WEBVTT 00:01.630 --> 00:02.210 Prof: Okay. 00:02.213 --> 00:03.383 Good morning, ladies and gentlemen. 00:03.380 --> 00:06.740 My name is Craig Wright and this is "Listening to 00:06.736 --> 00:10.276 Music," the most basic course that the Department of 00:10.283 --> 00:11.743 Music has to offer. 00:11.740 --> 00:14.660 Its aim is to teach you how to listen to music. 00:14.660 --> 00:16.430 "Wait a minute," you say. 00:16.430 --> 00:17.990 "That's preposterous. 00:17.990 --> 00:20.170 I listen to music all the time. 00:20.170 --> 00:23.590 I've got, what, my iPod, I'm downloading mp3 00:23.593 --> 00:26.463 files, continually swapping files. 00:26.460 --> 00:29.140 I've got my car..." 00:29.140 --> 00:31.750 (What do we call those things in the automobile where you-- 00:31.750 --> 00:34.880 Is it a DAT tape that you can take your iPod and plug it in to 00:34.880 --> 00:37.140 the-- your--the stereo system in your 00:37.141 --> 00:37.511 car?) 00:37.510 --> 00:38.180 "I've got that. 00:38.184 --> 00:39.844 I listen to music in my dorm room off my computer, 00:39.837 --> 00:40.847 in the bookstore, wherever. 00:40.850 --> 00:44.380 I bet I listen to a lot more music than you do, 00:44.378 --> 00:45.988 you old goat." 00:45.990 --> 00:47.630 And you're right. 00:47.630 --> 00:49.140 You probably do. 00:49.140 --> 00:52.710 But what kind of music are you listening to? 00:52.710 --> 00:55.040 Well, probably pop music and that's fine; 00:55.040 --> 00:56.210 that's okay, fair enough, 00:56.206 --> 00:56.786 pop music. 00:56.790 --> 01:00.550 But are you getting the most out of this particular 01:00.551 --> 01:01.531 experience? 01:01.530 --> 01:06.450 Are you getting the most out of your listening experience? 01:06.450 --> 01:10.750 I contend that perhaps you are not, that you are not maximizing 01:10.754 --> 01:13.814 the time, using that time most profitably. 01:13.810 --> 01:16.460 How do I know this? 01:16.459 --> 01:20.009 What makes me think that you are not getting as much as you 01:20.010 --> 01:22.030 possibly can out of your music? 01:22.030 --> 01:24.190 Well, experience, to some degree, 01:24.188 --> 01:27.828 but also an experiment that I did just last weekend. 01:27.830 --> 01:29.040 I have four children. 01:29.040 --> 01:33.070 The last of the four has now turned seventeen so I said last 01:33.068 --> 01:35.458 weekend-- he's always with the iPod 01:35.459 --> 01:37.699 on--"Chris, what are you listening to?" 01:37.700 --> 01:39.020 "Go away. 01:39.019 --> 01:40.499 You're bothering me." Okay. 01:40.500 --> 01:42.000 "You're ruining my life again." 01:42.000 --> 01:44.100 So > 01:44.099 --> 01:44.869 "Well now, come on. 01:44.867 --> 01:45.667 Let me listen to this. 01:45.670 --> 01:46.170 Let me listen to it. 01:46.170 --> 01:47.150 What are you listening to?" 01:47.150 --> 01:48.530 So I listened to it and I said, "All right. 01:48.530 --> 01:50.940 Here, you listen to this and tell me what you're 01:50.938 --> 01:51.758 hearing." 01:51.760 --> 01:53.440 And what did--what was he tracking? 01:53.440 --> 01:57.240 He was tracking the text; he was tracking the beat of the 01:57.242 --> 01:57.812 piece. 01:57.810 --> 01:59.830 I asked him, "Well, what's the mode of 01:59.831 --> 02:00.411 the piece? 02:00.409 --> 02:02.699 What's the meter of the piece? 02:02.700 --> 02:03.790 What's the bass doing? 02:03.790 --> 02:05.250 Can you follow the bass line there? 02:05.250 --> 02:08.670 Can you identify any chords in this particular piece?" 02:08.669 --> 02:09.999 Nothing. Zero. 02:10.000 --> 02:13.720 And this from a reasonably sophisticated kid who's had 02:13.715 --> 02:16.585 twelve years of serious cello lessons, 02:16.590 --> 02:19.690 and that brings up, I suppose, a point: 02:19.685 --> 02:24.645 that although I don't know much about your music I think I can 02:24.653 --> 02:28.813 teach you a great deal about your music by using the 02:28.807 --> 02:31.657 paradigms of classical music. 