Course: Introduction to Classical Music
Modules:
Course Preview, 1.1 - Introduction, 1.2 - Popular Music and Classical Music Compared, 1.3 - Music and Emotions, 1.4 - How Do We Hear Music? Sound Waves and the Ear, 1.5 - Music Thrills Us, Music Chills Us, 1.6 - Why We Like What We Like? It's Nurture, 1.7 - It's Nurture: The Syntax of Western Music, 1.8 - Why We Like What We Like? It's Nature
2.1 - Beat, Meter, and Rhythm, 2.2 - Introduction to Musical Notation, 2.3 - Rhythm: What is It?, 2.4 - Hearing the Downbeat, Feeling the Emotion, 2.5 - Tempo (and How We Feel About It), 3.1 - What is Melody?, 3.2 - Melodic Notation and Scales, 3.3 - Major and Minor Scales, 3.4 - The Chromatic Scale, 3.5 - How We Feel About the Music: Mode and Mood, 3.6 - Melodic Structure: The Tonic, 3.7 - Modulation: Changing the Tonic (of the Key), 3.8 - Phrase Structure in Music: Beethoven's Ode to Joy, 4.1 - Harmony: A Distinctly Western Phenomenon, 4.2 - Chord Progressions and Cadences, 4.3 - Melody and Harmony Working Together, 4.4 - Major and Minor Triads, 4.5 - Hearing the Harmony
5.1 - Why Do Instruments Sound Differently, One From Another?, 5.2 - Musorgsky Makes a Wagon Move in Music, 5.3 - The Four Families of Instruments, 5.4 - Building a Symphony Orchestra, 6.1 - Musical Texture, 6.2 - Musical Form, 6.3 - Musical Style, Office Hours I
7.1 - Introduction to the Middle Ages, 7.2 - Gregorian Chant, 7.3 - Monasteries and Convents, 7.4 - The Chant of Hildegard of Bingen, 7.5 - Early Polyphony, 7.6 - Polyphony at the Cathedral of Reims: Machaut's Messe de Nostre Dame, 7.7 - Dance Music of the Court, 8.1 - Introduction to the Renaissance, 8.2 - Humanism in Music, 8.3 - Musical Instruments and Dances, 8.4 - The A Cappella Motet, 8.5 - Reformation and the Counter-Reformation, 8.6 - The Madrigal
9.1 - Introduction to Baroque Art and Music, 9.2 - Early Baroque Opera in Italy, 9.3 - Early Baroque Opera in London, 9.4 - Baroque Instruments and Orchestras, 9.5 - A Baroque Favorite: Pachelbel's Canon, 9.6 - Vivaldi: The "Spring" Concerto, 10.1 - Bach the Young Man and Organist, 10.2 - Cothen: Prelude and Fugue, 10.3 - Cothen: Brandenberg Concertos, 10.4 - Leipzig: The Church Cantata, 10. 5 - Bach's Posthumous Reputation, 11.1 - Recap of Baroque Music, 11. 2 - Handel's Early Life & Arrival in London, 11.3 - Royal Connections: Water Music and Fireworks, 11.4 - Opera Seria: Julius Caesar, 11.5 - Oratorio: Messiah
12.1 - The Classical Period and Music, 12.2 - Introduction to Classical Music Style, 12.3 - Vienna: City of Music, 12.4 - Franz Joseph Haydn and The Emperor, 12.5 - Wolfgang Amadeus Mozart and his Music, 13.1 - Classical Venues: The Canon and the Musical Museum, 13.2 - Genres and Forms, 13.3 - Ternary Form: The Mozart Sonata, 13.4 - Sonata-Allegro Form: A Mozart Serenade, 13.5 - Theme and Variations Form: A Surprise from Haydn, 13.6- Rondo Form: Mozart as the Young Turk, 14.1 - Piano Concerto in D minor, 14.2 - Don Giovanni, 14.3 - The Requiem
15.1 - Mozart and Beethoven Compared, 15.2 - Beethoven and the Romantic Genius, 15.3 - Beethoven's Early Years, 15.4 - Growing Deafness and Disability, 15.5 - The "Moonlight" Sonata, 16.1 - The Three Periods of Beethoven, 16.2 - Symphony No. 3, the "Eroica", 16.3 - Symphony No. 5, 16.4 - Beethoven's Gift to Music: SOUND, 16.5 - Beethoven Toward the End, 16.6 - The Late Period and "Ode to Joy", 17.1 - Introduction to Romantic Music, 17.2 - Domestic Music-Making of the Middle Class, 17.3 - Sketch of the Life and Music of Franz Schubert, 17.4 - Schubert's Erlkönig, 17.5 - Robert and Clara Schumann, Office Hours II
18.1 - How Do We Communicate in Sound?, 18.2 - Musical Signifiers and the Language of Sound, 18.3 - Berlioz and His Symphonie Fantastque, 18.4 - Symphonie Fantastque, "March to the Scaffold", 18.5 - Symphonie Fantastque, "Witches Sabbath", 18.6 - Do You Speak Fluent Program Music?, 19.1 - Fixed Pitch Keyboard Instruments: A Quick Review, 19.2 - The Pianos of Mozart, Beethoven and Schubert, 19.3 - The Pianos of Chopin and Liszt, 19.4 - From Wagner's Piano to the Steinway of America, 19.5 - Frédéric Chopin and the Nocturne, 19.6 - Franz Liszt and the Etude, 20.1 - Introduction to the 19th Century Opera, 20.2 - Bel canto Opera, 20.3 - Verdi's Operas and his Dramaturgy, 20.4 - Verdi's La traviata, 20.5 - Introduction to Richard Wagner, 20.6 - Wagner's Ring Cycle, 20.7 - Wagner's Die Walküre, 21.1 - Introduction to the Romantic Orchestra, 21.2 - Musical Instruments and the Industrial Revolution, 21.3 - Musical Time Slows Down: The Grand Symphonic Gesture, 21.4 - Bigger Orchestra, Bigger Concert Halls, 21.5 - The Gustav Mahler Sample
22.1 - Introduction to Impressionism, 22.2 - Claude Debussy's "Claire de lune", 22.3 - Debussy's "Prelude to the Afternoon of a Faun", 22.4 - Debussy's "Violes" (Sails) for Piano, 22.5 - Impressionism and Exoticism, 22.6 - Spanish Exoticism and the Spanish Tradition, 22.7 - From Post Impressionism to Modernism, 23.1 - Introduction to Modernism, 23.2 - Stravinsky and His Early Ballets Russes, 23.3 - Stravinsky and The Rite of Spring, 23.4 - Schoenberg and Atonal Music, 23.5 - Schoenberg and the Twelve-tone Music, 23.6 - The Challenge of (and Antidote to) Modernism, 24.1 - Simplifying Modernism: Aaron Copland, 24.2 - "A Gift to be Simple" and Appalachian Spring, 24.3 - Postmodernism, 24.4 - When Less is More: Minimalism in Art and Music, 24.5 - Beyond Minimalism: John Adams, 24.6 - The Ultimate Mystery of Music, Office Hours III, From the TA!