” (Copland). People can grab multiple emotions from a single piece. These emotions can allow people to go different places in their head and even to reflect on their life. In the end, music can give many meanings that simply cannot be put into words. The third plane is the sheerly musical plane. This is the plane on which music exists in the notes and their manipulation. Most composers spend too much time dwelling in the third plane. When someone is playing on the corner, the listener “either hears a pretty melody or he/she does not, and he/she generally lets it go at that” (Copland). Copland explains the four basic elements of music: rhythm, melody, harmony and tone color. He states that all music incorporates these elements; while each is vitally important on their own, they only truly come into their own when combined into a composition. He argues that all music conveys meaning behind the notes and that the meaning behind the notes constitutes what the piece says, what the piece is about. He takes the notes in the theme and recombines them in every possible way, exploring every mood he can think of. He believed that while music can evoke an immediate emotional reaction, fully appreciating its depth requires active and informed listening. By understanding the elements and structure of music, listeners can experience it in richer, more meaningful ways. In this essay, we will explore Copland’s approach to listening to music, focusing on three essential levels: the sensuous, the expressive, and the purely musical plane. The first and most immediate level of music listening, according to Copland, is the “sensuous plane”. This is the instinctive, emotional reaction we have when we hear music. It encompasses the pleasure we derive from the sound of music, whether it is the soothing hum of a symphony, the vibrant beat of a drum, or the hypnotic melody of a piano. The sensuous plane is music in its most basic form: sound as pure enjoyment. Copland warns, however, that listeners should not get stuck on this level. While it is easy to enjoy music sensuously, simply allowing the sounds to wash over you, this type of listening is passive and doesn’t fully engage the mind. If a listener only experiences music on this level, they miss out on the greater depth and complexity it has to offer. Thus, while the sensuous plane is a natural starting point, Copland encourages us to explore music further. The second level, the “expressive plane”, requires more engagement and intellectual curiosity. This is the level at which we begin to ask: “What does the music mean?” Copland argues that music, while not explicitly narrative, is capable of expressing emotions, ideas, or moods. Music does not need to tell a specific story, but it can convey abstract feelings — from joy and melancholy to tension and tranquility. Copland notes that not all pieces of music have the same degree of expressiveness, nor do they always communicate in clear, direct ways. Some compositions evoke strong, recognizable emotions, while others may be more ambiguous or abstract. Importantly, Copland suggests that listeners should avoid rigid interpretations of music. It is a mistake to try to ascribe specific meanings or stories to every piece. Instead, listeners should be open to the emotional tone of the work and allow the music to speak to them in a personal way. The expressive plane is where music begins to interact with our inner emotional landscape, allowing us to experience its full power. The “purely musical plane” is perhaps the most challenging but also the most rewarding level of listening. This level involves an understanding of music as a structured and deliberate art form. Here, listeners focus on the technical aspects of music melody, harmony, rhythm, and form. While this may seem daunting to the untrained ear, Copland insists that anyone can develop an appreciation for the musical elements that form the backbone of a composition. On the purely musical plane, listeners pay attention to how a piece is constructed. They notice the patterns in the melody, the way chords interact, the rhythm that drives the music forward, and the way the piece is organized into movements or sections. Understanding music on this level allows listeners to appreciate the composer’s craftsmanship and ingenuity. “The best way to listen to music is to let it speak to you, to take it in slowly and thoughtfully.” (Copland) He points out that this kind of listening doesn’t require formal music training. One doesn’t need to be able to read sheet music or play an instrument to recognize the repetition of a theme or the tension created by dissonance. According to Copland, the richest music experience comes when a listener engages all three planes sensuous, expressive, and purely musical simultaneously. Each plane informs the others: the immediate pleasure of sound (sensuous) is enhanced when we recognize the emotions it conveys (expressive), and our understanding of the music’s structure (purely musical) deepens our emotional engagement. By integrating these planes, listeners can move beyond passive enjoyment and develop a more profound appreciation for music. “To appreciate music, one must be willing to engage with it on multiple levels, both emotionally and intellectually.” (Copland) His approach to listening to music challenges us to engage with it on multiple levels. While music is an inherently emotional experience, Copland teaches that deeper listening involves an intellectual understanding of the expressive and formal qualities of music. By learning to recognize the different planes of music and paying attention to how they interact, we can transform our listening experience from one of mere passive pleasure to one of active and thoughtful engagement. Copland’s insights remind us that music, like all art, is not just meant to be heard but understood, felt, and contemplated in its full complexity. He suggests that listeners should approach music with an open mind and be aware of their own experiences and feelings. He advocates for active listening, where one pays attention to the nuances and layers within a piece, rather than simply enjoying it passively. By fostering a deeper appreciation for music, Copland believes that listeners can enhance their enjoyment and understanding of this art form. Another notable point is Copland’s discussion of the cultural and emotional context of music. He highlights how different styles and genres reflect the time and place in which they were created, inviting listeners to consider the broader implications of what they’re hearing. He also stresses the importance of personal connection, suggesting that everyone’s background influences how they perceive and appreciate music. Overall, his insights help listeners develop a richer, more nuanced relationship with music, transforming listening into an active and fulfilling experience.

Works Cited

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Joseph. (2016, April 9). What to listen for in Music, by Aaron Copland. Listen To Better Music. https://listentobettermusic.wordpress.com/2016/04/09/what-to-listen-for-in-music-by-aaron-copland/

Louise, E. (2015, March 30). Aaron Copland’s three planes of Music Awareness. SoundBite. https://soundbiteinc.wordpress.com/2015/03/30/aaron-coplands-three-planes-of-music-awareness/

Lloyd, G. (2024, July 22). “what to listen for in music” by Aaron Copland. DIY Music Guide. https://www.diy-music-guide.com/articles/what-to-listen-for-in-music-aaron-copland

How we listen to music by Aaron Copeland – 545 words: Coursework example. IvyPanda. (n.d.). https://ivypanda.com/essays/how-we-listen-to-music-by-aaron-copeland/

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