Motive Melody or Harmony That Repeats Again and Again

Cory Hills

Melody, Harmony, Form, Texture

Slide Duration:

Tabular array of Contents

Section 1: Introduction

Why Study Music History?

9m 19s

Intro

0:00

Music History/Appreciation

0:22

History is Important

0:34

Appreciation is Important

0:44

Nosotros are Listeners

1:32

Interesting Music Facts

3:26

Major Industries of the World

3:thirty

Arts and Entertainment is a Meridian five Industry for the Globe

4:14

Course Clarification

5:14

Track Music Throughout History and Chronicle It to the Present Twenty-four hours

5:28

We Will Embrace Music From…

6:17

Lots of Musical Examples

6:25

Review and What's Adjacent

7:37

Music is Everywhere

7:44

Course is Designed to Help Your Ears Brand Connections

7:52

Parameters of Music: Building Blocks of Music

viii:15

Melody, Harmony, Form, Texture

13m 16s

Intro

0:00

Parameters of Music

0:20

Parameters of Music is Subjective

0:24

Melody, Harmony, Grade, and Texture

1:twenty

Melody

1:thirty

The Tune, the Singable Attribute of a Work

ane:47

The Chief Line

1:58

Usually Smooth Line

ii:24

Case

two:45

Harmony

3:31

The Chords

3:36

Harmony Supports the Melody

3:46

Case

four:23

Course

v:11

The Overlooked Giant of Music

5:xx

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

eight:forty

'Mono' = One Phonation

eight:45

'Poly' = More than Than One Voice

8:56

Number of Instruments, Octaves, Musical instrument Doubling

nine:30

Example

10:06

Review

10:50

Melody, Harmony, Form, Texture

10:54

Identifying Tune, Harmony, Texture, and Form with Case

11:10

Rhythm, Meter, Dynamics, Tone

11m 4s

Intro

0:00

Rhythm

0:19

Allows More than Than I Person to Play at the Aforementioned Fourth dimension

0:34

The Notes Tell You lot When to Play

0:45

Dissimilar Kinds of Notes

1:08

Developed Forth With Music Notation

one:56

Annotation Plays Important Office in Development of Western Music

2:07

Meter

2:44

Tied In With Rhythm

2:l

Time Signatures

2:54

The Larger Beats

3:twenty

Rhythmic Material Adds Up to the Numerator of the Fourth dimension 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 Colour of the Sound

7:35

Each Musical instrument has a Unique Audio

7:fifty

Important in Agreement Instrumentation and Orchestration

8:28

Review

nine:06

Rhythm, Meter, Dynamics, Tone

9:12

Identifying Meter of Ii Examples: 4/four or 6/8?

nine:25

Instrumentation & Orchestration

15m 53s

Intro

0:00

Why Discuss Instruments?

0:xiii

Nosotros'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

Mod Symphony Orchestra Was Described in 1844

1:49

Females Were Not Allowd to Sing in Mass Until 20th Century

ii:eighteen

The Starting time Rock 'n' Roll Song Produced in 1953 - 'Rock Around the Clock'

3:17

Instruments

4:49

Heart Ages: Voice, Lute, Recorders

4:50

Renaissance: Violin, Guitar, Sackbut, Lyre, Hurdy Gurdy, More than Flutes

5:nineteen

Instruments Cont'd

6:29

Baroque: More Strings, Woodwinds (Oboe, Flute), Harpsichord, Organ, Horn

6:30

Classical: Fortepiano (Piano), Clarinet, Trombone, Bassoon

seven:35

Romantic and 20th Century: Modernistic Day Instruments, Percussion

8:36

What is in a Symphony Orchestra?

9:24

Woodwinds

nine:53

Brass

10:17

Percussion

10:35

Keyboards

ten:57

Strings

11:04

Review

12:23

In that location Has Been Major Instrument Development

12:26

Dominant Instruments: Voice, Strings, Keyboards, Recorders

13:00

What Time Menses Could This Example Exist From?

14:03

Section 2: The Middle Ages

Intro

0:00

What is Dirge?

0:13

Importance of the Catholic Church in Music History

0:40

Monophony

1:13

Examples of Dirge

2:03

Chant Characteristics

3:40

Syllabic: One Notation of Music for Each Syllable of Text

3:55

Neumatic: 1 Neume (2 of Iii Notes) for Each Syllable of Text

iv:17

Melismatic: Numberous Notes Occur for Each Syllable of Text

4:46

Classes of Chant

v:41

Antiphonal: Chants with Phrases Sung by Alternating Choirs

v:48

Responsorial: Chant Sung By Soloist with Response by Choir

half dozen:xx

Notation

6:39

Block Notation and Neumes

six:57

Rhythm is not a Primary Focus of Chant

8:16

Church Modes

eight:49

Accurate vs. Plagal

9:00

Dorian Starts on D

nine:21

Phrygian Starts on E, Lydian Starts on F, Mixolydian Starts on K

9:42

Hypodorian: Down Iv, Starts On a Unlike Notation

9:53

Hypophyrgian, Hypolydian, Hypomixolydian

x:53

Review

11:41

Monophony

11:47

Syllabic, Neumatic, Melismatic

12:04

Neume Annotation, Cake Notation

12:10

8 Church Modes (Authentic, Plagal)

12:28

What Are The 8 Church building Modes?

