Dr. Cory Hills uses his years of experience as a music professor and percussionist to teach anyone interested in the development of music. He combines his engaging teaching style with singing dolls, musical samples, pop culture references, and YouTube videos to teach music history and appreciation. With an open mind and an inquisitive ear, Dr. Cory Hills makes connections from the Middle Ages to the Renaissance, the Baroque Period, the Classical Period, the Romantic Period, the 20th Century, and beyond. Each era of music influences the next, and Dr. Hills trains your ear to recognize these influences on modern-day music.
| I. Introduction |
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Why Study Music History? |
9:19 |
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Intro |
0:00 | |
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Music History/Appreciation |
0:22 | |
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| History is Important |
0:34 | |
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| Appreciation is Important |
0:44 | |
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| We are Listeners |
1:32 | |
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Interesting Music Facts |
3:26 | |
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| Major Industries of the World |
3:30 | |
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| Arts and Entertainment is a Top 5 Industry for the World |
4:14 | |
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Course Description |
5:14 | |
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| Track Music Throughout History and Relate It to the Present Day |
5:28 | |
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| We Will Cover Music From
|
6:17 | |
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| Lots of Musical Examples |
6:25 | |
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Review and What's Next |
7:37 | |
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| Music is Everywhere |
7:44 | |
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| Course is Designed to Help Your Ears Make Connections |
7:52 | |
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| Parameters of Music: Building Blocks of Music |
8:15 | |
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Melody, Harmony, Form, Texture |
13:16 |
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Intro |
0:00 | |
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Parameters of Music |
0:20 | |
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| Parameters of Music is Subjective |
0:24 | |
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| Melody, Harmony, Form, and Texture |
1:20 | |
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Melody |
1:30 | |
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| The Tune, the Singable Aspect of a Work |
1:47 | |
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| The Main Line |
1:58 | |
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| Usually Smooth Line |
2:24 | |
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| Example |
2:45 | |
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Harmony |
3:31 | |
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| The Chords |
3:36 | |
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| Harmony Supports the Melody |
3:46 | |
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| Example |
4:23 | |
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Form |
5:11 | |
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| The Overlooked Giant of Music |
5:20 | |
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| Form is the Structure and the Glue |
5:37 | |
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| Important Developments Throughout Music History |
6:00 | |
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| Example |
6:57 | |
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Texture |
8:26 | |
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| How Much Stuff is Going on at Once |
8:40 | |
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| 'Mono' = One Voice |
8:45 | |
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| 'Poly' = More Than One Voice |
8:56 | |
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| Number of Instruments, Octaves, Instrument Doubling |
9:30 | |
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| Example |
10:06 | |
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Review |
10:50 | |
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| Melody, Harmony, Form, Texture |
10:54 | |
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| Identifying Melody, Harmony, Texture, and Form with Example |
11:10 | |
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Rhythm, Meter, Dynamics, Tone |
11:04 |
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Intro |
0:00 | |
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Rhythm |
0:19 | |
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| Allows More Than One Person to Play at the Same Time |
0:34 | |
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| The Notes Tell You When to Play |
0:45 | |
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| Different Kinds of Notes |
1:08 | |
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| Developed Along With Music Notation |
1:56 | |
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| Notation Plays Important Role in Development of Western Music |
2:07 | |
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Meter |
2:44 | |
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| Tied In With Rhythm |
2:50 | |
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| Time Signatures |
2:54 | |
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| The Larger Beats |
3:20 | |
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| Rhythmic Material Adds Up to the Numerator of the Time Signature |
3:37 | |
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| Example |
3:52 | |
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Dynamics |
5:12 | |
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| How Loud or Soft You Play |
5:20 | |
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| Spectrum and Special Notation System |
5:27 | |
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| Can Change at Any Moment |
5:53 | |
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| Used to Affect Mood |
6:27 | |
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Tone |
7:20 | |
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| Also Known as Timbre or Color of the Sound |
7:35 | |
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| Each Instrument has a Unique Sound |
7:50 | |
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| Important in Understanding Instrumentation and Orchestration |
8:28 | |
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Review |
9:06 | |
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| Rhythm, Meter, Dynamics, Tone |
9:12 | |
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| Identifying Meter of Two Examples: 4/4 or 6/8? |
9:25 | |
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Instrumentation & Orchestration |
15:53 |
| | |
Intro |
0:00 | |
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Why Discuss Instruments? |
0:13 | |
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| We've Assumed Things that Arent Actually True |
0:30 | |
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| We Can Use Our Ears to Determine History |
1:00 | |
| | |
| Piano Was Invented in 1700 |
1:17 | |
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| Modern Symphony Orchestra Was Described in 1844 |
1:49 | |
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| Females Were Not Allowd to Sing in Mass Until 20th Century |
2:18 | |
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| The First Rock 'n' Roll Song Produced in 1953 - 'Rock Around the Clock' |
3:17 | |
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Instruments |
4:49 | |
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| Middle Ages: Voice, Lute, Recorders |
4:50 | |