02:31.658 --> 02:34.498 So I'm going to tell you a lot about classical music in here: 02:34.498 --> 02:35.728 Mozart, Bach, Beethoven. 02:35.729 --> 02:38.889 It will be the locus of our course. 02:38.889 --> 02:41.779 How many of you already listen to classical music? 02:41.780 --> 02:42.580 Raise your hand. 02:42.580 --> 02:43.230 Okay. Great. 02:43.229 --> 02:45.209 A lot of you and that's wonderful. 02:45.210 --> 02:47.310 I'd be interested to know, gentleman down here, 02:47.310 --> 02:48.270 how do you do this? 02:48.270 --> 02:50.690 Is it streaming off of your computer? 02:50.690 --> 02:54.010 Are you downloading mp3 files and saving them? 02:54.009 --> 02:55.719 How--Tell me. How do you do it? 02:55.720 --> 02:57.080 Student: I just go to YouTube. 02:57.080 --> 02:58.130 Prof: You go to YouTube. 02:58.127 --> 02:58.497 All right. 02:58.500 --> 02:59.520 Very interesting. 02:59.520 --> 03:00.900 I should have known that but I didn't. 03:00.900 --> 03:02.450 You go to YouTube and you listen there. 03:02.449 --> 03:05.879 Anybody else do it a different way? 03:05.875 --> 03:06.475 Yes? 03:06.479 --> 03:07.259 Student: On the radio. 03:07.259 --> 03:08.719 Prof: On the radio. Okay. 03:08.719 --> 03:09.709 That's interesting. 03:09.710 --> 03:11.390 We'll come back to that point. 03:11.389 --> 03:12.689 Anything else, anybody? 03:12.688 --> 03:12.848 Yes? 03:12.846 --> 03:14.566 Student: My parents' CDs or records. 03:14.568 --> 03:15.278 Prof: Okay. 03:15.275 --> 03:16.445 Your parents' CDs or records. 03:16.449 --> 03:17.379 That's wonderful. 03:17.378 --> 03:21.188 They have sort of the old technology here but some of 03:21.186 --> 03:24.696 those old recordings might be very, very good. 03:24.699 --> 03:26.319 Now here is a question for you. 03:26.318 --> 03:29.678 Why would we want to listen to classical music? 03:29.680 --> 03:32.530 Why do--why--who just answered a question for me, 03:32.525 --> 03:34.595 those folks who raised your hand? 03:34.599 --> 03:36.319 What--gentleman here again. 03:36.318 --> 03:38.508 I'll--you're my sacrificial lamb this morning. 03:38.508 --> 03:41.768 Why do you like to listen and why would you want to listen to 03:41.770 --> 03:42.750 classical music? 03:42.750 --> 03:44.170 Student: It relaxes me. 03:44.169 --> 03:45.229 Prof: Okay. 03:45.229 --> 03:46.289 Very interesting. 03:46.288 --> 03:50.828 National Public Radio asked exactly this question in a 03:50.829 --> 03:55.879 survey a year or so ago and they got the following principal 03:55.882 --> 03:57.512 responses back. 03:57.508 --> 03:58.868 Why do people listen to classical music? 03:58.870 --> 04:02.340 One, it helps them relax and relieve stress, 04:02.344 --> 04:05.744 so this is perhaps the principal reason. 04:05.740 --> 04:09.970 Two, it helps us center the mind, allowing the listener to 04:09.969 --> 04:11.009 concentrate. 04:11.008 --> 04:15.908 Three, classical music provides a vision of a better world, 04:15.908 --> 04:21.278 a refuge of beauty, of majesty, perhaps of even-- 04:21.278 --> 04:24.568 of love--and sometimes, at least for me personally, 04:24.569 --> 04:27.639 it suggests that there might be something out there, 04:27.639 --> 04:31.729 God or whatever, bigger than ourselves, 04:31.730 --> 04:36.240 and it asks us to think sometimes, think about things. 04:36.240 --> 04:39.740 That's what I think these great fine arts do, 04:39.735 --> 04:42.435 great literature, poetry, painting, 04:42.435 --> 04:43.225 music. 04:43.230 --> 04:47.730 They show what human beings can be, the capacity of the human 04:47.725 --> 04:48.395 spirit. 