12:53

What is the Deviation Between Authentic and Plagal Modes?

xiii:38

Intro

0:00

What is Organum?

0:12

Polyphony: More Than 1 Voice at a Time

0:27

Musica Enchiriadis: 9th Century, Bearding

1:25

Guido D'Arezzo

ii:02

Musica Enchiriadis

2:22

Showtime Known Attempt at Polyphony and Organum

two:30

Organum

iii:06

Two Voices: Vox Principalis (Chief Vocalization) and Vox Organalis (Organum, 2nd Vox)

3:15

Elementary, Composite, and Parallel Organum

4:03

Guido

7:44

Micrologus, 1026

vii:57

Guidonian Mitt: Mnemonic Device for Singers to Read Pitches

8:10

Proto Staff: Four Staff Annotation System, Precursor to Modern-Twenty-four hour period Staff

8:48

Notre Dame School of Polyphony

9:25

Leonin and Perotin

9:42

Two Voice

x:20

Organum: Melismatic Voice Over Dirge

ten:30

Discant: Note Against Note, Rhythms past Manner

x:54

Copula: Transition Betwixt Organum and Discant

xi:35

Perotin

eleven: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

thirteen:57

Motet

14:07

Review

14:twenty

Intro

0:00

Motet

0:07

Substitute Clausulae

0:16

Unique Composition

0:39

Components of a Motet

1:02

New Upper Voices

ane:fifty

Prosula

1:58

Rhythmic Modes

2:22

Used in Discant

two:36

Different Combinations of Longs and Shorts

3:32

Mode ane

3:l

Fashion ii

iv:00

Style 3

4:19

Way iv

4:41

Mode 5

iv:50

Mode vi

5:04

Notational Developments

5:25

Famous Rhythmic Developers

v:40

Unlike Combinations of Longs and Shorts

6:thirteen

Longa, Breve, Semibreve, Minim

half-dozen:21

Perfect or Imperfect Prolation

6:31

Notation

6:fifty

Tempus, Prolation

half dozen:56

Tempus Perfectum/Prolation Major

7:14

Breve

seven:50

Semibreves

7:55

Minim

8:03

Breve is the Chief Unit of Time

viii:xv

Tempus Perfectum/Prolation Pocket-sized

ix: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

xiii:42

Motet

thirteen:56

Characteristics

xiv:07

Isorhythmic Motet

fourteen:26

Which Rhythmic Mode Are These Examples?

14:44

Intro

0:00

What is a Troubadour?

0:25

The Singing Minstrel

0:thirty

Portrayed equally a Jester or Joker in Pop Culture

1:xiii

Served A Major Part in Development of Polyphony Considering They Traveled

ane:27

Troubadours were Illiterate and Office of the Lower class

ii:07

What is a Trouvere?

2:25

Poet and Musician from Northern France Who Wrote nigh Dearest, Heroism, and the Unattainable

ii:34

Established Guilds, Brought Their Music to the Middle Class

3:24

Simple Forms, Simple Syllabic Melodies, Simple Instrumental Accompaniment

4:10

Formes Fixes

five:18

Three Master Forms: Rondeau, Ballade, Virelai

5:38

A (a) and B (b) Represent Repeated Musical Material

v:51

Upper-case letter Messages Correspond Repeated Text

6:05

Lowercase Correspond New Text

6:13

Virelai

7:00

Example

eight:05

Instruments

9:09

Stringed Instruments: Lute, Lyre, Bagpipe, Viol

ix:17

Were the Showtime Solo Performers

9:30

Different Form of Polyphony Than Just Voices

9:58

They Traveled, Influencing Unlike Areas of Europe

10:07

Review

x:41

Important in Distributing Polyphonic Music Throughout Europe

10:49

Polyphony Existed in Churches, But Without Troubadours, Perchance Polyphony Would Have Never Left the Church

eleven:10

Department 3: The Renaissance

Intro

0:00

Let's Go to Church building!

0:22

The Cosmic Church building is at the Middle of Western Classical Music

0:30

2 Types of Masses: Mass Ordinary and Mass Proper

0:fifty

Let'due south Go to Church!

one:03

Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnes Dei

ane:16

Mass in the Renaissance

ii: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

four:02

Other Voices Newly Composed

4:12

Remember Substitute Clausulae

four: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

Dirge Melody Chopped, Sliced, Omitted

6:07

Leading Composers: Dufay, Machaut, Dunstable

half dozen:48

Motto Mass

7:28

Start with Identical Motive at Beginning of Each Motive

seven:47

Generally Homophonic

8:19

Leading Composers: Dufay, Ockeghem

9:17

Iii Types of Cyclic Mass

9:45

Parody Mass Became Nigh Popular

9:53

More Freely Composed

10:06

Used Pre-existing Textures from Another Work

10:xiii

Freer Counterpoint and Imitation and Rhythmic Innovation

xi:00

Imitation: One Vocalization Mimics Some other

xi:ten

Ok, So What's Really Going On?