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| Renaissance: Violin, Guitar, Sackbut, Lyre, Hurdy Gurdy, More Flutes |
5:19 | |
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Instruments Cont'd |
6:29 | |
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| Baroque: More Strings, Woodwinds (Oboe, Flute), Harpsichord, Organ, Horn |
6:30 | |
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| Classical: Fortepiano (Piano), Clarinet, Trombone, Bassoon |
7:35 | |
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| Romantic and 20th Century: Modern Day Instruments, Percussion |
8:36 | |
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What is in a Symphony Orchestra? |
9:24 | |
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| Woodwinds |
9:53 | |
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| Brass |
10:17 | |
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| Percussion |
10:35 | |
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| Keyboards |
10:57 | |
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| Strings |
11:04 | |
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Review |
12:23 | |
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| There Has Been Major Instrument Development |
12:26 | |
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| Dominant Instruments: Voice, Strings, Keyboards, Recorders |
13:00 | |
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| What Time Period Could This Example Be From? |
14:03 | |
| II. The Middle Ages |
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Chant |
14:36 |
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Intro |
0:00 | |
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What is Chant? |
0:13 | |
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| Importance of the Catholic Church in Music History |
0:40 | |
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| Monophony |
1:13 | |
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| Examples of Chant |
2:03 | |
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Chant Characteristics |
3:40 | |
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| Syllabic: One Note of Music for Each Syllable of Text |
3:55 | |
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| Neumatic: One Neume (Two of Three Notes) for Each Syllable of Text |
4:17 | |
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| Melismatic: Numberous Notes Occur for Each Syllable of Text |
4:46 | |
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| Classes of Chant |
5:41 | |
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| Antiphonal: Chants with Phrases Sung by Alternating Choirs |
5:48 | |
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| Responsorial: Chant Sung By Soloist with Response by Choir |
6:20 | |
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Notation |
6:39 | |
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| Block Notation and Neumes |
6:57 | |
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| Rhythm is not a Primary Focus of Chant |
8:16 | |
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Church Modes |
8:49 | |
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| Authentic vs. Plagal |
9:00 | |
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| Dorian Starts on D |
9:21 | |
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| Phrygian Starts on E, Lydian Starts on F, Mixolydian Starts on G |
9:42 | |
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| Hypodorian: Down Four, Starts On a Different Note |
9:53 | |
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| Hypophyrgian, Hypolydian, Hypomixolydian |
10:53 | |
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Review |
11:41 | |
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| Monophony |
11:47 | |
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| Syllabic, Neumatic, Melismatic |
12:04 | |
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| Neume Notation, Block Notation |
12:10 | |
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| 8 Church Modes (Authentic, Plagal) |
12:28 | |
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| What Are The 8 Church Modes? |
12:53 | |
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| What is the Difference Between Authentic and Plagal Modes? |
13:38 | |
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Organum |
15:33 |
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Intro |
0:00 | |
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What is Organum? |
0:12 | |
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| Polyphony: More Than One Voice at a Time |
0:27 | |
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| Musica Enchiriadis: 9th Century, Anonymous |
1:25 | |
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| Guido D'Arezzo |
2:02 | |
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Musica Enchiriadis |
2:22 | |
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| First Known Attempt at Polyphony and Organum |
2:30 | |
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| Organum |
3:06 | |
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| Two Voices: Vox Principalis (Main Voice) and Vox Organalis (Organum, Second Voice) |
3:15 | |
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| Simple, Composite, and Parallel Organum |
4:03 | |
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Guido |
7:44 | |
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| Micrologus, 1026 |
7:57 | |
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| Guidonian Hand: Mnemonic Device for Singers to Read Pitches |
8:10 | |
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| Proto Staff: Four Staff Notation System, Precursor to Modern-Day Staff |
8:48 | |
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Notre Dame School of Polyphony |
9:25 | |
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| Leonin and Perotin |
9:42 | |
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| Two Voice |
10:20 | |
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| Organum: Melismatic Voice Over Chant |
10:30 | |
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| Discant: Note Against Note, Rhythms by Mode |
10:54 | |
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| Copula: Transition Between Organum and Discant |
11:35 | |
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| Perotin |
11:44 | |
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Substitute Clausula |
12:11 | |
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| Often present in Discant |
12:41 | |
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| Evolved into Stand Alone Pieces as Substitute Clausula Became Longer |
13:00 | |
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| Experimented with Different Languages and Used Rhythmic Modes |
13:57 | |
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| Motet |
14:07 | |
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Review |
14:20 | |
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Motet |
16:58 |
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Intro |
0:00 | |
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Motet |
0:07 | |
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| Substitute Clausulae |
0:16 | |
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| Unique Composition |
0:39 | |
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| Components of a Motet |
1:02 | |
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| New Upper Voices |
1:50 | |
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| Prosula |
1:58 | |
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Rhythmic Modes |
2:22 | |
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| Used in Discant |
2:36 | |
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| Different Combinations of Longs and Shorts |
3:32 | |
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| Mode 1 |
3:50 | |
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| Mode 2 |
4:00 | |
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| Mode 3 |
4:19 | |
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| Mode 4 |
4:41 | |
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| Mode 5 |
