Why Study Music History?, Music History

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Post by Lisa Hobson on May 21 at 11:17:58 AM

He is suggesting to click on links to hear Youtube videos. I'm not seeing any links for that. Can anyone help?

Why Study Music History?

History is important
We are surrounded by music in every aspect of our lives
Music/Entertainment is a major industry in the world
Course designed to open your minds and strengthen your ears to hear differences between musical periods
http://www.youtube.com/watch?v=epPCEdnGNFA

Why Study Music History?

Lecture Slides are screen-captured images of important points in the lecture. Students can download and print out these lecture slide images to do practice problems as well as take notes while watching the lecture.

Intro

Music History/Appreciation

Interesting Music Facts

Course Description

Review and What's Next

I. Introduction
	Why Study Music History?	9:19
	Melody, Harmony, Form, Texture	13:16
	Rhythm, Meter, Dynamics, Tone	11:04
	Instrumentation & Orchestration	15:53
II. The Middle Ages
	Chant	14:36
	Organum	15:33
	Motet	16:58
	Troubadours	12:09
III. The Renaissance
	The Mass	20:34
	The Madrigal	18:51
	Instrumental Music	8:17
IV. The Baroque Period
	Opera	14:05
	Concerto	18:50
	Solo Keyboard Works	19:46
	Dance Forms	13:33
V. The Classical Period
	Opera	14:29
	Symphony	14:32
	Form Variation	15:58
	Concert/Solo Instrumental Works	14:08
VI. The Romantic Period
	Programmatic Music	18:51
	Symphony	13:47
	Concerto	12:36
	Lieder & Miniatures	16:27
	Symphonic Poem	11:50
VII. The 20th Century
	Impressionism & Expressionism	13:55
	Serialism	17:37
	Primitivism	19:56
	Dixieland, Blues, Jazz	18:43
	Later 20th Century	15:06