12:57

Composers Were Gaining More Freedom

13:04

How Math Played a Role in Innovation

xiii:30

Canons

xiii:35

Inversion

14:05

Retrograde

14:54

Diminution

15:32

Augmentation

16:31

Puzzle Canon

17:06

Musical Palindromes

17:thirty

Review, Some Of import People and Terms

18:00

Early Mass: Machaut

eighteen:18

Mid Mass: Dufay and Ockeghem

18:22

Late Mass: Josquin and Palestrina

18:28

Cantus Firmus: Chant Melody Line in Tenor

18:42

Simulated: One Voice Mimics Another

18:52

Canon: Melody with One or More than Imitations

18:59

Each Generation of Renaissance Composer Created New Methods to Write Freer Masses

19:09

Iii Master Types of Cyclic Masses: Cantus Firmus, Motto, Parody

19:36

Intro

0:00

What in the World is a Madrigal?

0:08

Italian Song: Secular Polyphonic Vocal Limerick for ii-8 Voices

0:45

Developed in iii Stages Throughout the Renaissance

one:21

First Generation

i: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

2nd Generation

5:55

Wider Use of Poetry and More Serious Texts

6:01

Experimental Harmonies

six: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

ix:51

Voice Crossings

x:29

Crazy Rhythms

eleven:00

Sudden Tempo Changes

11:10

Text Painting

xi:30

More Tertiary Generation

12:39

Required Skilled Singers and Sophisticated Audiences

12:52

Maurenzio 'Solo et pensoso'

14:00

Monteverdi (1567-1643)

fifteen:11

Review

17:05

Madrigals

17:13

First Generation

17:21

Second Generation

17:thirty

3rd Generation

17:36

Who is Known equally the First Opera Composer?

17:55

What is Text Painting?

18:fourteen

Instrumental Music

8m 17s

Intro

0:00

Look…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

i: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

ii:50

Doubled Some Parts with Instruments

three:18

Instruments Then Became Second Choir, Written for Exclusively

3:31

Giovanni Gabrieli

iii:44

Famous Organist and Composer

three:46

Sonata pian' e forte (1597): Groundbreaking, First Piece to Utilize Dynamics, First Piece Written for Just Instruments

4:21

Review

six:19

Instrumental Music Became Popular Towards the Finish of the Renaissance

6:22

Explosion of Instrumental Music in Baroque

half dozen:forty

Instruments were Always Around

6:51

Classic Composers Started to Write for Them in the Church building

7:08

Gained Popularity Outside of the Working Class

7:30

Section 4: The Baroque Menstruum

Intro

0:00

Hello Divas!

0:30

Intense Development of Opera

0:57

Started from Monody: Brusque, Staged Works

i:50

Oral communication 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 Get to Venice

3:49

Opera Became Popular in Venice (1640)

3:53

Opera Houses were Built, 350 Operas Equanimous in 40 Years

4:41

Characteristics

v:44

Arias: Diva Solo

5:54

Da Capo Aria: Aria with 3 Sections

6:01

First: Presentation of Music for Voice and Orchestra

6:06

Second: Huge Contrast from Outset Section

half dozen:16

Third: Repeat of the First Department with a Twist (Improvisation)

half-dozen:34

Intended to Show Off the Divas

7:04

Singing was Technical and Virtuosic

7:37

Opera in French republic

7:45

Lully Popularized Opera in France

viii:07

Had Rights to Compose Operas from 1673-1687

8:33

French Operas were Much Dissimilar

9:23

Tragedie-Lyrique: Serious Texts

9:30

Not Public

9:41

More Dramatic

ten:00

Ever Contained an Instrumental Ballet

10:04

Opera Seria

10:12

Spread throughout Europe in the 1700s

10:23

Scarlatti

10:30

Italian Overture

ten: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 Vocaliser

12:02

Recitative Furthers Plot

12:05

Aria is for Commentary and Showiness

12:xix

Review

12:51

Started by Monody: Speech Inspired Song

13:08

Took Off in Venice

13:17

Opera Seria

13:40

Intro

0:00

What is a Concerto Grosso? Is it Gross?

0:52

Definition Concerto Grosso

1:15

Concertino: Small Grouping of Solo Instruments

two:00

Ripieno: Orchestra

1:33

Important for Developing Instruments equally Stand-Solitary Musical Entity

two:04

Corelli, Torelli, Vivaldi, Handel, J.S. Bach

2:18

Let's Suspension it Down

2:43

Concertino: Solo Group of a Handful of Instruments (Usually Violins, Bass)

2:47

Ripieno: Total String Orchestra, Accompanimet

three:fourteen

Soloists were Members of the Orchestra

three:28

Alternates Between Ripieno and Concertino Sections

iii:41

Ripieno Sections Often Repeated

three:54

Case of Concerto Grosso: Corelli

4:24

Ripieno Concerto

5:49

No Hierarchy of Soloist and Accompaniment

six: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

I Person is the Soloist

9:31

At First, Wasn't Popular

9:55

Soloist is the Star

10:sixteen

Orchestra Serves to Fill-in the Star

10:21

Example of Solo Concerto: Four Seasons by Vivaldi

10:33

Vivaldi and Form

12:32

Became Known equally the Concerto King of 1700s

12:43

Developed a Three Movement Structure

12:58

First Movement: Fast

xiii:39

Second Movement: Deadening

13:48

Third Move: Fast

13:54

Soloist: Violin, Flute, Trumpet, Harpsichord, Cello

14:29

Well-Known Opera Composer

fourteen:57

Used Driving Rhythms

15:13

Used Sequences to Extend Phrases

fifteen:25

Big Review

xvi:13

Concerto Launched

sixteen:18

Concerto Grosso

sixteen:thirty

Ripieno Concerto

16:44

Solo Concert

sixteen: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

Information technology'due south All Connected

17:37

What is a Sequence?

