|Class 13||Monday, July 09|
Heh, so we kind of ran out of time at the very end! I have one announcement that I shoehorned in there and one that I didn't.
For quiz four, the very last piece on the list (by Aaron Copland) is off the table. It won't be on the quiz and it is blocked from showing up in the practice test.
Also, in general, homework exercises will remain active on the website for 24 hours after the last class. If you do it late it will still only be eligible for the check, but at least you'll have an option to fill it in or maybe try a redo. (That said, homeworks 15-16 have bits that are relevant for the test and homework 17 is of course a full-blown practice round, so you want to try and fit it all in.)
Quiz Four News
Our last class and our last quiz will be on Tuesday, July 10. (Then we'll hit all of our remaining presentations, hopefully only 4 or 5 of them.)
The study guide and complete notes are now gathered together on our documents page. Here are the playlists:
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).
Assignment #16: Avant-Garde Classical Music
This used to be our very last lecture in class, and I've spun it off into cyberspace. It works pretty well as an online unit because (by definition) avant-garde music doesn't really rely on what came before. Thus, you can do this at any time, no need to wait.
Due before the last class (Tues, July 10). I would recommend budgeting some time for this - remember that it really is an hour's worth of stuff in real life.
Assignment #17: Quiz Four Preview
All right, this is the last one! Assignment #17 gives you a randomized selection of real questions that may appear on Quiz Four.
Due before the last class (Tues, July 10).
Modern Classical Music I
This session is devoted to some relatively "mainstream" Modern composers who remained somewhat connected to the past as they worked on their own unique styles. I've spun off some more radical, avant-garde composers in an online unit with accompanying homework exercise.
You can read about the Modern period in general on pp. 352-355 in the eighth edition, 331-335 in the seventh.
First, though, we have to backtrack a bit and talk about "Impressionism." You could read about this on pp. 337-345 in the 8th edition, 319-325 in the 7th.
Our quiz piece will be this Debussy Prélude. Here's a live youtube:
...and a studio recording by the great Maurizio Pollini
Craig Wright discusses Stravinsky on pp. 355-362 in the eighth edition, 337-343 in the seventh.
We started our discussion of Stravinsky by peeking at The Firebird, his first work with the Ballets Russes. This production by the Bolshoi Ballet is kind of silly and fun.
For the quiz, however, we are going to focus on The Rite of Spring, specifically the first 10 minutes or so. (Even more specifically, we will cover the same parts that Craig Wright discusses in the book.)
Here is video of the part I want you to study:
Using Spotify etc is a bit awkward because the part we want spans three different tracks. I would suggest you use the Modern Classical Playlist to get the specific tracks we need, or you can follow these album links to get the whole thing:
Finally, I played a bit of the Dumbarton Oaks Concerto to show the more mellow, "Neoclassical" Stravinsky that emerged later.
Bartók is a Hungarian composer who intregrated the traditional music of his homeland into modernist music. I'm not sure exactly how much of his stuff I'm going to do in class.
We'll probably watch the twisty, high-energy finale to his Fourth String Quartet
Finally, we'll turn to the dean of American composers, Aaron Copland.
He is discussed on pp. 375-379 in the eighth edition, 362-366 in the seventh.
First we'll sample his Concerto for Clarinet, Strings and Harp, to show him blending a Stravinsky-like Modernist style with a jazz influence.
And here is his "American" style, in Appalachian Spring. Quiz piece!
We always run out of time in this session, but you really could stand to know about Charles Ives. You could read pp. 370-1 in the eighth edition, pp. 360-361 in the seventh. He's not on the quiz but he's great.
Here's one of his wild collages of American music, from Three Places in New England.
And here is the hauntingly beautiful Unanswered Question.