04:48.399 --> 04:51.859 They suggest to us as indicated maybe there is something, 04:51.858 --> 04:55.498 a larger spirit out there than ourselves, and they get us to 04:55.502 --> 04:56.122 think. 04:56.120 --> 04:59.470 They get me to think frequently about what I'm doing on this 04:59.466 --> 04:59.916 earth. 04:59.920 --> 05:02.460 What are you doing on this earth? 05:02.459 --> 05:03.899 > 05:03.898 --> 05:05.138 Don't answer that. 05:05.139 --> 05:08.509 What am I doing on this earth with regard to this particular 05:08.505 --> 05:09.015 course? 05:09.019 --> 05:12.199 What am I trying to accomplish in here? 05:12.199 --> 05:15.989 Well, maybe two things. 05:15.990 --> 05:21.270 One, change your personality. 05:21.269 --> 05:23.709 I want to make you a richer person, 05:23.709 --> 05:28.129 a broader person, by instilling you with an 05:28.127 --> 05:33.487 unending deep and abiding understanding of classical 05:33.492 --> 05:35.982 music, so that's part of this, 05:35.978 --> 05:39.268 and not just here for Yale but for your life after Yale. 05:39.269 --> 05:44.129 I would hope that how you lead your life ten years from now, 05:44.129 --> 05:45.819 twenty years from now, thirty years from now, 05:45.819 --> 05:49.829 would have been significantly influenced by this particular 05:49.831 --> 05:51.771 experience in this course. 05:51.769 --> 05:54.559 And secondly, if I'm successful in my 05:54.557 --> 05:58.427 teaching I will accomplish this second aim here. 05:58.430 --> 06:02.210 I will impart to you a love of classical music. 06:02.209 --> 06:06.269 You, through, later on after Yale, 06:06.269 --> 06:10.209 your attendance at concerts, buying of one fashion or 06:10.206 --> 06:12.096 another, downloading mp3 files, 06:12.096 --> 06:13.916 iTunes or whatever it happens to be, 06:13.920 --> 06:16.560 maybe being members of your local symphony board, 06:16.560 --> 06:17.970 opera company, something like that, 06:17.970 --> 06:20.650 maybe giving music lessons to your children, 06:20.649 --> 06:25.549 you will become the purveyors of classical music thereafter. 06:25.550 --> 06:27.960 You, the intelligentsia of the next generation, 06:27.959 --> 06:33.189 will be those that preserve this great treasure of Western 06:33.185 --> 06:38.315 culture and it is a great treasure of Western culture. 06:38.319 --> 06:38.519 Okay. 06:38.524 --> 06:40.004 How are we going to do all of this? 06:40.000 --> 06:43.680 How are we going to accomplish these two things on our list of 06:43.675 --> 06:44.515 agenda here? 06:44.519 --> 06:46.919 What are the mechanics of the course? 06:46.920 --> 06:48.310 Did you all get a syllabus? 06:48.310 --> 06:53.570 Everybody's got a syllabus? 06:53.569 --> 06:57.359 The first three or four weeks or so we'll be following the 06:57.363 --> 07:00.633 elements of music: rhythm, melody and harmony--and 07:00.625 --> 07:01.685 then a test. 07:01.689 --> 07:05.759 Next we will deal with what's the--arguably--the single most 07:05.762 --> 07:09.902 important thing when we listen to any piece of music and that 07:09.903 --> 07:11.563 is its musical form. 07:11.560 --> 07:13.200 Here is a question for you. 07:13.199 --> 07:16.149 I was thinking about this the other day as I was preparing the 07:16.151 --> 07:17.121 lecture for today. 07:17.120 --> 07:21.570 What's the most common type of musical form in pop music? 07:21.569 --> 07:26.639 When you listen to pop music do you ever think about the form of 07:26.642 --> 07:27.612 the music? 07:27.610 --> 07:33.690 Can anybody name a form of pop music, any one form? 07:33.690 --> 07:36.370 Well, maybe verse and chorus? 