4:50 | |
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| Mode 6 |
5:04 | |
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Notational Developments |
5:25 | |
| | |
| Famous Rhythmic Developers |
5:40 | |
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| Different Combinations of Longs and Shorts |
6:13 | |
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| Longa, Breve, Semibreve, Minim |
6:21 | |
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| Perfect or Imperfect Prolation |
6:31 | |
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Notation |
6:50 | |
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| Tempus, Prolation |
6:56 | |
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| Tempus Perfectum/Prolation Major |
7:14 | |
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| Breve |
7:50 | |
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| Semibreves |
7:55 | |
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| Minim |
8:03 | |
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| Breve is the Main Unit of Time |
8:15 | |
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| Tempus Perfectum/Prolation Minor |
9:00 | |
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| Tempus Imperfectum/Prolation Major |
9:37 | |
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| Tempus Imperfectum/Prolation Minor |
10:14 | |
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| Common Time Origin |
11:05 | |
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Machaut and the Isorhythmic Motet |
11:48 | |
| | |
| Isorhythmic Motet |
12:09 | |
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| Talea |
12:30 | |
| | |
| Color |
12:36 | |
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Review |
13:42 | |
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| Motet |
13:56 | |
| | |
| Characteristics |
14:07 | |
| | |
| Isorhythmic Motet |
14:26 | |
| | |
| Which Rhythmic Mode Are These Examples? |
14:44 | |
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Troubadours |
12:09 |
| | |
Intro |
0:00 | |
| | |
What is a Troubadour? |
0:25 | |
| | |
| The Singing Minstrel |
0:30 | |
| | |
| Portrayed as a Jester or Joker in Pop Culture |
1:13 | |
| | |
| Served A Major Role in Development of Polyphony Because They Traveled |
1:27 | |
| | |
| Troubadours were Illiterate and Part of the Lower class |
2:07 | |
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What is a Trouvere? |
2:25 | |
| | |
| Poet and Musician from Northern France Who Wrote about Love, Heroism, and the Unattainable |
2:34 | |
| | |
| Established Guilds, Brought Their Music to the Middle Class |
3:24 | |
| | |
| Simple Forms, Simple Syllabic Melodies, Simple Instrumental Accompaniment |
4:10 | |
| | |
Formes Fixes |
5:18 | |
| | |
| Three Main Forms: Rondeau, Ballade, Virelai |
5:38 | |
| | |
| A (a) and B (b) Represent Repeated Musical Material |
5:51 | |
| | |
| Capital Letters Represent Repeated Text |
6:05 | |
| | |
| Lowercase Represent New Text |
6:13 | |
| | |
| Virelai |
7:00 | |
| | |
| Example |
8:05 | |
| | |
Instruments |
9:09 | |
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| Stringed Instruments: Lute, Lyre, Bagpipe, Viol |
9:17 | |
| | |
| Were the First Solo Performers |
9:30 | |
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| Different Form of Polyphony Than Just Voices |
9:58 | |
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| They Traveled, Influencing Different Areas of Europe |
10:07 | |
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Review |
10:41 | |
| | |
| Important in Distributing Polyphonic Music Throughout Europe |
10:49 | |
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| Polyphony Existed in Churches, But Without Troubadours, Perhaps Polyphony Would Have Never Left the Church |
11:10 | |
| III. The Renaissance |
| |
The Mass |
20:34 |
| | |
Intro |
0:00 | |
| | |
Let's Go to Church! |
0:22 | |
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| The Catholic Church is at the Center of Western Classical Music |
0:30 | |
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| Two Types of Masses: Mass Ordinary and Mass Proper |
0:50 | |
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Let's Go to Church! |
1:03 | |
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| Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnes Dei |
1:16 | |
| | |
Mass in the Renaissance |
2:38 | |
| | |
| Polyphonic Settings of Complete Mass Ordinary |
2:51 | |
| | |
| Chant is Still There |
3:09 | |
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| Cantus Firmus: The Chant Line |
3:27 | |
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| Masses Organized around the Cantus Firmus |
4:02 | |
| | |
| Other Voices Newly Composed |
4:12 | |
| | |
| Recall Substitute Clausulae |
4:24 | |
| | |
Three Types of Cyclic Mass |
4:44 | |
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| Cantus Firmus Mass |
5:02 | |
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| Cants Firmus in the Tenor |
5:13 | |
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| Branched Out to Other Voices |
5:52 | |
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| Chant Melody Chopped, Sliced, Omitted |
6:07 | |
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| Leading Composers: Dufay, Machaut, Dunstable |
6:48 | |
| | |
| Motto Mass |
7:28 | |
| | |
| Start with Identical Motive at Beginning of Each Motive |
7:47 | |
| | |
| Generally Homophonic |
8:19 | |
| | |
| Leading Composers: Dufay, Ockeghem |
9:17 | |
| | |
Three Types of Cyclic Mass |
9:45 | |
| | |
| Parody Mass Became Most Popular |
9:53 | |
| | |
| More Freely Composed |
10:06 | |
| | |
| Used Pre-existing Textures from Another Work |
10:13 | |
| | |
| Freer Counterpoint and Imitation and Rhythmic Innovation |
11:00 | |
| | |
| Imitation: One Voice Mimics Another |
11:10 | |
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Ok, So What's Really Going On? |
12:57 | |
| | |
| Composers Were Gaining More Freedom |
13:04 | |
| | |
| How Math Played a Role in Innovation |
13:30 | |
| | |
| Canons |
13:35 | |
| | |
| Inversion |
14:05 | |
| | |
| Retrograde |
14:54 | |
| | |
| Diminution |
15:32 | |
| | |
| Augmentation |
16:31 | |
| | |
| Puzzle Canon |
17:06 | |
| | |
| Musical Palindromes |
17:30 | |
| | |
Review, Some Important People and Terms |
18:00 | |
| | |
| Early Mass: Machaut |
18:18 | |
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| Mid Mass: Dufay and Ockeghem |
18:22 | |
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| Late Mass: Josquin and Palestrina |
18:28 | |
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| Cantus Firmus: Chant Melody Line in Tenor |
18:42 | |
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| Imitation: One Voice Mimics Another |
18:52 | |
| | |
| Canon: Melody with One or More Imitations |
18:59 | |
| | |
| Each Generation of Renaissance Composer Created New Methods to Write Freer Masses |
19:09 | |
| | |
| Three Main Types of Cyclic Masses: Cantus Firmus, Motto, Parody |
19:36 | |
| |
The Madrigal |
18:51 |
| | |
Intro |
0:00 | |
| | |
What in the World is a Madrigal? |
0:08 | |
| | |
| Italian Song: Secular Polyphonic Vocal Composition for 2-8 Voices |
0:45 | |
| | |
| Developed in 3 Stages Throughout the Renaissance |
1:21 | |
| | |
First Generation |
1:38 | |
| | |
| Developed from Frotolla: Homophonic, Rustic, and Popular |
1:44 | |
| | |
| Polyphonic Sections Alternate with Chordal, Homophonic Sections |
2:42 | |
| | |
| Dissonant Harmonies Appear at Specific Moments in the Text |
3:03 | |
| | |
| Primo Libro |
4:15 | |
| | |
| Arcadelt 'Il bianco e dolce cigno' |
4:30 | |
| | |
Second Generation |
5:55 | |
| | |
| Wider Use of Poetry and More Serious Texts |
6:01 | |
| | |
| Experimental Harmonies |
6:26 | |
| | |
| Vicentino Wrote a Big Treatise in 1555 |
6:54 | |
| | |
| Vicentino 'Laura, che 'l verde lauro' |
7:42 | |
| | |
Third Generation |
9:28 | |
| | |
| Mannerist |
9:30 | |
| | |
| Chose Emotionally Intense Texts to Depict Musically |
9:51 | |
| | |
| Voice Crossings |
10:29 | |
| | |
| Crazy Rhythms |
11:00 | |
| | |
| Sudden Tempo Changes |
11:10 | |
| | |
| Text Painting |