17:55

What is the Name of the Solo Group in a Concerto Grosso?

eighteen:23

Solo Keyboard Works

19m 46s

Intro

0:00

Some other Lesson NOT on the Vocalisation!

0:18

Big Developments in Europe: Coin, Courts, Entertainment

0:thirty

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

ii:23

Concertos were Blooming, but Not Full Concerts

ii:xl

More than Intimate Setting for a Soloist led to Solo Keyboard Works

2:57

Ready Terminate…It'south Sonata Time!

3:20

Why Do Most People Recognize the Term 'Sonata?'

iii:33

Sonata is the Most Important Form Development in the History of Western Classical Music

three:47

Sonata is Both a Genre and a Class

4:00

Sonata Movement of a Symphony

4:25

Sonatas

iv:48

Dissimilar Times

four:49

Sonata de Photographic camera: Suite of Dances for Two Players and Continuo Performed in Individual Concerts

four:58

Corelli

5:36

Sonata de Chiesa: Collection of Dances in Iv Motility Course Used to Fill Space Between Mass Movements

5:forty

Solo Sonata: Instrumental Slice in Several Movements Designed for a Soloist

half-dozen:17

Solo Sonata

6:51

Imitative Piece in Sections

vi:55

Changes in Meter and Tempo

7:01

Recapitulatory Endings: Summary

7:08

Instance of Solo Keyboard Sonata: Domenico Scarlatti

vii:39

Binary Form

9:12

Ternary Class

ten:23

Rounded Binary

11:09

YouTube Instance of Binary Class

12:10

Why is This Important?

12:34

Meant a Tight-Knit Structural Class

12:41

Presented an Open-Ended Tight-Knit Form

13:fifteen

Composer Liberty

thirteen:50

Manipulate Musical Parameters, Most Notably Harmony

xiv: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 Class is This?

17:45

Intro

0:00

It's Fourth dimension to Dance

0:29

Dance Works, Known as Suites

0:41

Importance of Trip the light fantastic Suites

0:54

Baroque Period was All Most 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

two:40

Suites are Brusque Practice Canvases

iii:27

Allemande

4:07

Moderate Tempo

4:10

Duple Meter

iv:xvi

Polyphonic Texture

4:21

Prelude

4:24

Starts on Anacrusis, or Upbeat

iv:35

Running Patterns

4:47

Example of Allemande: Sonata in B Minor

4:57

Courante

half dozen:x

Binary Form

six:17

Triple Form

6:22

Quick

half dozen:thirty

Homophonic Texture

6:33

Hemiolas (3:2)

half dozen: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 Downward Beat

viii:07

Originated from 16th Century Latin

8:15

Fast Version for Spain, England, and Italian republic

8:27

Slow Version for Germany and France

8:34

Case of Sarabande: Sonata in B Pocket-sized

8:41

Gigue

9:32

The Ending

9:40

Chemical compound Duple or Triple Meter

9:44

Very Quick

9:49

Starts on 8th Notation Upbeat

ten:00

Binary Form

x:09

Triplets

10:10

Wide Melodic Leaps

10:11

Imitation

10:12

Slower Harmonic Rhythm: How Quickly the Harmonies Modify

ten:14

Example of Gigue: Sonata in B Small-scale

10:46

Review

xi:44

Why Are the Dance Suite Movements Important?

11:46

Miniature Pieces Become Big, Long, and Extremely Detailed Works

12:04

Writing Out the Basic Plot for Binary Grade

12:21

Which Trip the light fantastic Movements are in Two, and Which are in Three?

12:45

Section 5: The Classical Period

Intro

0:00

Yay, More Opera!

0:xxx

Opera Seria vs. Opera Buffa

0:46

Review of Opera Seria

0:55

Da Capo Aria

one:44

Recitative Furthered Plot

iii:xx

Where's the Buffa?

3:43

Intermezzo: Between Acts

four:05

Characters from Commeda Dell'Arte: Italian Theater with Stock Characters

iv:46

Where'southward the Buffa?

5:39

Emphasis on the Bass Vox

5:48

Unexpected Accents

vi:16

Quick Tempos

6:17

Wide Leaps

vi:19

Frequent Use of Vocal Ensemble

six:22

Example: Pergolesi's La Serva de Padrona (1733)