Music History and Appreciation

I. Introduction
	Why Study Music History?			9:19
		Intro		0:00
		Music History/Appreciation		0:22
			History is Important	0:34
			Appreciation is Important	0:44
			We are Listeners	1:32
		Interesting Music Facts		3:26
			Major Industries of the World	3:30
			Arts and Entertainment is a Top 5 Industry for the World	4:14
		Course Description		5:14
			Track Music Throughout History and Relate It to the Present Day	5:28
			We Will Cover Music From…	6:17
			Lots of Musical Examples	6:25
		Review and What's Next		7:37
			Music is Everywhere	7:44
			Course is Designed to Help Your Ears Make Connections	7:52
			Parameters of Music: Building Blocks of Music	8:15
	Melody, Harmony, Form, Texture			13:16
		Intro		0:00
		Parameters of Music		0:20
			Parameters of Music is Subjective	0:24
			Melody, Harmony, Form, and Texture	1:20
		Melody		1:30
			The Tune, the Singable Aspect of a Work	1:47
			The Main Line	1:58
			Usually Smooth Line	2:24
			Example	2:45
		Harmony		3:31
			The Chords	3:36
			Harmony Supports the Melody	3:46
			Example	4:23
		Form		5:11
			The Overlooked Giant of Music	5:20
			Form is the Structure and the Glue	5:37
			Important Developments Throughout Music History	6:00
			Example	6:57
		Texture		8:26
			How Much Stuff is Going on at Once	8:40
			'Mono' = One Voice	8:45
			'Poly' = More Than One Voice	8:56
			Number of Instruments, Octaves, Instrument Doubling	9:30
			Example	10:06
		Review		10:50
			Melody, Harmony, Form, Texture	10:54
			Identifying Melody, Harmony, Texture, and Form with Example	11:10
	Rhythm, Meter, Dynamics, Tone			11:04
		Intro		0:00
		Rhythm		0:19
			Allows More Than One Person to Play at the Same Time	0:34
			The Notes Tell You When to Play	0:45
			Different Kinds of Notes	1:08
			Developed Along With Music Notation	1:56
			Notation Plays Important Role in Development of Western Music	2:07
		Meter		2:44
			Tied In With Rhythm	2:50
			Time Signatures	2:54
			The Larger Beats	3:20
			Rhythmic Material Adds Up to the Numerator of the Time Signature	3:37
			Example	3:52
		Dynamics		5:12
			How Loud or Soft You Play	5:20
			Spectrum and Special Notation System	5:27
			Can Change at Any Moment	5:53
			Used to Affect Mood	6:27
		Tone		7:20
			Also Known as Timbre or Color of the Sound	7:35
			Each Instrument has a Unique Sound	7:50
			Important in Understanding Instrumentation and Orchestration	8:28
		Review		9:06
			Rhythm, Meter, Dynamics, Tone	9:12
			Identifying Meter of Two Examples: 4/4 or 6/8?	9:25
	Instrumentation & Orchestration			15:53
		Intro		0:00
		Why Discuss Instruments?		0:13
			We've Assumed Things that Aren’t Actually True	0:30
			We Can Use Our Ears to Determine History	1:00
			Piano Was Invented in 1700	1:17
			Modern Symphony Orchestra Was Described in 1844	1:49
			Females Were Not Allowd to Sing in Mass Until 20th Century	2:18
			The First Rock 'n' Roll Song Produced in 1953 - 'Rock Around the Clock'	3:17
		Instruments		4:49
			Middle Ages: Voice, Lute, Recorders	4:50
			Renaissance: Violin, Guitar, Sackbut, Lyre, Hurdy Gurdy, More Flutes	5:19
		Instruments Cont'd		6:29
			Baroque: More Strings, Woodwinds (Oboe, Flute), Harpsichord, Organ, Horn	6:30
			Classical: Fortepiano (Piano), Clarinet, Trombone, Bassoon	7:35
			Romantic and 20th Century: Modern Day Instruments, Percussion	8:36
		What is in a Symphony Orchestra?		9:24
			Woodwinds	9:53
			Brass	10:17
			Percussion	10:35
			Keyboards	10:57
			Strings	11:04
		Review		12:23
			There Has Been Major Instrument Development	12:26
			Dominant Instruments: Voice, Strings, Keyboards, Recorders	13:00
			What Time Period Could This Example Be From?	14:03
II. The Middle Ages
	Chant			14:36
		Intro		0:00
		What is Chant?		0:13
			Importance of the Catholic Church in Music History	0:40
			Monophony	1:13
			Examples of Chant	2:03
		Chant Characteristics		3:40
			Syllabic: One Note of Music for Each Syllable of Text	3:55
			Neumatic: One Neume (Two of Three Notes) for Each Syllable of Text	4:17
			Melismatic: Numberous Notes Occur for Each Syllable of Text	4:46
			Classes of Chant	5:41
			Antiphonal: Chants with Phrases Sung by Alternating Choirs	5:48
			Responsorial: Chant Sung By Soloist with Response by Choir	6:20
		Notation		6:39
			Block Notation and Neumes	6:57
			Rhythm is not a Primary Focus of Chant	8:16
		Church Modes		8:49
			Authentic vs. Plagal	9:00
			Dorian Starts on D	9:21
			Phrygian Starts on E, Lydian Starts on F, Mixolydian Starts on G	9:42
			Hypodorian: Down Four, Starts On a Different Note	9:53
			Hypophyrgian, Hypolydian, Hypomixolydian	10:53
		Review		11:41
			Monophony	11:47
			Syllabic, Neumatic, Melismatic	12:04
			Neume Notation, Block Notation	12:10
			8 Church Modes (Authentic, Plagal)	12:28
			What Are The 8 Church Modes?	12:53
			What is the Difference Between Authentic and Plagal Modes?	13:38
