|Class 21||ETR: Tuesday, November 13 at 2:30|
FTR: Tuesday, November 13 at 4:10
Weather News 11/15
Class is on and so is the test. Please come if you can, email if you cannot. I understand that this is a challenging day and for some of us we'll have to make alternate arrangements, but lets try to get as much done as possible.
Quiz Three News
We have dates for our remaining two quizzes. Quiz 3 will be on Thursday, Nov 15. Complete notes and the study guide are now up.
Quiz 4 will be on our penultimate (second-to-last) class, Thursday, Dec 6.
Assignment #15: Mussorgsky's Pictures at an Exhibition
Here is another little online lecture based on something I used to do in class. First, read our special page about Mussorgsky (or watch the video lecture at the top.) Then Assignment 15 asks you questions about it.
This one is due before our Romantic-period quiz (Thurs, Nov 15).
Assignment #16: Quiz Three Preview
As one might expect this is due before the quiz on Thursday, Nov 15 (= Class 22).
In this session we will look at some of the "greatest hits" from opera's most important era. This is all non-quiz material.
We usually start with the "Largo al factotum" from Rossini's Barber of Seville 
...and then we watch two scenes from Verdi's La Traviata 
For our last "mainstream" Romantic opera we hear is the famous Habanera from Bizet's Carmen.
Then we turn to German composer Richard Wagner, and look at how he pushes music to extremes in the latter half of the Romantic period.
We see the Ride of the Valkyries, an example of his loud and bombastic side.
We see the beginning of Das Rheingold, as an example of his penchant for music that moves in extreme slow motion.
and finally we listen 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 opera stuff is on Quiz 3 or 4, but we need 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.