6:55

Became So Pop, The Intermezzo Toured On Its Ain

7:59

Wolfgang Amadeus Mozart

8:22

Child Prodigy Gone Bad

eight:35

Composed In All Forms and All Genres

nine:21

Redefined Opera Buffa As Its Own Category

9:37

The Spousal relationship 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

xi:57

Replaced Stock Characters with More Psychologically In-Depth Characters

12:12

Review

12:38

Evolution 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

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 4 Movement Structure

3:34

Writing Out the Four Movements of a Symphony

three:46

First Motility

4:02

Second Motility

four:15

Third Movement

4:42

Fourth Movement

four:45

Loftier Time for Some Haydn

v:48

Father of the Symphony, Wrote 104 Symphonies

six:02

High-Quality Pieces of Historical Significance

half dozen: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

eight: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

eleven:14

Motives

11:19

Motives

eleven:22

A Seed

11:25

Beethoven Wrote What He Wanted

12:01

Piece Organized Around a Musical Idea, and the Slice Develops

12:09

Beethoven Expanded the Orchestra

12:34

Review

12:51

Symphony Came a Long Way in a Short Corporeality of Fourth dimension

13:03

The Large Three: Haydn, Mozart, Beethoven

13:20

Haydn Backed Upwardly to the Baroque

thirteen:32

Mozart Was Solely Classical

13:35

Beethoven Backed Into the Romantic

13:37

Intro

0:00

Let'due south Review Form

0:27

Form is the Structure of the Piece

0:33

Form is the System

0:twoscore

How to Get From A to B to C and then On

0:44

Classical Catamenia Marked A Time for Form Variants

1:xi

Classical Composers Outset 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 Messages are New Thematic Material

iii:35

Sonata-Rondo: Exposition, Development, Recapitulation

three:56

Minuet and Trio

6:xiv

Minuet: Refers to the Original Trip the light fantastic toe

half dozen:25

Trio: Refers to the Iii Instruments That Back-trail a Second Part of a Dance

half dozen:48

Trio Became the Third Move in a Symphony or Cord Quartet

7:20

Moderate Tempo in Triple Meter

7:52

Form: ABA, With B Existence 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

x:08

How Are These Themes Varied?

x:37

Musical Parameters

10:44

Scherzo

eleven:12

Scherzo Means Joke

eleven:21

Scherzo Became Another Variation of the Third Movement

eleven:50

Faster Than a Minuet, In Iii, In Ternary or Rounded Binary Grade

12:09

Very Light and Playful

12:nineteen

Why is This Of import?

12:40

Composers Have Experimented with Parameters, But Not Form

12:55

Grade is Steeped in Tradition, So Information technology Changes Gradually

13:12

Changes in Form Give Composers More Freedom

13:59

Review

xiv:52

Many Dissimilar Formal Variations with Bones Plot

14:56

Sonata-Rondo, Theme and Variations, Minuet and Trio, Scherzo

15:07

More than Composer Freedom

15:41

Expression, Emotion, Story

15:48

Concert/Solo Instrumental Works

14m 8s

Intro

0:00

Solo Concert

0:22

Like to Baroque, But With More Development

0:28

More than Instruments and More Variation, Dissimilar Bizarre

1:03

Decline of Concerto Grosso

ii:05

Haydn, Mozart, Beethoven

ii:30

Very Similar to Styles of Symphony

2:45

Solo Works

2:58

Sonata in Every Instrument

3:00

Became the 'It' Form

iii:22

Pass up of the Dance Suite

three:30

Rise of Chamber Music

iv:02

Bedchamber Music: Anything with More than than One Performer (Duo, Trio, Quartet, Etc.)

4:10

So Why is Bedchamber Music Important?

four:43

Keep In Listen the Intense Musical Evolution From Polyphony

4:49

Larger-Scale Works

5:xv

Smaller Works Allow for More Exploration of Tone, Timbre, Texture, and Orchestration

v:22

Rumored that Beethoven 5 Motive was Used in Other Works as a Tryout

vi:27

Like Picasso Sketches

6:59

Examples

seven:25

Mozart Quintet (five) for Clarinet and String Quartet

seven:34

Combines String Quartet with Solo Writing

8:02

Haydn Trio for Flute, Cello, and Piano

eight:31

Heed to Examples

10:04

Haydn: Sounds Similar a Symphony

10:22

Beethoven: Sounds Like Experiments

x:55

Mozart: Seeks Performative Residuum

11:14

Review

11:59

Concerto Continued in Its Evolution

12:03

Solo Writing Connected 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

thirteen:32

Section 6: The Romantic Catamenia

Programmatic Music

18m 51s

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 Correspond Extra-Musical Concepts without Text

0:58

Uses Referential Elements or References to the Earth 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

iii:06

Peculiarly the Rising of the Narrative

iii:38

Composers Constitute 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

vi:37

Symphony Fantastique: 1830

7:04

Narrative Work Associated with a Text

vii:10

Subtitled: An Episode in the Life of an Artist

vii:15

Provided an Autobiographical Plan at the Work'due south Premiere, Because the text an Essential Part of the Work

vii:38

Idee Fixe: Represented the Motive That Appears Throughout the Piece

8:05

Listening to Symphony Fantastique

9:02

Liszt and Wagner

xi:38

Liszt Invented the Symphonic Poem: One-Movement Piece for a Symphony Orchestra

12:xiii

Wagner: Opera

12:40

Wagner Came Up With the Leitmotif

12:56

Leitmotif: Using Music Material to Correspond People, Places, Events, Emotions, Etc.

13:09

Some Famous Leitmotifs Through the Ages

xiv:01

Retrieve TV, Film, Ad That Make Yous Think of Something

fourteen:17

Review

17:13

Programmatic Music

17:15

Began to Dominate Classical Music and All the same Does Today

17:25

Telling a Story Through Music Without Text

17:48

Very Emotional, Vivid, Imagery

17:52

Gave Composers Even so Some other Outlet for Experimenting

17:57

Eventually Became a Battle Betwixt Absolute and Program Music

18:08

Intro

0:00

Que Romantica!