11:30 | |
| | |
More Third Generation |
12:39 | |
| | |
| Required Skilled Singers and Sophisticated Audiences |
12:52 | |
| | |
| Maurenzio 'Solo et pensoso' |
14:00 | |
| | |
| Monteverdi (1567-1643) |
15:11 | |
| | |
Review |
17:05 | |
| | |
| Madrigals |
17:13 | |
| | |
| First Generation |
17:21 | |
| | |
| Second Generation |
17:30 | |
| | |
| Third Generation |
17:36 | |
| | |
| Who is Known as the First Opera Composer? |
17:55 | |
| | |
| What is Text Painting? |
18:14 | |
| |
Instrumental Music |
8:17 |
| | |
Intro |
0:00 | |
| | |
Wait
There Were Instruments Too? |
0:12 | |
| | |
| Period Dominated by the Voice |
0:25 | |
| | |
| La Familia Gabrieli |
0:35 | |
| | |
| Andrea Gabrieli |
0:46 | |
| | |
| Giovanni Gabrieli |
0:57 | |
| | |
Andrea Gabrieli |
1:42 | |
| | |
| Madrigal Composer, Third Generation |
1:45 | |
| | |
| Well-Known Church Organist |
2:07 | |
| | |
| Madrigal Became Simpler, More Pastoral, and More Homophonic |
2:30 | |
| | |
| Cori Spezzati: Divided Choir |
2:50 | |
| | |
| Doubled Some Parts with Instruments |
3:18 | |
| | |
| Instruments Then Became Second Choir, Written for Exclusively |
3:31 | |
| | |
Giovanni Gabrieli |
3:44 | |
| | |
| Famous Organist and Composer |
3:46 | |
| | |
| Sonata pian' e forte (1597): Groundbreaking, First Piece to Use Dynamics, First Piece Written for Just Instruments |
4:21 | |
| | |
Review |
6:19 | |
| | |
| Instrumental Music Became Popular Towards the End of the Renaissance |
6:22 | |
| | |
| Explosion of Instrumental Music in Baroque |
6:40 | |
| | |
| Instruments were Always Around |
6:51 | |
| | |
| Classic Composers Started to Write for Them in the Church |
7:08 | |
| | |
| Gained Popularity Outside of the Working Class |
7:30 | |
| IV. The Baroque Period |
| |
Opera |
14:05 |
| | |
Intro |
0:00 | |
| | |
Hello Divas! |
0:30 | |
| | |
| Intense Development of Opera |
0:57 | |
| | |
| Started from Monody: Short, Staged Works |
1:50 | |
| | |
| Speech Inspired Continuous Song |
2:05 | |
| | |
| Continuo: Group Playing Bass Line or Basic Accompaniment |
2:20 | |
| | |
| Recitative: Speechlike Reiteration of the Same Note |
2:50 | |
| | |
| Used to Tell the Story to the Audience |
3:34 | |
| | |
Let's Go to Venice |
3:49 | |
| | |
| Opera Became Popular in Venice (1640) |
3:53 | |
| | |
| Opera Houses were Built, 350 Operas Composed in 40 Years |
4:41 | |
| | |
Characteristics |
5:44 | |
| | |
| Arias: Diva Solo |
5:54 | |
| | |
| Da Capo Aria: Aria with Three Sections |
6:01 | |
| | |
| First: Presentation of Music for Voice and Orchestra |
6:06 | |
| | |
| Second: Huge Contrast from First Section |
6:16 | |
| | |
| Third: Repeat of the First Section with a Twist (Improvisation) |
6:34 | |
| | |
| Intended to Show Off the Divas |
7:04 | |
| | |
| Singing was Technical and Virtuosic |
7:37 | |
| | |
Opera in France |
7:45 | |
| | |
| Lully Popularized Opera in France |
8:07 | |
| | |
| Had Rights to Compose Operas from 1673-1687 |
8:33 | |
| | |
| French Operas were Much Different |
9:23 | |
| | |
| Tragedie-Lyrique: Serious Texts |
9:30 | |
| | |
| Not Public |
9:41 | |
| | |
| More Dramatic |
10:00 | |
| | |
| Always Contained an Instrumental Ballet |
10:04 | |
| | |
Opera Seria |
10:12 | |
| | |
| Spread throughout Europe in the 1700s |
10:23 | |
| | |
| Scarlatti |
10:30 | |
| | |
| Italian Overture |
10:39 | |
| | |
| Handel |
10:52 | |
| | |
| Hasse |
10:54 | |
| | |
| Characteristics of Opera Seria |
11:34 | |
| | |
| Story Based on History or Legend |
11:36 | |
| | |
| No Comedy |
11:42 | |
| | |
| Focus on Virtuosic Singer |
12:02 | |
| | |
| Recitative Furthers Plot |
12:05 | |
| | |
| Aria is for Commentary and Showiness |
12:19 | |
| | |
Review |
12:51 | |
| | |
| Started by Monody: Speech Inspired Song |
13:08 | |
| | |
| Took Off in Venice |
13:17 | |
| | |
| Opera Seria |
13:40 | |
| |
Concerto |
18:50 |
| | |
Intro |
0:00 | |
| | |
What is a Concerto Grosso? Is it Gross? |
0:52 | |
| | |
| Definition Concerto Grosso |
1:15 | |
| | |
| Concertino: Small Group of Solo Instruments |
2:00 | |
| | |
| Ripieno: Orchestra |
1:33 | |
| | |
| Important for Developing Instruments as Stand-Alone Musical Entity |
2:04 | |
| | |
| Corelli, Torelli, Vivaldi, Handel, J.S. Bach |
2:18 | |
| | |
Let's Break it Down |
2:43 | |
| | |
| Concertino: Solo Group of a Handful of Instruments (Normally Violins, Bass) |
2:47 | |
| | |
| Ripieno: Full String Orchestra, Accompanimet |
3:14 | |
| | |
| Soloists were Members of the Orchestra |
3:28 | |
| | |
| Alternates Between Ripieno and Concertino Sections |
3:41 | |
| | |
| Ripieno Sections Often Repeated |
3:54 | |
| | |
| Example of Concerto Grosso: Corelli |
4:24 | |
| | |
Ripieno Concerto |
5:49 | |
| | |
| No Hierarchy of Soloist and Accompaniment |
6:03 | |
| | |
| Very Homophonic |
6:32 | |
| | |
| Increased Use of Imitation, Counterpoint, and Canons |
6:51 | |
| | |
| Example of Ripieno Concert: Brandenburg Concerto No. 3 by J.S. Bach |
7:49 | |
| | |
Solo Concerto |
9:16 | |
| | |
| One Person is the Soloist |
9:31 | |
| | |
| At First, Wasn't Popular |
9:55 | |
| | |
| Soloist is the Star |
10:16 | |
| | |
| Orchestra Serves to Backup the Star |
10:21 | |
| | |
| Example of Solo Concerto: Four Seasons by Vivaldi |
10:33 | |
| | |
Vivaldi and Form |
12:32 | |
| | |
| Became Known as the Concerto King of 1700s |
12:43 | |
| | |
| Developed a Three Movement Structure |
12:58 | |
| | |
| First Movement: Fast |
13:39 | |
| | |
| Second Movement: Slow |
13:48 | |
| | |
| Third Movement: Fast |
13:54 | |
| | |
| Soloist: Violin, Flute, Trumpet, Harpsichord, Cello |
14:29 | |
| | |
| Well-Known Opera Composer |
14:57 | |
| | |
| Used Driving Rhythms |
15:13 | |
| | |
| Used Sequences to Extend Phrases |
15:25 | |
| | |
Big Review |
16:13 | |
| | |
| Concerto Launched |
16:18 | |
| | |
| Concerto Grosso |
16:30 | |
| | |
| Ripieno Concerto |
16:44 | |
| | |
| Solo Concert |
16:50 | |
| | |
| Concerto Grosso: Corelli Influenced by Gabrielli |
16:58 | |
| | |
| Ripieno: Bach Influenced by Corelli |
17:13 | |
| | |
| Solo: Vivaldi Influenced by Corelli and Opera |
17:19 | |
| | |
| It's All Connected |
17:37 | |
| | |
| What is a Sequence? |
17:55 | |
| | |
| What is the Name of the Solo Group in a Concerto Grosso? |
18:23 | |
| |
Solo Keyboard Works |
19:46 |
| | |
Intro |
0:00 | |
| | |
Another Lesson NOT on the Voice! |
0:18 | |
| | |
| Big Developments in Europe: Money, Courts, Entertainment |
0:30 | |
| | |
| Flourish of Activity in Europe |
1:28 | |
| | |
| Increased Trade Meant a Cultural Influence |
1:49 | |
| | |
| Money Spent on Music Led to More Music |
2:06 | |
| | |
| There Wasn't a New Opera Everyday |
2:23 | |
| | |
| Concertos were Blooming, but Not Full Concerts |
2:40 | |
| | |
| More Intimate Setting for a Soloist led to Solo Keyboard Works |
2:57 | |
| | |
Ready Stop
It's Sonata Time! |
3:20 | |
| | |
| Why Do Most People Recognize the Term 'Sonata?' |
3:33 | |
| | |
| Sonata is the Most Important Form Development in the History of Western Classical Music |
3:47 | |
| | |
| Sonata is Both a Genre and a Form |
4:00 | |
| | |
| Sonata Movement of a Symphony |
4:25 | |
| | |
Sonatas |
4:48 | |
| | |
| Different Times |
4:49 | |
| | |
| Sonata de Camera: Suite of Dances for Two Players and Continuo Performed in Private Concerts |
4:58 | |
| | |
| Corelli |
5:36 | |
| | |
| Sonata de Chiesa: Collection of Dances in Four Movement Form Used to Fill Space Between Mass Movements |
5:40 | |
| | |
| Solo Sonata: Instrumental Piece in Several Movements Designed for a Soloist |
6:17 | |
| | |
Solo Sonata |
6:51 | |
| | |
| Imitative Piece in Sections |
6:55 | |
| | |
| Changes in Meter and Tempo |
7:01 | |
| | |
| Recapitulatory Endings: Summary |
7:08 | |
| | |
| Example of Solo Keyboard Sonata: Domenico Scarlatti |
7:39 | |
| | |
| Binary Form |
9:12 | |
| | |
| Ternary Form |
10:23 | |
| | |
| Rounded Binary |
11:09 | |
| | |
| YouTube Example of Binary Form |
12:10 | |
| | |
Why is This Important? |
12:34 | |
| | |
| Meant a Tight-Knit Structural Form |
12:41 | |
| | |
| Presented an Open-Ended Tight-Knit Form |
13:15 | |
| | |
| Composer Freedom |
13:50 | |
| | |
| Manipulate Musical Parameters, Most Notably Harmony |
14:04 | |
| | |
| Large Scale Musical Unity |
14:34 | |