07:36.370 --> 07:37.290 Think about that. 07:37.290 --> 07:39.700 That shows up in a lot of stuff and we'll come back to that. 07:39.699 --> 07:42.759 We'll talk about verse and chorus when we get to the issue 07:42.762 --> 07:43.302 of form. 07:43.300 --> 07:47.610 And then toward the end of the course we will turn to the 07:47.613 --> 07:49.773 question of musical style. 07:49.769 --> 07:53.549 How does a piece of pop music differ from a piece of classical 07:53.553 --> 07:54.053 music? 07:54.050 --> 07:57.310 We sort of all know this intuitively but can we 07:57.305 --> 07:58.505 articulate why? 07:58.509 --> 08:01.749 This particular difference about musical style was driven 08:01.754 --> 08:03.324 home to me the other day. 08:03.319 --> 08:04.399 It was last Friday. 08:04.399 --> 08:08.779 I was walking across the campus--maybe you saw this too, 08:08.779 --> 08:11.009 corner of Elm and College. 08:11.009 --> 08:13.759 There was a large flatbed truck out there and there were these 08:13.764 --> 08:15.394 people on this truck getting you-- 08:15.389 --> 08:17.539 trying to sell you audio equipment, 08:17.540 --> 08:20.530 and they had a big banner up there. 08:20.528 --> 08:23.108 It said "Pump Up Your Room." 08:23.110 --> 08:24.750 Okay? 08:24.750 --> 08:28.380 So then to encourage you to "pump up your room" 08:28.379 --> 08:32.339 they had music playing and this is the kind of music that they 08:32.335 --> 08:34.275 had on that flatbed truck. 08:34.279 --> 08:37.559 08:37.559 --> 08:47.249 > 08:47.250 --> 08:47.540 Okay. 08:47.537 --> 08:50.407 I'm feeling very pumped up at that particular point 08:50.408 --> 08:51.958 > 08:51.960 --> 08:54.210 and my cell phone rings. 08:54.210 --> 08:56.540 Okay. My--This is true. 08:56.538 --> 09:01.118 My cell phone rings and because one has the capacity nowadays to 09:01.116 --> 09:03.656 select your own ring tone--right? 09:03.658 --> 09:07.828 I have mine selected not to that sound but to Mozart, 09:07.825 --> 09:10.945 so I hear this sound on my telephone. 09:10.950 --> 09:14.260 09:14.259 --> 09:17.239 And it will give us a sense of the difference in style between 09:17.244 --> 09:18.814 pop music and classical music. 09:18.808 --> 09:22.208 How does this, what we're about to hear, 09:22.214 --> 09:23.004 differ? 09:23.000 --> 09:24.690 Can you give me, say, three or four reasons why 09:24.691 --> 09:26.861 what we're about to hear differs from what we just heard? 09:26.860 --> 09:36.590 > 09:36.594 --> 09:38.944 Mozart. 09:38.943 --> 09:49.353 > 09:49.350 --> 09:50.210 Can anyone tell me? 09:50.210 --> 09:53.230 What's the difference between these two? 09:53.230 --> 09:56.330 What's the--what did the pop piece have? 09:56.330 --> 09:57.870 That's Rave 'Til Dawn. 09:57.870 --> 09:59.520 That's my--I own that album, I'll have you know, 09:59.524 --> 10:00.374 Rave 'Til Dawn. 10:00.370 --> 10:01.870 Gentleman back here. 10:01.870 --> 10:05.090 Student: In classical music there's much more 10:05.090 --> 10:06.480 attention to detail. 10:06.480 --> 10:09.150 Prof: Yes, that's probably true as a 10:09.154 --> 10:11.644 general observation, whether it comes through 10:11.635 --> 10:14.635 clearly on these two-- this comparison--I'm not quite 10:14.642 --> 10:16.832 so sure, but there--I wouldn't say 10:16.830 --> 10:19.790 there's a great deal of detail in the first one. 10:19.789 --> 10:21.089 There's a lot of repetition. 10:21.090 --> 10:24.520 That's where I--once that gets going, it goes for a long period 10:24.517 --> 10:25.067 of time. 10:25.070 --> 10:26.170 Anything else? 10:26.169 --> 10:26.619 Yes? 10:26.620 --> 10:27.270 Student: A melody? 10:27.269 --> 10:28.289 Prof: Oh, melody. 10:28.294 --> 10:29.504 Which one had the melody? 10:29.500 --> 10:30.530 Student: The classical music. 