	Organum			15:33
		Intro		0:00
		What is Organum?		0:12
			Polyphony: More Than One Voice at a Time	0:27
			Musica Enchiriadis: 9th Century, Anonymous	1:25
			Guido D'Arezzo	2:02
		Musica Enchiriadis		2:22
			First Known Attempt at Polyphony and Organum	2:30
			Organum	3:06
			Two Voices: Vox Principalis (Main Voice) and Vox Organalis (Organum, Second Voice)	3:15
			Simple, Composite, and Parallel Organum	4:03
		Guido		7:44
			Micrologus, 1026	7:57
			Guidonian Hand: Mnemonic Device for Singers to Read Pitches	8:10
			Proto Staff: Four Staff Notation System, Precursor to Modern-Day Staff	8:48
		Notre Dame School of Polyphony		9:25
			Leonin and Perotin	9:42
			Two Voice	10:20
			Organum: Melismatic Voice Over Chant	10:30
			Discant: Note Against Note, Rhythms by Mode	10:54
			Copula: Transition Between Organum and Discant	11:35
			Perotin	11:44
		Substitute Clausula		12:11
			Often present in Discant	12:41
			Evolved into Stand Alone Pieces as Substitute Clausula Became Longer	13:00
			Experimented with Different Languages and Used Rhythmic Modes	13:57
			Motet	14:07
		Review		14:20
	Motet			16:58
		Intro		0:00
		Motet		0:07
			Substitute Clausulae	0:16
			Unique Composition	0:39
			Components of a Motet	1:02
			New Upper Voices	1:50
			Prosula	1:58
		Rhythmic Modes		2:22
			Used in Discant	2:36
			Different Combinations of Longs and Shorts	3:32
			Mode 1	3:50
			Mode 2	4:00
			Mode 3	4:19
			Mode 4	4:41
			Mode 5	4:50
			Mode 6	5:04
		Notational Developments		5:25
			Famous Rhythmic Developers	5:40
			Different Combinations of Longs and Shorts	6:13
			Longa, Breve, Semibreve, Minim	6:21
			Perfect or Imperfect Prolation	6:31
		Notation		6:50
			Tempus, Prolation	6:56
			Tempus Perfectum/Prolation Major	7:14
			Breve	7:50
			Semibreves	7:55
			Minim	8:03
			Breve is the Main Unit of Time	8:15
			Tempus Perfectum/Prolation Minor	9:00
			Tempus Imperfectum/Prolation Major	9:37
			Tempus Imperfectum/Prolation Minor	10:14
			Common Time Origin	11:05
		Machaut and the Isorhythmic Motet		11:48
			Isorhythmic Motet	12:09
			Talea	12:30
			Color	12:36
		Review		13:42
			Motet	13:56
			Characteristics	14:07
			Isorhythmic Motet	14:26
			Which Rhythmic Mode Are These Examples?	14:44
	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
		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
			Stringed Instruments: Lute, Lyre, Bagpipe, Viol	9:17
			Were the First Solo Performers	9:30
			Different Form of Polyphony Than Just Voices	9:58
			They Traveled, Influencing Different Areas of Europe	10:07
		Review		10:41
			Important in Distributing Polyphonic Music Throughout Europe	10:49
			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
			The Catholic Church is at the Center of Western Classical Music	0:30
			Two Types of Masses: Mass Ordinary and Mass Proper	0:50
		Let's Go to Church!		1:03
			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
			Cantus Firmus: The Chant Line	3:27
			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
			Cantus Firmus Mass	5:02
			Cants Firmus in the Tenor	5:13
			Branched Out to Other Voices	5:52
			Chant Melody Chopped, Sliced, Omitted	6:07
			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
		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
			Mid Mass: Dufay and Ockeghem	18:22
			Late Mass: Josquin and Palestrina	18:28
			Cantus Firmus: Chant Melody Line in Tenor	18:42
			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
		Where’s 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
		Let’s 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
			Rock 'n' Roll: Product of Times	7:01
			History is Important in Development	7:13
			Post-WWII America and Britain	7:16
			Rise of the Middle Class	7:31
			Rock Was For the Masses	7:50
			Not Necessarily Anti-Establishment (Beatles)	8:33
			Song-Writing Changed to Fit the Needs of Pop Culture	9:09
			Shorter Songs, Easy Melodies, Digestible Harmonies, Simple Rhythms, Relatable Subject Matter	9:14
		Cage and Reich Influenced Rock		10:08
			John Cage Met Yoko Ono	10:20
			Ono Married John Lennon	10:26
			Cage and Lennon Were Friends	10:31
			Reich Worked with Andy Warhol	10:55
			Andy Warhol was Friends with David Bowie, Phillip Glass, the Ramones, Talking Heads, DJ Dangermouse	10:58
			Cage and Reich were Influenced by Stravinsky	11:40
			Stravinsky was Influenced by Beethoven, Beethoven by Mozart…All the Way Back!	11:53
		That's Funny!		12:11
			Artists of Today Influenced by Artists of Yesterday	12:17
			More Communication Between Cultures	12:34
			Ability to Write in Any Style From Any Time Period	12:38
			New Genres? New Time Periods? What's to Come?	12:39
			We're Still Just Experimenting with Organized Sound	13:51
		Wrap Up		14:16

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