0:xiii

The Romantic Symphony Started Around Beethoven's fifth

0:xviii

Symphony Criticized for Lacking Emotion and Meaning

0:50

Opposite is True in Romantic

i:23

Instrumental Music Closer to Pure Emotion Because No Text

2:06

Every Composer Had to Etch a Symphony as a Rite of Passage

2:xi

Symphony Characteristics

2:28

Stayed Remarkably Intact Into the 20th Century

ii:39

3, 4, or 5 Movements

2:53

Motility 1: An Extended Opening Move in Sonata Form

2:58

Movement 2: A Lyrical Deadening Movement In Sonata Class, ABA, or Theme and Variations

3:05

Motion 3: A Dance-Inspired Scherzo Movement, Unremarkably in Triple Meter

3:13

Motility iv: A Fast Finale

three:18

Beethoven's Heroic Decade

3:47

Heiligenstadt Testament: Alphabetic character to Brother

3:56

Beethoven Saw Fine art equally Redemption

five:00

Then Came the 9th

5:eighteen

Symphony 9 (1823): 'Ode to Joy'

5:28

Redefined the Symphony as More Than a Musical Amusement

five:51

Expletive of the ninth

vi:46

Beginning Symphony to Have a Chorus

6:53

Listening to 'Ode to Joy'

vii:06

Completely Unified Themes Throughout Movements

vii:37

Monumental Themes

7:47

Created a Crisis for Futurity Generations

viii:06

Starting time Time that New Composers were Competing with the By

8:xv

Romantic Composers

9:13

Mendelssohn Threw Abroad iii Complete Symphonies

9:xviii

Schubert Got Ill and Died Writing His 9th

9:28

Brahms was Anti-Program, Reinvented In Other Ways

ix:57

Berlioz First Real Competitor

10:19

Mahler Wrote a Symphony for chiliad People

10:34

Wagner said Beethoven's 9th was the Pinnacle

xi:07

One Reason for Rise of Symphonic Poem

eleven:34

Review

11:52

Beethoven Ruled the Symphony

xi:58

Beethoven's Symphonies are Withal the Models Composers Aspire to Reach

12:36

Innovative Harmonies, Monumental Orchestration, Grandiose Grade, Fully-Unified Theme

12:41

Debate Loomed Between Accented and Program Music

12:54

Enter the Symphonic Poem for Something Completely Unlike

13:14

Intro

0:00

Solo Concerto

0:15

Started in the Baroque, Virtuosity is Back

0:33

Imagine a Concerto

0:58

Romantic Concerto

i:20

Begins with Beethoven

1:32

Try to Mimic the Symphony Sound by One Person

one:46

Very Difficult Pieces

2:ten

Let's Talk Liszt…Again

two:32

Known as Playboy Rock Star

ii:41

His Importance is Vital for Performance Aspect of Western Classical Music

2:53

Solo Recital

4:18

Transcribed Symphonies for Solo Piano

four:32

Friends with Paganini and Saint Seans: Both Composers and Instrumental Virtuosos

4:58

Piano Concerto

5:42

Liszt Started Information technology

5:48

Beethoven Wrote v

half dozen:01

Beethoven, Liszt, Brahms, Tchaikovsky, Grieg, Mendelssohn, Chopin

half-dozen:14

Beethoven is Not the Only Freelancing Musician Anymore

half-dozen:47

What Was Happening Musically?

7:11

Longer Forms with Combined Movements

vii:xx

Greater Emphasis on Rhythm

7:50

Texture to the Extreme

viii:11

Still Accept Romantic Melodies, More Attending to Harmonic Exploration

8:52

Develop a Greater Intensity

ix:05

Example

9:20

Review

9:52

Virtuosity

x:01

Composers Who Performed Composed Concertos For Themselves

10:xiv

Increase in Need for Better Educated, Performing Musicians

10:54

Conservatories Became Bigger

10:59

Romantic Concerto Combined Elements of Symphony, Tone Verse form, and Solo Works

11:48

Very Memorable Works That Are Still Standards

eleven:56

Lieder & Miniatures

16m 27s

Intro

0:00

What In The Earth Are These?!

0:xl

Lieder = Songs or Song Cycles

0:44

Miniatures = Short, Self-Contained Works

ane:06

Why Short Pieces?

1:28

Wagner'southward Opera Cycle, Mahler's Symphony, Concertos

1:36

We All Demand a Mental Suspension

2:x

Opportunity for Short, More Experimental Pieces

ii:fourteen

Lieder

2:39

Songs or Song Cycles (Collection of Songs)

two:41

Sung in Operatic Fashion, But Not an Opera

iii:05

Features Singers, Merely Not Divas

3:24

More of an Art Vocal

iii:42

E'er Had Piano Accompaniment

iv:16

Very Challenging Works Mentally and Physically

4:19

Schubert

five:xx

Franz Schubert (1797-1828)

5:25

A Romantic and Programmatic Composer

five: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 Effectually Text

vii:49

Sets Poems

seven:54

Song Sections Alternated with Declamatory Song

vii:57

Dramatic Text

8:31

Pianoforte Centered On Text, Set up Mood

8:36

Example

9:30

Piano Miniatures

10:01

Non Large Works

10:05

Often Shorter in Length, Simply Not in Scope

10:24

Schumann and Chopin as Examples

ten:37

Very Programmatic and Nationalistic

10:40

Musically Experimental, Especially Harmony

11:38

Written by Virtuosos for Virtuosos

11:53

Extremely Difficult

eleven:59

Nocturne, Mazurka, Polonaise

12:04

Strong Forms, Difficult Rhythms, Thick Textures

12:09

Why Of import/Review

12:37

Example: Chopin

12:43

Lieder and Miniatures Were Essential for Experimental, Somewhen Leading to 20th Century

14:23

Lieder: Simple in Some Means, But Securely Evocative and Expressionistic

xiv:43

Miniatures: Paved Way for Major Noise and Extreme Use of Musical Parameters

xiv:57

Intro

0:00

What is a Symphonic Poem?