10:30.528 --> 10:32.028 Prof: Yeah. 10:32.028 --> 10:33.858 > 10:33.860 --> 10:35.660 The first I couldn't pick out any melody at all. 10:35.659 --> 10:39.229 It was all what? 10:39.230 --> 10:40.510 Rhythm and beat. 10:40.509 --> 10:41.459 Okay? 10:41.460 --> 10:43.460 So repetitious, rhythm, beats, 10:43.462 --> 10:45.192 strong pulsation to it. 10:45.190 --> 10:47.010 What was making that sound? 10:47.009 --> 10:49.929 What were the instruments playing in the-- 10:49.929 --> 10:50.449 Student: Violins. 10:50.450 --> 10:53.320 Prof: Okay, in the Mozart there were 10:53.320 --> 10:56.530 violins, so acoustical instruments as opposed to 10:56.530 --> 10:59.880 synthetic sound with regard to the pop music. 10:59.879 --> 11:02.869 So what we will be doing is differentiating pop from 11:02.868 --> 11:05.798 classical and also differentiating within styles of 11:05.798 --> 11:06.968 classical music. 11:06.970 --> 11:09.600 You're driving down the road, you ... 11:09.600 --> 11:11.890 who is the FM listener? 11:11.889 --> 11:12.589 Over there ... 11:12.590 --> 11:15.600 You turn on your radio, your car radio, 11:15.595 --> 11:19.465 to your FM classical music station and what number 11:19.470 --> 11:22.160 approximately would you go to? 11:22.159 --> 11:25.149 Student: In New Haven? 11:25.149 --> 11:26.969 Prof: Yeah, okay, or anywhere, 11:26.966 --> 11:28.376 your hometown, but just-- 11:28.379 --> 11:29.709 Student: All right. 98.7. 11:29.710 --> 11:31.200 Prof: Okay. 98. 11:31.200 --> 11:32.490 That's pretty high. 11:32.490 --> 11:33.710 What town is that? 11:33.710 --> 11:34.010 Do you know? 11:34.010 --> 11:34.640 Student: Chicago. 11:34.639 --> 11:35.109 Prof: Oh, that's Chicago. 11:35.110 --> 11:38.470 Well, they're Elevated people in Chicago I'm sure. 11:38.470 --> 11:39.700 > 11:39.700 --> 11:42.930 Normally, where you go is all the way down in the low numbers. 11:42.928 --> 11:46.398 Particularly, here in Connecticut it's 11:46.397 --> 11:47.987 89.5,90.1,90.5. 11:47.990 --> 11:50.820 My favorite is 91.5 (WMRN). 11:50.820 --> 11:53.060 Generally speaking, when you want to find classical 11:53.056 --> 11:55.736 music you go to the left of your FM dial and fish around down 11:55.740 --> 11:57.530 there in your National Public Radio. 11:57.529 --> 11:58.399 Okay? 11:58.399 --> 11:59.939 So that's how we do it, but you got your car radio 11:59.937 --> 12:00.187 going. 12:00.190 --> 12:01.840 The music comes on. 12:01.840 --> 12:03.530 Is it baroque or romantic? 12:03.529 --> 12:04.949 Is it medieval or modern? 12:04.950 --> 12:06.300 Is it Bach or is it Beethoven? 12:06.298 --> 12:09.478 Well, those sorts of answers, those sorts of issues, 12:09.480 --> 12:12.360 are the sorts of things that we'll get to when we come to the 12:12.355 --> 12:15.085 question of musical style toward the end of the course. 12:15.090 --> 12:15.890 Okay. 12:15.889 --> 12:17.139 Materials. 12:17.139 --> 12:18.579 Textbook. 12:18.580 --> 12:20.180 Here is the textbook. 12:20.178 --> 12:23.938 It is my own textbook, Listening to Music, 12:23.936 --> 12:26.046 now in the fifth edition. 12:26.049 --> 12:28.999 I'm very proud of it. 12:29.000 --> 12:32.160 Actually, it's used all across the United States and used 12:32.158 --> 12:34.808 across the world, about to come out in a Chinese 12:34.811 --> 12:36.561 edition for heaven's sakes. 12:36.559 --> 12:40.029 What was it? 12:40.029 --> 12:42.109 It was simply my lecture notes from this particular course that 12:42.110 --> 12:43.520 I've been teaching here for a long time. 12:43.519 --> 12:45.619 I had these lecture notes; I had all of these listening 12:45.621 --> 12:47.431 exercises; I basically just put it in a 12:47.429 --> 12:47.919 textbook. 12:47.918 --> 12:50.978 So this is all material for Yale students, 12:50.977 --> 12:55.227 Yale--material designed here at Yale for Yale students. 