|Class 11||Tuesday, July 03|
On this session we covered two pieces left on our quiz list (Schumann's Carnaval and Chopin's Nocturne Op. 9 No. 2) - these are covered in the Class 10 notes.
Then we dove into the world of Romantic Opera, which is all non-quiz material.
Quiz Three News
Quiz Three will be Thursday, July 5. (I know, it can't be helped. Try not to overdose on hot dogs the day before.) It is basically just a bunch of listening IDs. Most of these pieces are telling some kind of story and you usually just have to remember the composer, title of the piece, and what it's supposed to be about.
Complete notes and our study guide are up on the documents page.
Assignment #11: Mussorgsky's Pictures at an Exhibition
This one is due before our Romantic-period quiz (Thurs, July 5).
Assignment #12: Quiz Three Preview
As one might expect this is due before the quiz on Thursday, July 5 (= Class 12).
Assignment #13: Metric Subdivisions
We are throwing one last musical task into the mix for a little variety. This is just for homework, it won't be on the test.
Before you try this exercise, make sure you understand the concept of metric subdivisions (i.e. the little rhythmic divisions inside of each beat.) I have class notes on this. Also, don't forget that there is a free practice on it.
Then, Assignment #13 asks you to listen to a few tracks and indicate whether the beat is being divided in a duple subdivisions or a rolling triplet groove.
This one is due before the last class (Tues, July 10).
If you want even more examples, I do have a youtube playlist of rock and r&b with triple subs. Also, perhaps you will find this interesting: How Triplet Flow Took Over Rap. Even I know what this is about, though this would be my go-to reference.
Assigment #14: Journals
By now you probably know that I am supposed to be looking at everyone's journals, and that this will be a homework credit. I've inserted it into the sequence as #14. If you've given me your journal there is nothing left to do but wait for me to enter the grade.
Assignment #15: Roots of African-American Music
Due before the last class (Tues, July 10).
Robert Schumann, Carnaval
This piece is actually only discussed in the seventh edition, on p. 269 - in the eighth he switches over to something else. I want to keep it on our list, though. No need to track down Craig Wright's discussion if you don't have it, our class notes should be sufficient to study off of.
Chopin, Nocturne in E-flat major, Op. 9 No. 2
This piece is discussed on pp. 279-281 in the eighth edition, 270-271 in the seventh. A "Nocturne" is supposed to be a night-time chillout piece.
In this session we looked at some of the "greatest hits" from opera's most important era.
We started with the "Largo al factotum" from Rossini's Barber of Seville 
...and then we watched two scenes from Verdi's La Traviata 
For our last "mainstream" Romantic opera we heard the famous Habanera from Bizet's Carmen.
Then we turned to German composer Richard Wagner, and looked at how he pushes music to extremes in the latter half of the Romantic period.
We saw the Ride of the Valkyries, an example of his loud and bombastic side.
We saw the beginning of Das Rheingold, as an example of his penchant for music that moves in extreme slow motion.
and finally we listened to the Prelude from Tristan und Isolde, which shows how he could create very complex music with a sense of constant flux. Some might argue that this is the ultimate Romantic piece.
None of this is on Quiz 3 or 4, but we needed to cover it. :)
Larry David's Wagner Bit
This is apparently from the Season 2 Episode 3 of "Curb Your Enthusiasm," where Larry David plays with the taboo against Wagner in his usual subtle and sensitive way.