0:10

Term Coined by Franz Liszt

0:sixteen

Programmatic Slice in 1 Motion, but for an Unabridged 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

ane:44

Had to Perform to the Side Considering He was Too Handsome

i:58

Why Symphonic Poems?

2:08

Recollect the Composers Competing With Beethoven's Symphony Legacy?

2:16

At present They Didn't Have To

2:45

Russian federation

3:09

A Slew of Prominent Russian Composers Loved the Symphonic Verse form: Tchaikowsky, Mussorgsky, Rimsky-Korsakov

three:20

Wrote Symphonic Poems Centered on Narrative (Highly National in its Context)

4:02

100% Romantic

5:x

Grandiose Themes, Tight Forms, Memorable Melodies, Fast and Driving Rhythms, Dense Textures, Lush Orchestration, Wide Dynamics

5:26

1812 Overture by Tchaikovsky

half-dozen:13

1812 is the Paradigm of Grandiose (Festival Overture)

half dozen:35

Has Acapella Choir, Contumely Fanfare, Cannons, Ringing Chimes

half dozen: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

xi:09

Paralleled a Story, Text, Poem

11:12

Imagery, Nationalism, Pride

11:17

Became Popular Because It was not a Symphony

eleven:27

Department 7: The 20th Century

Impressionism & Expressionism

13m 55s

Intro

0:00

Impressionism

0:35

Known As An Art Motility (Monet)

0:l

Hazy, Looking Different Upwards Shut As They Do Far Away

1:xviii

Attempted in Music Most Notably by Claude Debussy

1:31

Debussy: Wrote Every Style, Major Composer of 20th Century

i:50

Paris World Off-white

two:25

Debussy

2:50

Both a Romantic and 20th Century Composer

two:54

Besides Interested in Evening the Tonal Playing Field

3:07

Did It Through Unique Scales Influenced by Far E

3:25

Whole Tone, Pentatonic, Octatonic

3:34

Modes: Ionian, Dorian, Phyrigian, Lydian, Mixolydian, Aeolian, Locrian

four:58

What Does This Practice? Obscures the Tonic, Makes It Hazy

vi:00

Example

vi:37

Expressionism

7:xx

Really Heavy Stuff

seven:31

Schoenberg, Berg (Wozzeck)

7:50

Example

8:05

Richard Strauss

8:52

Wagner Continued Tradition to Huge Romantic Levels

ix:04

Strauss Took Information technology 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

eleven:22

Lush Orchestration, Timbres

11:27

Music to Make Yous Think, Experience and Limited

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 Fourth dimension

12:47

Debussy: Impressionism through Blurring Lines of Tonality

13:03

Expressionism: Extra Attention to Text and Desire to Look Inside Self

13:20

Sets Scene for Second Viennese Schoolhouse and Serialism

thirteen:33

Intro

0:00

Oh Boy, Here Nosotros Go!

0:10

Don't Allow Serialism Intimidate You lot

0:22

End of the 19th Century = Opera Experimentation

0:58

Wagner Pushed Into Extreme Tonality and Harmonic Shifts

ane:25

Debussy Started with Impressionism and Used Different Calibration Sets

2:00

Schoenberg and Others Delved into Expressionism

2:16

Arnold Schoenberg (1874-1951)

2:21

Pivotal Effigy to Say the To the lowest degree

2:43

Also Known as Philosopher and Author

iii:00

Romantic Composer Who Liked to Experiment

3:37

Austrian Composer/Theorist

3:42

Moved to California in 1931 to UCLA

three:53

Extreme Figure in Music History

four:07

Emancipated Racket

4:32

Emancipation of Dissonance

4:44

Misleading topic

four:48

Serialism and Atonality Not the Same Thing

5:02

Serialism is Twelve-Tone

v:xviii

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

half dozen:44

Instance of Complimentary Atonality

half-dozen:51

12 Tone Row

7:20

12-Tone Row

7:30

12 Notes in Chromatic Scale

7:34

Organisation of Ordering so that a Note is Not Repeated Until Each Notation has been Heard Once

vii: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

Event: Mathematical Stuff That Tin Be Hard to Hear

11:06

2d Viennese School

11:21

Schoenberg: Leader of Second Viennese School

eleven:23

Other Members of the Big 3: Berg, Webern

11:35

Berg: More Lyrical; Webern: More than Pointillistic

12:00

Schoenberg: More of a Theorist/Philosopher

13:36

Instance: Pierrot Lunaire

12:30

Why Important/Review

xiv:38

12-Tone Music Dominated Music for Most of 20th Century

xiv:46

Only Recently Known every bit Compositional Tool Rather than a Style

15:06

Schoenberg Came Up with the Idea of Flattening the Tonal Playing Field

xv:39

Each Notation is the Same As Another in 12-Tone Music

15:44

Extreme Style of Compositional Control Taken Further by Other Composers

15:55

Harsh Reactions from Audiences and Composers

16:thirty

Intro

0:00

What?!