| | |
Sonata Diagram Time! |
14:54 | |
| | |
| Exposition, Development, Recapitulation |
16:00 | |
| | |
Review |
16:57 | |
| | |
| Solo Keyboard Works Important in Developing the Sonata |
17:00 | |
| | |
| Tight-Knit Structure Dominated in a Formulaic Time |
17:09 | |
| | |
| Binary, Ternary, Rounded Binary |
17:28 | |
| | |
| Exposition, Development, Recapitulation |
17:34 | |
| | |
| What Form is This? |
17:45 | |
| |
Dance Forms |
13:33 |
| | |
Intro |
0:00 | |
| | |
It's Time to Dance |
0:29 | |
| | |
| Dance Works, Known as Suites |
0:41 | |
| | |
| Importance of Dance Suites |
0:54 | |
| | |
| Baroque Period was All About Organization |
1:08 | |
| | |
| Suite: Allemande, Courante, Sarabande, Gigue |
1:38 | |
| | |
Back to Bach |
2:06 | |
| | |
| Wrote Sonatas and Partitas for Solo Violin |
2:19 | |
| | |
| Explored Counterpoint, Harmonic Movement, Rhythmic Motion, Form, Imitation, and Texture |
2:40 | |
| | |
| Suites are Short Practice Canvases |
3:27 | |
| | |
Allemande |
4:07 | |
| | |
| Moderate Tempo |
4:10 | |
| | |
| Duple Meter |
4:16 | |
| | |
| Polyphonic Texture |
4:21 | |
| | |
| Prelude |
4:24 | |
| | |
| Starts on Anacrusis, or Upbeat |
4:35 | |
| | |
| Running Patterns |
4:47 | |
| | |
| Example of Allemande: Sonata in B Minor |
4:57 | |
| | |
Courante |
6:10 | |
| | |
| Binary Form |
6:17 | |
| | |
| Triple Form |
6:22 | |
| | |
| Quick |
6:30 | |
| | |
| Homophonic Texture |
6:33 | |
| | |
| Hemiolas (3:2) |
6:42 | |
| | |
| Dotted Rhythms to Show Hopping Character of Dance |
6:54 | |
| | |
| Example of Courante: Sonata in B Minor |
7:04 | |
| | |
Sarabande |
7:55 | |
| | |
| Slow Tempo |
8:03 | |
| | |
| Triple Meter |
8:05 | |
| | |
| Commences on Down Beat |
8:07 | |
| | |
| Originated from 16th Century Latin |
8:15 | |
| | |
| Fast Version for Spain, England, and Italy |
8:27 | |
| | |
| Slow Version for Germany and France |
8:34 | |
| | |
| Example of Sarabande: Sonata in B Minor |
8:41 | |
| | |
Gigue |
9:32 | |
| | |
| The Ending |
9:40 | |
| | |
| Compound Duple or Triple Meter |
9:44 | |
| | |
| Very Quick |
9:49 | |
| | |
| Starts on 8th Note Upbeat |
10:00 | |
| | |
| Binary Form |
10:09 | |
| | |
| Triplets |
10:10 | |
| | |
| Wide Melodic Leaps |
10:11 | |
| | |
| Imitation |
10:12 | |
| | |
| Slower Harmonic Rhythm: How Quickly the Harmonies Change |
10:14 | |
| | |
| Example of Gigue: Sonata in B Minor |
10:46 | |
| | |
Review |
11:44 | |
| | |
| Why Are the Dance Suite Movements Important? |
11:46 | |
| | |
| Miniature Pieces Become Large, Long, and Extremely Detailed Works |
12:04 | |
| | |
| Writing Out the Basic Plot for Binary Form |
12:21 | |
| | |
| Which Dance Movements are in Two, and Which are in Three? |
12:45 | |
| V. The Classical Period |
| |
Opera |
14:29 |
| | |
Intro |
0:00 | |
| | |
Yay, More Opera! |
0:30 | |
| | |
| Opera Seria vs. Opera Buffa |
0:46 | |
| | |
| Review of Opera Seria |
0:55 | |
| | |
| Da Capo Aria |
1:44 | |
| | |
| Recitative Furthered Plot |
3:20 | |
| | |
Wheres the Buffa? |
3:43 | |
| | |
| Intermezzo: Between Acts |
4:05 | |
| | |
| Characters from Commeda Dell'Arte: Italian Theater with Stock Characters |
4:46 | |
| | |
Where's the Buffa? |
5:39 | |
| | |
| Emphasis on the Bass Voice |
5:48 | |
| | |
| Unexpected Accents |
6:16 | |
| | |
| Quick Tempos |
6:17 | |
| | |
| Wide Leaps |
6:19 | |
| | |
| Frequent Use of Vocal Ensemble |
6:22 | |
| | |
| Example: Pergolesi's La Serva de Padrona (1733) |
6:55 | |
| | |
| Became So Popular, The Intermezzo Toured On Its Own |
7:59 | |
| | |
Wolfgang Amadeus Mozart |
8:22 | |
| | |
| Child Prodigy Gone Bad |
8:35 | |
| | |
| Composed In All Forms and All Genres |
9:21 | |
| | |
| Redefined Opera Buffa As Its Own Category |
9:37 | |
| | |
| The Marriage of Figaro, The Magic Flute, Don Giovanni |
9:48 | |
| | |
| Example: The Marriage of Figaro |
10:00 | |
| | |
| Simpler Melodies |
11:18 | |
| | |
| Formulaic Structures |
11:36 | |
| | |
| Emphasis on the Connection of Voice and Text |
11:38 | |
| | |
| Stories Never Stalled |
11:57 | |
| | |
| Replaced Stock Characters with More Psychologically In-Depth Characters |
12:12 | |
| | |
Review |
12:38 | |
| | |
| Development of Opera Continued Into Romantic Period |
12:59 | |
| | |
| Rossini Took Over From Mozart (William Tell, Barber of Seville) |
12:07 | |
| | |
| Audiences Liked Intermezzos More than the Opera Seria |
13:42 | |
| | |
| Transformed into Opera Buffa |
13:53 | |
| |
Symphony |
14:32 |
| | |
Intro |
0:00 | |
| | |
The Symphony |
0:08 | |
| | |
| Later Developing, 1700s |
0:20 | |
| | |
| Italian Overture from Opera |
0:26 | |
| | |
| Concerto Grosso, Solo Sonata |
0:51 | |
| | |
| 4 Movements |
1:18 | |
| | |
| Tonally Connected |
1:43 | |
| | |
| Classical Symphony: Haydn, Mozart, Beethoven |
2:20 | |
| | |
Symphony Four Movement Structure |
3:34 | |
| | |
| Writing Out the Four Movements of a Symphony |
3:46 | |
| | |
| First Movement |
4:02 | |
| | |
| Second Movement |
4:15 | |
| | |
| Third Movement |
4:42 | |
| | |
| Fourth Movement |
4:45 | |
| | |
High Time for Some Haydn |
5:48 | |
| | |
| Father of the Symphony, Wrote 104 Symphonies |
6:02 | |
| | |
| High-Quality Pieces of Historical Significance |
6:24 | |
| | |
| Used Moderately Sized Orchestra |
6:47 | |
| | |
| Inserted Minuet and Trio as the Third Movement: Playful |
7:04 | |
| | |
Ludvig Van Beethoven |
7:47 | |
| | |
| 1770-1827 |
8:05 | |
| | |
| Tortured Genius |
8:11 | |
| | |
| Both Classical and Romantic Composer, Launched the Romantic Era |
8:42 | |
| | |
| Revolutionized Harmony by Obsessing Over Motives |
9:09 | |
| | |
New Era for Composition |
10:10 | |
| | |
| First Freelancing Musician Who Sold His Scores |
10:38 | |
| | |
| Took Composing to a New Level |
11:14 | |
| | |
| Motives |
11:19 | |
| | |
Motives |
11:22 | |
| | |
| A Seed |
11:25 | |
| | |
| Beethoven Wrote What He Wanted |
12:01 | |
| | |
| Piece Organized Around a Musical Idea, and the Piece Develops |
12:09 | |
| | |
| Beethoven Expanded the Orchestra |
12:34 | |
| | |
Review |
12:51 | |
| | |
| Symphony Came a Long Way in a Short Amount of Time |
13:03 | |
| | |
| The Big Three: Haydn, Mozart, Beethoven |
13:20 | |
| | |
| Haydn Backed Up to the Baroque |
13:32 | |
| | |
| Mozart Was Solely Classical |
13:35 | |
| | |
| Beethoven Backed Into the Romantic |
13:37 | |
| |
Form Variation |
15:58 |
| | |
Intro |
0:00 | |
| | |
Let's Review Form |
0:27 | |
| | |
| Form is the Structure of the Piece |
0:33 | |
| | |
| Form is the Organization |
0:40 | |
| | |
| How to Get From A to B to C and So On |
0:44 | |
| | |
| Classical Period Marked A Time for Form Variants |
1:11 | |
| | |
| Classical Composers Start to Get Clever with Form |
1:55 | |
| | |
Sonata-Rondo |
2:07 | |
| | |
| We Know About a Sonata |
2:22 | |
| | |
| Rondo is ABA or ABACA or ABACADA |
2:50 | |
| | |
| A is the Refrain, Other Letters are New Thematic Material |
3:35 | |
| | |
| Sonata-Rondo: Exposition, Development, Recapitulation |
3:56 | |
| | |
Minuet and Trio |
6:14 | |
| | |
| Minuet: Refers to the Original Dance |
6:25 | |
| | |
| Trio: Refers to the Three Instruments That Accompany a Second Part of a Dance |
6:48 | |
| | |
| Trio Became the Third Movement in a Symphony or String Quartet |
7:20 | |
| | |
| Moderate Tempo in Triple Meter |
7:52 | |
| | |
| Form: ABA, With B Being the Trio |
8:16 | |
| | |
| Third Movement Often Least Complex |
8:31 | |
| | |
Theme and Variations |
8:55 | |
| | |
| Initial Theme That Gets Varied |
9:08 | |
| | |
| Originally Used to Improvise for audiences |
10:08 | |
| | |
| How Are These Themes Varied? |
10:37 | |
| | |
| Musical Parameters |
10:44 | |
| | |
Scherzo |
11:12 | |
| | |
| Scherzo Means Joke |
11:21 | |
| | |
| Scherzo Became Another Variation of the Third Movement |
11:50 | |
| | |
| Faster Than a Minuet, In Three, In Ternary or Rounded Binary Form |
12:09 | |
| | |
| Very Light and Playful |
12:19 | |
| | |
Why is This Important? |
12:40 | |
| | |
| Composers Have Experimented with Parameters, But Not Form |
12:55 | |
| | |
| Form is Steeped in Tradition, So It Changes Gradually |
13:12 | |
| | |
| Changes in Form Give Composers More Freedom |
13:59 | |
| | |
Review |
14:52 | |
| | |
| Many Different Formal Variations with Basic Plot |
14:56 | |
