
audiobook
HOW TO LISTEN TO MUSIC - HINTS AND SUGGESTIONS TO UNTAUGHT LOVERS OF THE ART - BY - HENRY EDWARD KREHBIEL
AUTHOR'S NOTE
How to Listen to Music
I. Introduction
II. Recognition of Musical Elements
III. The Content and Kinds of Music
IV. The Modern Orchestra
V. At an Orchestral Concert
VI. At a Pianoforte Recital
VII. At the Opera
This guide invites anyone who loves music but has never studied it formally to move beyond casual enjoyment and discover what truly listening means. It gently explains why many concert‑goers hear only surface sparkle, while a deeper approach can reveal the art’s hidden architecture. The tone stays conversational, urging curiosity without demanding professional expertise.
The core of the book walks the reader through the building blocks of music—melody, harmony, rhythm—and shows how they combine into recognizable forms. Short analyses of familiar pieces, from a simple Creole folk tune to sections of Beethoven’s symphonies, illustrate how repetition and motive create cohesion. Practical tips encourage memorization and active imagination, helping listeners identify motifs the next time they hear a performance.
Beyond the basics, the author explores different kinds of music, contrasting absolute works with programmatic pieces that suggest stories or images. Discussions of chamber music, orchestral textures, and the role of titles clarify how composers communicate ideas without words. By the end of the first part, listeners will have a sturdy framework for appreciating a broad spectrum of classical repertoire.
Full title
How to Listen to Music, 7th ed. Hints and Suggestions to Untaught Lovers of the Art Hints and Suggestions to Untaught Lovers of the Art
Language
en
Duration
~6 hours (364K characters)
Publisher of text edition
Project Gutenberg
Credits
Produced by Juliet Sutherland, Linda Cantoni, and the Online Distributed Proofreading Team at http://www.pgdp.net
Release date
Jan 7, 2006
Rights
Public domain in the USA.
Subjects

1854–1923
A sharp-eared guide to America’s musical life at the turn of the 20th century, he spent more than four decades as the chief music critic of the New York Tribune. His writing helped shape how concertgoers and readers understood composers, opera, and orchestral music.
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