0:08

The Rite of Bound by Igor Stravinsky

0:32

Possibly the Most Important Atypical Work in Western Music History

i:11

Igor Stravinsky (1882-1961)

i:49

Russian Composer, Lived in Paris, Moved to U.Due south.

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)

iii:43

Stravinsky Emancipated Rhythm

4:23

Rite of Spring is a Ballet past Diaghilev and Najinsky

iv:43

Complex Rhythms, Crazy Meters, Timbres, and Dissonance

5:48

Polytonality and Polyrhythms

five:57

Primitive Attribute of Ballet and Story

vi: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:forty

Tune

10:36

Tune: Bassoon

xiii:29

Harmony: Polytonality

13:38

Grade: A Ballet in Ii Parts

13:46

Tone: Harsh, Instrumental Extremes

13:55

Meter: Mixed Meter

14:21

Dynamics: Wide and Varied

xiv:45

Texture: Quick Changes

14:52

Rhythm!

15:12

Polyrhythms (three:2, 4:three, 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 Evolution

17:44

Orchestration was Off the Claw

18:08

Nevertheless I of the Nigh Recorded and Performed Works

18:eighteen

Audience Rioted

18:56

Has Influenced Scores of Composers and Artists

19:05

One of the Most Written-Most Works

nineteen:15

Dixieland, Dejection, Jazz

18m 43s

Intro

0:00

Now for Something Completely Dissimilar!

1:01

Dixieland to Dejection to Jazz to Rock

i:15

All Linked Through Mail service-Civil War America and Chicago World Fair 1893

2:05

The Off-white Changed Everything

two:34

Ceremonious War Lesson on Geography

3:03

Nosotros Know About This Time Period in American History, simply Maybe Not in Music

5:22

Dixieland

five:39

Slave Spirituals, Musical Accompaniment, and Entertainment

five:40

Dixieland from Due south (New Orleans), Down the Mississippi

five:45

Louis Armstrong

v:50

Musically: Bass Line, Hopping Harmony, Soloist (Trumpet Plays Main Line), Rhythm Department that Improvises

6:33

Polyphonic Setting Effectually a Theme and Variations

7:11

Example one

7:xxx

Example 2: Oh When the Saints

8:22

Blues

8:48

Another Style from the Plow of the Century

eight:fifty

Very Influential for Rock 'due north' Whorl

8:55

Each Style in the South had Unique Style and Audio

9:28

Centered on Form: 12 Bar Blues

9:53

Uncomplicated Form, Simple Instrumentation, Heavy Backbeat

xi:09

Lyrics Were Very Important, About Real Life

11:32

Also Used Blues Calibration: C, E Flat, F, F#, G, B Apartment, C

11:40

Jazz

12:53

Encompasses And then Much Music

13:00

Jazz Band

13:07

Instrumentation from Big Ring to Philharmonic

13:11

Horns, Rhythm Section

thirteen:20

Musically: Dejection Notes, Polyphony, Improvisation, Syncopation, Swung Note

13:33

Of import People

15:02

Duke Ellington, Fine art Blakey, Charlie Parker, Miles Davis, Ornette Coleman, etc.

15:08

Example

xv:47

Why Is This Important? Popular Culture!

16:05

Jazz Influenced Everything from Classical, TV, Film, and Rock

xvi:11

More/Review

xvi:twoscore

Dixieland, Blues, Jazz Came from the S

xvi:44

Origins in Slave Spirituals Used During Work and for Amusement

16:47

Came to Chicago During the World Fair

16:55

Spread Through the South and Eventually North Through Jazz Bands

17:21

Big Ring Culture and Fever Swept the North in 20s and 30s, Setting Stage for Popular Culture Influence

17:29

Post-State of war Influence: A Need for Far-Reaching Music to The Masses

18:17

Enter Rock 'n' Roll

xviii:28

Afterward 20th Century

15m 6s

Intro

0:00

Wait…There's All the same 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 Means

three: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' Scroll: Production of Times

seven:01

History is Important in Evolution

7:13

Post-WWII America and United kingdom

seven:xvi

Rise of the Eye Form

seven:31

Rock Was For the Masses

7:fifty

Not Necessarily Anti-Establishment (Beatles)

viii:33

Song-Writing Changed to Fit the Needs of Pop Culture

9:09

Shorter Songs, Easy Melodies, Digestible Harmonies, Uncomplicated Rhythms, Relatable Discipline Matter

ix:14

Cage and Reich Influenced Stone

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 Manner Back!

11:53

That's Funny!

12:xi

Artists of Today Influenced past Artists of Yesterday

12:17

More Communication Between Cultures

12:34

Ability to Write in Any Style From Whatsoever Time Period

12:38

New Genres? New Time Periods? What's to Come?

12:39

We're However Just Experimenting with Organized Sound

xiii:51

Wrap Up

14:xvi

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Source: https://www.educator.com/music-theory/music-history/hills/melody-harmony-form-texture.php

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