| | |
| Sonata-Rondo, Theme and Variations, Minuet and Trio, Scherzo |
15:07 | |
| | |
| More Composer Freedom |
15:41 | |
| | |
| Expression, Emotion, Story |
15:48 | |
| |
Concert/Solo Instrumental Works |
14:08 |
| | |
Intro |
0:00 | |
| | |
Solo Concert |
0:22 | |
| | |
| Similar to Baroque, But With More Development |
0:28 | |
| | |
| More Instruments and More Variation, Unlike Baroque |
1:03 | |
| | |
| Decline of Concerto Grosso |
2:05 | |
| | |
| Haydn, Mozart, Beethoven |
2:30 | |
| | |
| Very Similar to Styles of Symphony |
2:45 | |
| | |
Solo Works |
2:58 | |
| | |
| Sonata in Every Instrument |
3:00 | |
| | |
| Became the 'It' Form |
3:22 | |
| | |
| Decline of the Dance Suite |
3:30 | |
| | |
| Rise of Chamber Music |
4:02 | |
| | |
| Chamber Music: Anything with More than One Performer (Duo, Trio, Quartet, Etc.) |
4:10 | |
| | |
So Why is Chamber Music Important? |
4:43 | |
| | |
| Keep In Mind the Intense Musical Development From Polyphony |
4:49 | |
| | |
| Larger-Scale Works |
5:15 | |
| | |
| Smaller Works Allow for More Exploration of Tone, Timbre, Texture, and Orchestration |
5:22 | |
| | |
| Rumored that Beethoven 5 Motive was Used in Other Works as a Tryout |
6:27 | |
| | |
| Like Picasso Sketches |
6:59 | |
| | |
Examples |
7:25 | |
| | |
| Mozart Quintet (5) for Clarinet and String Quartet |
7:34 | |
| | |
| Combines String Quartet with Solo Writing |
8:02 | |
| | |
| Haydn Trio for Flute, Cello, and Piano |
8:31 | |
| | |
| Listen to Examples |
10:04 | |
| | |
| Haydn: Sounds Like a Symphony |
10:22 | |
| | |
| Beethoven: Sounds Like Experiments |
10:55 | |
| | |
| Mozart: Seeks Performative Balance |
11:14 | |
| | |
Review |
11:59 | |
| | |
| Concerto Continued in Its Development |
12:03 | |
| | |
| Solo Writing Continued in Development |
12:24 | |
| | |
| Chamber Music Slowly Took Off |
12:36 | |
| | |
| Similar to the Need in Baroque for More Intimate Concert Settings |
12:52 | |
| | |
| Gave Composers an Outlet for Experimenting |
13:32 | |
| VI. The Romantic Period |
| |
Programmatic Music |
18:51 |
| | |
Intro |
0:00 | |
| | |
They Call it Romantic for a Reason |
0:29 | |
| | |
| Finally Getting Some Emotion |
0:36 | |
| | |
| Programmatic Music: Narrative or Descriptive Content that Attempts to Represent Extra-Musical Concepts without Text |
0:58 | |
| | |
| Uses Referential Elements or References to the World Outside of the Composition |
1:16 | |
| | |
| Franz Liszt Coined the term, But It Originated with Beethoven |
2:06 | |
| | |
| Beethoven's Pastoral Symphony Was an Expression of His Feelings |
2:14 | |
| | |
| Music Governed by a Poetic Idea |
2:48 | |
| | |
So Why All of a Sudden? |
2:57 | |
| | |
| Arts were Becoming Unified Across Europe |
3:06 | |
| | |
| Particularly the Rise of the Narrative |
3:38 | |
| | |
| Composers Found They Wanted to Tell Stories Through Music Without Text |
3:46 | |
| | |
| Descriptive, Narrative, Evocative |
3:57 | |
| | |
| Used Titles, Instruments, Imitation, Harmony, and Text Painting |
4:23 | |
| | |
Berlioz |
6:37 | |
| | |
| Symphony Fantastique: 1830 |
7:04 | |
| | |
| Narrative Work Associated with a Text |
7:10 | |
| | |
| Subtitled: An Episode in the Life of an Artist |
7:15 | |
| | |
| Provided an Autobiographical Program at the Work's Premiere, Considering the text an Essential Part of the Work |
7:38 | |
| | |
| Idee Fixe: Represented the Motive That Appears Throughout the Piece |
8:05 | |
| | |
| Listening to Symphony Fantastique |
9:02 | |
| | |
Liszt and Wagner |
11:38 | |
| | |
| Liszt Invented the Symphonic Poem: One-Movement Piece for a Symphony Orchestra |
12:13 | |
| | |
| Wagner: Opera |
12:40 | |
| | |
| Wagner Came Up With the Leitmotif |
12:56 | |
| | |
| Leitmotif: Using Music Material to Represent People, Places, Events, Emotions, Etc. |
13:09 | |
| | |
Some Famous Leitmotifs Through the Ages |
14:01 | |
| | |
| Think TV, Film, Advertising That Make You Think of Something |
14:17 | |
| | |
Review |
17:13 | |
| | |
| Programmatic Music |
17:15 | |
| | |
| Began to Dominate Classical Music and Still Does Today |
17:25 | |
| | |
| Telling a Story Through Music Without Text |
17:48 | |
| | |
| Very Emotional, Vivid, Imagery |
17:52 | |
| | |
| Gave Composers Yet Another Outlet for Experimenting |
17:57 | |
| | |
| Eventually Became a Battle Between Absolute and Program Music |
18:08 | |
| |
Symphony |
13:47 |
| | |
Intro |
0:00 | |
| | |
Que Romantica! |
0:13 | |
| | |
| The Romantic Symphony Started Around Beethoven's 5th |
0:18 | |
| | |
| Symphony Criticized for Lacking Emotion and Meaning |
0:50 | |
| | |
| Opposite is True in Romantic |
1:23 | |
| | |
| Instrumental Music Closer to Pure Emotion Because No Text |
2:06 | |
| | |
| Every Composer Had to Compose a Symphony as a Rite of Passage |
2:11 | |
| | |
Symphony Characteristics |
2:28 | |
| | |
| Stayed Remarkably Intact Into the 20th Century |
2:39 | |
| | |
| 3, 4, or 5 Movements |
2:53 | |
| | |
| Movement 1: An Extended Opening Movement in Sonata Form |
2:58 | |
| | |
| Movement 2: A Lyrical Slow Movement In Sonata Form, ABA, or Theme and Variations |
3:05 | |
| | |
| Movement 3: A Dance-Inspired Scherzo Movement, Usually in Triple Meter |
3:13 | |
| | |
| Movement 4: A Fast Finale |
3:18 | |
| | |
| Beethoven's Heroic Decade |
3:47 | |
| | |
| Heiligenstadt Testament: Letter to Brother |
3:56 | |
| | |
| Beethoven Saw Art as Redemption |
5:00 | |
| | |
| Then Came the 9th |
5:18 | |
| | |
Symphony 9 (1823): 'Ode to Joy' |
5:28 | |
| | |
| Redefined the Symphony as More Than a Musical Entertainment |
5:51 | |
| | |
| Curse of the 9th |
6:46 | |
| | |
| First Symphony to Have a Chorus |
6:53 | |
| | |
| Listening to 'Ode to Joy' |
7:06 | |
| | |
| Completely Unified Themes Throughout Movements |
7:37 | |
| | |
| Monumental Themes |
7:47 | |
| | |
| Created a Crisis for Future Generations |
8:06 | |
| | |
| First Time that New Composers were Competing with the Past |
8:15 | |
| | |
Romantic Composers |
9:13 | |
| | |
| Mendelssohn Threw Away 3 Complete Symphonies |
9:18 | |
| | |
| Schubert Got Sick and Died Writing His 9th |
9:28 | |
| | |
| Brahms was Anti-Program, Reinvented In Other Ways |
9:57 | |
| | |
| Berlioz First Real Competitor |
10:19 | |
| | |
| Mahler Wrote a Symphony for 1000 People |
10:34 | |
| | |
| Wagner said Beethoven's 9th was the Pinnacle |
11:07 | |
| | |
| One Reason for Rise of Symphonic Poem |
11:34 | |
| | |
Review |
11:52 | |
| | |
| Beethoven Ruled the Symphony |
11:58 | |
| | |
| Beethoven's Symphonies are Still the Models Composers Aspire to Achieve |
12:36 | |
| | |
| Innovative Harmonies, Monumental Orchestration, Grandiose Form, Fully-Unified Theme |
12:41 | |
| | |
| Debate Loomed Between Absolute and Program Music |
12:54 | |
| | |
| Enter the Symphonic Poem for Something Completely Different |
13:14 | |
| |
Concerto |
12:36 |
| | |
Intro |
0:00 | |
| | |
Solo Concerto |
0:15 | |
| | |
| Started in the Baroque, Virtuosity is Back |
0:33 | |
| | |
| Imagine a Concerto |
0:58 | |
| | |
| Romantic Concerto |
1:20 | |
| | |
| Begins with Beethoven |
1:32 | |
| | |
| Attempt to Mimic the Symphony Sound by One Person |
1:46 | |
| | |
| Very Difficult Pieces |
2:10 | |
| | |
Lets Talk Liszt
Again |
2:32 | |
| | |
| Known as Playboy Rock Star |
2:41 | |
| | |
| His Importance is Vital for Performance Aspect of Western Classical Music |
2:53 | |
| | |
| Solo Recital |
4:18 | |
| | |
| Transcribed Symphonies for Solo Piano |
4:32 | |
| | |
| Friends with Paganini and Saint Seans: Both Composers and Instrumental Virtuosos |
4:58 | |
| | |
Piano Concerto |
5:42 | |
| | |
| Liszt Started It |
5:48 | |
| | |
| Beethoven Wrote 5 |
6:01 | |
| | |
| Beethoven, Liszt, Brahms, Tchaikovsky, Grieg, Mendelssohn, Chopin |
6:14 | |
| | |
| Beethoven is Not the Only Freelancing Musician Anymore |
6:47 | |
| | |
What Was Happening Musically? |
7:11 | |
| | |
| Longer Forms with Combined Movements |
7:20 | |
| | |
| Greater Emphasis on Rhythm |
7:50 | |
| | |
| Texture to the Extreme |
8:11 | |
| | |
| Still Have Romantic Melodies, More Attention to Harmonic Exploration |
8:52 | |
| | |
| Develop a Greater Intensity |
9:05 | |
| | |
| Example |
9:20 | |
| | |
Review |
9:52 | |
| | |
| Virtuosity |
10:01 | |
| | |
| Composers Who Performed Composed Concertos For Themselves |
10:14 | |
| | |
| Increase in Need for Better Educated, Performing Musicians |
10:54 | |
| | |
| Conservatories Became Bigger |
10:59 | |
| | |
| Romantic Concerto Combined Elements of Symphony, Tone Poem, and Solo Works |
11:48 | |
| | |
| Very Memorable Works That Are Still Standards |
11:56 | |
| |
Lieder & Miniatures |
16:27 |
| | |
Intro |
0:00 | |
| | |
What In The World Are These?! |
0:40 | |
| | |
| Lieder = Songs or Song Cycles |
0:44 | |
| | |
| Miniatures = Short, Self-Contained Works |
1:06 | |
| | |
| Why Short Pieces? |
1:28 | |
| | |
| Wagner's Opera Cycle, Mahler's Symphony, Concertos |
1:36 | |
| | |
| We All Need a Mental Break |
2:10 | |
| | |
| Opportunity for Short, More Experimental Pieces |
2:14 | |
| | |
Lieder |
2:39 | |
| | |
| Songs or Song Cycles (Collection of Songs) |
2:41 | |
| | |
| Sung in Operatic Style, But Not an Opera |
3:05 | |
| | |
| Features Singers, But Not Divas |
3:24 | |
| | |
| More of an Art Song |
3:42 | |
| | |
| Always Had Piano Accompaniment |
4:16 | |
| | |
| Very Challenging Works Mentally and Physically |
4:19 | |
| | |
| Schubert |
5:20 | |
| | |
Franz Schubert (1797-1828) |
5:25 | |
| | |
| A Romantic and Programmatic Composer |
5:41 | |
| | |
| Wrote Over 600 Lieder |
5:53 | |
| | |
| Song Cycles were Unified and Deceitfully Difficult |
6:13 | |
| | |
| Musically |
7:02 | |
| | |
| Difficulty Modulations |
7:07 | |
| | |
| Strophic Forms Around Text |
7:49 | |
| | |
| Sets Poems |
7:54 | |
| | |
| Song Sections Alternated with Declamatory Song |
7:57 | |
| | |
| Dramatic Text |
8:31 | |
| | |
| Piano Centered On Text, Set Mood |
8:36 | |
| | |
| Example |
9:30 | |
| | |
Piano Miniatures |
10:01 | |
| | |
| Not Large Works |
10:05 | |
| | |
| Often Shorter in Length, But Not in Scope |
10:24 | |
| | |
| Schumann and Chopin as Examples |
10:37 | |
| | |
| Very Programmatic and Nationalistic |
10:40 | |
| | |
| Musically Experimental, Especially Harmony |
11:38 | |
| | |
| Written by Virtuosos for Virtuosos |
11:53 | |
| | |
| Extremely Difficult |
11:59 | |
| | |
| Nocturne, Mazurka, Polonaise |
12:04 | |
| | |
| Strong Forms, Hard Rhythms, Thick Textures |
12:09 | |
| | |
Why Important/Review |
12:37 | |
| | |
| Example: Chopin |
12:43 | |
| | |
| Lieder and Miniatures Were Essential for Experimental, Eventually Leading to 20th Century |
14:23 | |
| | |
| Lieder: Simple in Some Ways, But Deeply Evocative and Expressionistic |
14:43 | |
| | |
| Miniatures: Paved Way for Major Dissonance and Extreme Use of Musical Parameters |
14:57 | |
| |
Symphonic Poem |
11:50 |
| | |
Intro |
0:00 | |
| | |
What is a Symphonic Poem? |
0:10 | |
| | |
| Term Coined by Franz Liszt |
0:16 | |
| | |
| Programmatic Piece in One Movement, but for an Entire Symphony Orchestra |
0:31 | |
| | |
| Who is Liszt? |
0:55 | |
| | |
| The First Rock Star of Classical Music |
1:33 | |
| | |
| Important Figure for Both Solo and Orchestral Works |
1:44 | |
| | |
| Had to Perform to the Side Because He was Too Handsome |
1:58 | |
| | |
Why Symphonic Poems? |
2:08 | |
| | |
| Remember the Composers Competing With Beethoven's Symphony Legacy? |
2:16 | |
| | |
| Now They Didn't Have To |
2:45 | |
| | |
| Russia |
3:09 | |
| | |
| A Slew of Prominent Russian Composers Loved the Symphonic Poem: Tchaikowsky, Mussorgsky, Rimsky-Korsakov |
3:20 | |
| | |
| Wrote Symphonic Poems Centered on Narrative (Highly National in its Context) |
4:02 | |
| | |
100% Romantic |
5:10 | |
| | |
| Grandiose Themes, Tight Forms, Memorable Melodies, Fast and Driving Rhythms, Dense Textures, Lush Orchestration, Wide Dynamics |
5:26 | |
| | |
1812 Overture by Tchaikovsky |
6:13 | |
| | |
| 1812 is the Epitome of Grandiose (Festival Overture) |
6:35 | |
| | |
| Has Acapella Choir, Brass Fanfare, Cannons, Ringing Chimes |
6:47 | |
| | |
| Leitmotifs Representing Armies |
7:35 | |
| | |
| Example: 1812 Overture |
7:57 | |
| | |
Review |
10:40 | |
| | |
| Symphonic Poem, Tone Poem, Festive Overture was Dripping with Romanticism |
10:47 | |
| | |
| Coined by Liszt |
11:04 | |
| | |
| Contained Leitmotifs |
11:09 | |
| | |
| Paralleled a Story, Text, Poem |
11:12 | |
| | |
| Imagery, Nationalism, Pride |
11:17 | |
| | |
| Became Popular Because It was not a Symphony |
11:27 | |
| VII. The 20th Century |
| |
Impressionism & Expressionism |
13:55 |
| | |
Intro |
0:00 | |
| | |
Impressionism |
0:35 | |
| | |
| Known As An Art Movement (Monet) |
0:50 | |
| | |
| Hazy, Looking Different Up Close As They Do Far Away |
1:18 | |
| | |
| Attempted in Music Most Notably by Claude Debussy |
1:31 | |
| | |
| Debussy: Wrote Every Style, Major Composer of 20th Century |
1:50 | |
| | |
| Paris World Fair |
2:25 | |
| | |
Debussy |
2:50 | |
| | |
| Both a Romantic and 20th Century Composer |
2:54 | |
| | |
| Also Interested in Evening the Tonal Playing Field |
3:07 | |
| | |
| Did It Through Unique Scales Influenced by Far East |
3:25 | |
| | |
| Whole Tone, Pentatonic, Octatonic |
3:34 | |
| | |
| Modes: Ionian, Dorian, Phyrigian, Lydian, Mixolydian, Aeolian, Locrian |
4:58 | |
| | |
| What Does This Do? Obscures the Tonic, Makes It Hazy |
6:00 | |
| | |
| Example |
6:37 | |
| | |
Expressionism |
7:20 | |
| | |
| Really Heavy Stuff |
7:31 | |
| | |
| Schoenberg, Berg (Wozzeck) |
7:50 | |
| | |
| Example |
8:05 | |
| | |
| Richard Strauss |
8:52 | |
| | |
| Wagner Continued Tradition to Huge Romantic Levels |
9:04 | |
| | |
| Strauss Took It and Ran Into Psychoanalytical Analysis |
9:34 | |
| | |
Salome and Elektra |
9:43 | |
| | |
| Meant to Express the Subconscious |
10:00 | |
| | |
| Major Dissonance |
10:40 | |
| | |
| Salome Dances with the Head of John the Baptist Before She Gets Killed |
10:58 | |
| | |
| Very Programmatic |
11:22 | |
| | |
| Lush Orchestration, Timbres |
11:27 | |
| | |
| Music to Make You Think, Feel and Express |
11:32 | |
| | |
| Example: Final Scene of Salome |
11:42 | |
| | |
Review |
12:20 | |
| | |
| Many Different -isms |
12:29 | |
| | |
| Impressionism and Expressionism Paralleled Art Movements of the Time |
12:47 | |
| | |
| Debussy: Impressionism through Blurring Lines of Tonality |
13:03 | |
| | |
| Expressionism: Extra Attention to Text and Desire to Look Within Self |
13:20 | |
| | |
| Sets Scene for Second Viennese School and Serialism |
13:33 | |
| |
Serialism |
17:37 |
| | |
Intro |
0:00 | |
| | |
Oh Boy, Here We Go! |
0:10 | |
| | |
| Don't Let Serialism Intimidate You |
0:22 | |
| | |
| End of the 19th Century = Opera Experimentation |
0:58 | |
| | |
| Wagner Pushed Into Extreme Tonality and Harmonic Shifts |
1:25 | |
| | |
| Debussy Started with Impressionism and Used Different Scale Sets |
2:00 | |
| | |
| Schoenberg and Others Delved into Expressionism |
2:16 | |
| | |
Arnold Schoenberg (1874-1951) |
2:21 | |
| | |
| Pivotal Figure to Say the Least |
2:43 | |
| | |
| Also Known as Philosopher and Writer |
3:00 | |
| | |
| Romantic Composer Who Liked to Experiment |
3:37 | |
| | |
| Austrian Composer/Theorist |
3:42 | |
| | |
| Moved to California in 1931 to UCLA |
3:53 | |
| | |
| Extreme Figure in Music History |
4:07 | |
| | |
| Emancipated Dissonance |
4:32 | |
| | |
Emancipation of Dissonance |
4:44 | |
| | |
| Misleading topic |
4:48 | |
| | |
| Serialism and Atonality Not the Same Thing |
5:02 | |
| | |
| Serialism is Twelve-Tone |
5:18 | |
| | |
| Atonality Has No Tonal Center |
5:25 | |
| | |
| Started with Motives to the Extreme |
5:51 | |
| | |
| Started with Trichords (3-Notes) and Hexachords (6-Notes) |
6:02 | |
| | |
| Experimented with Free Atonality and Landed in Serialism |
6:44 | |
| | |
| Example of Free Atonality |
6:51 | |
| | |
| 12 Tone Row |
7:20 | |
| | |
12-Tone Row |
7:30 | |
| | |
| 12 Notes in Chromatic Scale |
7:34 | |
| | |
| System of Ordering so that a Note is Not Repeated Until Each Note has been Heard Once |
7:52 | |
| | |
| Creates Equal System of Note Hierarchy |
9:01 | |
| | |
| No Leading Tone |
9:18 | |
| | |
| Absence of Leading Tone Presents the Option of No Tonality |
9:21 | |
| | |
| Gives Composer Complete Control |
10:14 | |
| | |
| Result: Mathematical Stuff That Can Be Hard to Hear |
11:06 | |
| | |
Second Viennese School |
11:21 | |
| | |
| Schoenberg: Leader of Second Viennese School |
11:23 | |
| | |
| Other Members of the Big 3: Berg, Webern |
11:35 | |
| | |
| Berg: More Lyrical; Webern: More Pointillistic |
12:00 | |
| | |
| Schoenberg: More of a Theorist/Philosopher |
13:36 | |
| | |
| Example: Pierrot Lunaire |
12:30 | |
| | |
Why Important/Review |
14:38 | |
| | |
| 12-Tone Music Dominated Music for Most of 20th Century |
14:46 | |
| | |
| Only Recently Known as Compositional Tool Rather than a Style |
15:06 | |
| | |
| Schoenberg Came Up with the Idea of Flattening the Tonal Playing Field |
15:39 | |
| | |
| Each Note is the Same As Another in 12-Tone Music |
15:44 | |
| | |
| Extreme Way of Compositional Control Taken Further by Other Composers |
15:55 | |
| | |
| Harsh Reactions from Audiences and Composers |
16:30 | |
| |
Primitivism |
19:56 |
| | |
Intro |
0:00 | |
| | |
What?! |
0:08 | |
| | |
| The Rite of Spring by Igor Stravinsky |
0:32 | |
| | |
| Possibly the Most Important Singular Work in Western Music History |
1:11 | |
| | |
Igor Stravinsky (1882-1961) |
1:49 | |
| | |
| Russian Composer, Lived in Paris, Moved to U.S. |
1:57 | |
| | |
| Wrote Everything |
2:40 | |
| | |
| Launched to Fame in Paris with Three Ballets: Firebird (1910), Petrushka (1911), Rite of Spring (1913) |
3:06 | |
| | |
Rite of Spring (1913) |
3:43 | |
| | |
| Stravinsky Emancipated Rhythm |
4:23 | |
| | |
| Rite of Spring is a Ballet by Diaghilev and Najinsky |
4:43 | |
| | |
| Complex Rhythms, Crazy Meters, Timbres, and Dissonance |
5:48 | |
| | |
| Polytonality and Polyrhythms |
5:57 | |
| | |
| Primitive Aspect of Ballet and Story |
6:44 | |
| | |
| Historical Rites, Sacrifices, and Fertility |
6:57 | |
| | |
Rite of Spring |
7:44 | |
| | |
| Premiered in 1913 and the Audience Rioted |
7:55 | |
| | |
| Example: Rite of Spring |
9:40 | |
| | |
| Melody |
10:36 | |
| | |
| Melody: Bassoon |
13:29 | |
| | |
| Harmony: Polytonality |
13:38 | |
| | |
| Form: A Ballet in Two Parts |
13:46 | |
| | |
| Tone: Harsh, Instrumental Extremes |
13:55 | |
| | |
| Meter: Mixed Meter |
14:21 | |
| | |
| Dynamics: Wide and Varied |
14:45 | |
| | |
| Texture: Quick Changes |
14:52 | |
| | |
Rhythm! |
15:12 | |
| | |
| Polyrhythms (3:2, 4:3, etc.) |
15:20 | |
| | |
| Duplets, Triplets, Quintuplets, Sextuplets, etc. |
16:03 | |
| | |
Why Important/Review |
17:09 | |
| | |
| Launched the 20th Century as Age of Exploration |
17:36 | |
| | |
| Blew the Lid Off Rhythm and Meter Development |
17:44 | |
| | |
| Orchestration was Off the Hook |
18:08 | |
| | |
| Still One of the Most Recorded and Performed Works |
18:18 | |
| | |
| Audience Rioted |
18:56 | |
| | |
| Has Influenced Scores of Composers and Artists |
19:05 | |
| | |
| One of the Most Written-About Works |
19:15 | |
| |
Dixieland, Blues, Jazz |
18:43 |
| | |
Intro |
0:00 | |
| | |
Now for Something Completely Different! |
1:01 | |
| | |
| Dixieland to Blues to Jazz to Rock |
1:15 | |
| | |
| All Linked Through Post-Civil War America and Chicago World Fair 1893 |
2:05 | |
| | |
| The Fair Changed Everything |
2:34 | |
| | |
| Civil War Lesson on Geography |
3:03 | |
| | |
| We Know About This Time Period in American History, but Maybe Not in Music |
5:22 | |
| | |
Dixieland |
5:39 | |
| | |
| Slave Spirituals, Musical Accompaniment, and Entertainment |
5:40 | |
| | |
| Dixieland from South (New Orleans), Down the Mississippi |
5:45 | |
| | |
| Louis Armstrong |
5:50 | |
| | |
| Musically: Bass Line, Hopping Harmony, Soloist (Trumpet Plays Main Line), Rhythm Section that Improvises |
6:33 | |
| | |
| Polyphonic Setting Around a Theme and Variations |
7:11 | |
| | |
| Example 1 |
7:30 | |
| | |
| Example 2: Oh When the Saints |
8:22 | |
| | |
Blues |
8:48 | |
| | |
| Another Style from the Turn of the Century |
8:50 | |
| | |
| Very Influential for Rock 'n' Roll |
8:55 | |
| | |
| Each Style in the South had Unique Style and Sound |
9:28 | |
| | |
| Centered on Form: 12 Bar Blues |
9:53 | |
| | |
| Simple Form, Simple Instrumentation, Heavy Backbeat |
11:09 | |
| | |
| Lyrics Were Very Important, About Real Life |
11:32 | |
| | |
| Also Used Blues Scale: C, E Flat, F, F#, G, B Flat, C |
11:40 | |
| | |
Jazz |
12:53 | |
| | |
| Encompasses So Much Music |
13:00 | |
| | |
| Jazz Band |
13:07 | |
| | |
| Instrumentation from Big Band to Combo |
13:11 | |
| | |
| Horns, Rhythm Section |
13:20 | |
| | |
| Musically: Blues Notes, Polyphony, Improvisation, Syncopation, Swung Note |
13:33 | |
| | |
Important People |
15:02 | |
| | |
| Duke Ellington, Art Blakey, Charlie Parker, Miles Davis, Ornette Coleman, etc. |
15:08 | |
| | |
| Example |
15:47 | |
| | |
| Why Is This Important? Pop Culture! |
16:05 | |
| | |
| Jazz Influenced Everything from Classical, TV, Film, and Rock |
16:11 | |
| | |
More/Review |
16:40 | |
| | |
| Dixieland, Blues, Jazz Came from the South |
16:44 | |
| | |
| Origins in Slave Spirituals Used During Work and for Entertainment |
16:47 | |
| | |
| Came to Chicago During the World Fair |
16:55 | |
| | |
| Spread Through the South and Eventually North Through Jazz Bands |
17:21 | |
| | |
| Big Band Culture and Fever Swept the North in 20s and 30s, Setting Stage for Pop Culture Influence |
17:29 | |
| | |
| Post-War Influence: A Need for Far-Reaching Music to The Masses |
18:17 | |
| | |
| Enter Rock 'n' Roll |
18:28 | |
| |
Later 20th Century |
15:06 |
| | |
Intro |
0:00 | |
| | |
Wait
There's Still Classical Music! |
0:36 | |
| | |
| Classical Music Continues |
0:46 | |
| | |
| John Cage and Aleatory |
2:00 | |
| | |
| Chance Music |
2:13 | |
| | |
| Based on I-Ching |
2:25 | |
| | |
| 4'33'' |
3:25 | |
| | |
| Restructuring the Ear: Hearing Things in Different Ways |
3:34 | |
| | |
| Steve Reich and Minimalism |
4:35 | |
| | |
| System of Repeated Cells with Change Over Time |
4:42 | |
| | |
| Example: Clapping Music |
5:51 | |
| | |
Rock |
6:58 | |
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| Rock 'n' Roll: Product of Times |
7:01 | |
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| History is Important in Development |
7:13 | |
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| Post-WWII America and Britain |
7:16 | |
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| Rise of the Middle Class |
7:31 | |
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| Rock Was For the Masses |
7:50 | |
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| Not Necessarily Anti-Establishment (Beatles) |
8:33 | |
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| Song-Writing Changed to Fit the Needs of Pop Culture |
9:09 | |
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| Shorter Songs, Easy Melodies, Digestible Harmonies, Simple Rhythms, Relatable Subject Matter |
9:14 | |
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Cage and Reich Influenced Rock |
10:08 | |
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| John Cage Met Yoko Ono |
10:20 | |
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| Ono Married John Lennon |
10:26 | |
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| Cage and Lennon Were Friends |
10:31 | |
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| Reich Worked with Andy Warhol |
10:55 | |
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| Andy Warhol was Friends with David Bowie, Phillip Glass, the Ramones, Talking Heads, DJ Dangermouse |
10:58 | |
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| Cage and Reich were Influenced by Stravinsky |
11:40 | |
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| Stravinsky was Influenced by Beethoven, Beethoven by Mozart
All the Way Back! |
11:53 | |
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That's Funny! |
12:11 | |
| | |
| Artists of Today Influenced by Artists of Yesterday |
12:17 | |
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| More Communication Between Cultures |
12:34 | |
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| Ability to Write in Any Style From Any Time Period |
12:38 | |
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| New Genres? New Time Periods? What's to Come? |
12:39 | |
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| We're Still Just Experimenting with Organized Sound |
13:51 | |
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Wrap Up |
14:16 | |