12:55.230 --> 12:58.430 At the back of the book--I think I took mine out but at the 12:58.426 --> 13:01.566 back of the book you will see wrapped with it an intro CD, 13:01.567 --> 13:02.667 introductory CD. 13:02.668 --> 13:05.478 You might be interested to know that a lot of the material there 13:05.475 --> 13:07.385 actually recorded by Yale undergraduates. 13:07.389 --> 13:08.669 We paid them for it. 13:08.668 --> 13:11.988 We paid people across the street at the School of Music 13:11.990 --> 13:15.620 but this again is kind of native local Yale produce here. 13:15.620 --> 13:19.360 So we have to--We get the textbook and then with the 13:19.363 --> 13:23.623 textbook we recommend getting access to this six-CD set. 13:23.620 --> 13:28.250 This material will be necessary to do the listening exercises 13:28.251 --> 13:31.651 for the course, which is sort of the backbone 13:31.649 --> 13:33.039 of the course. 13:33.038 --> 13:35.918 There are a couple of copies of this on reserve in the music 13:35.923 --> 13:38.423 library and you can go over there inside of Sterling 13:38.417 --> 13:41.397 Memorial Library and do the listening there if you want, 13:41.399 --> 13:43.829 but one way or another you've got to get a hold of this. 13:43.830 --> 13:47.680 If you decide to buy it, it has one particular virtue 13:47.676 --> 13:52.116 and that is you end up with an excellent library of classical 13:52.115 --> 13:55.365 music that will last you for a lifetime. 13:55.370 --> 13:59.470 Years after the fact, I get e-mail from--e-mails from 13:59.471 --> 14:00.341 students. 14:00.340 --> 14:03.630 Nowadays they usually begin, "Hey, Professor" 14:03.629 --> 14:05.339 or "Yo, Professor," 14:05.336 --> 14:06.796 something like this. 14:06.798 --> 14:11.478 "I lost CD four to my six-CD set. 14:11.480 --> 14:13.330 Can you get me a replacement?" 14:13.330 --> 14:16.300 Yes, I can, and I do send them a replacement, 14:16.297 --> 14:19.397 not too hard to do, send them a replacement. 14:19.399 --> 14:22.549 So if you get the CD set, not only do you get a wonderful 14:22.547 --> 14:25.857 beginning library of classical music but in effect you get a 14:25.864 --> 14:28.004 lifetime service contract with it. 14:28.000 --> 14:29.960 > 14:29.960 --> 14:32.410 Okay. 14:32.409 --> 14:33.309 Requirements. 14:33.308 --> 14:34.568 You can see this on the sheets too. 14:34.570 --> 14:36.220 You've got a couple of tests here. 14:36.220 --> 14:38.320 We have to write a short music paper. 14:38.320 --> 14:40.650 We're all going to go to a concert. 14:40.649 --> 14:43.919 I think this year we're going to go hear the Saybrook Youth 14:43.922 --> 14:44.602 Orchestra. 14:44.600 --> 14:48.320 And I put on the sheet this year--I think I'm going to try 14:48.322 --> 14:51.462 to count five percent for class participation. 14:51.460 --> 14:54.280 We will be taking attendance in the lecture. 14:54.279 --> 14:55.619 Yeah, I know. It's babyish. 14:55.620 --> 14:58.220 I'm sorry, but I take this very seriously. 14:58.220 --> 14:58.840 I really do. 14:58.840 --> 15:04.290 It's my lifeblood and I want you to take this seriously too. 15:04.289 --> 15:05.809 I want you to come to class. 15:05.808 --> 15:09.398 I want you to come to lectures, so we have the two lectures 15:09.399 --> 15:11.379 each week that you'll come to. 15:11.379 --> 15:14.129 Sections are also mandatory. 15:14.129 --> 15:18.129 We have three wonderful specially selected TAs in here. 15:18.129 --> 15:20.079 I'll introduce you to them next time. 15:20.080 --> 15:22.520 So come to two lectures, one section, 15:22.520 --> 15:24.420 and do the work regularly. 15:24.419 --> 15:25.759 Now, sections. 15:25.759 --> 15:28.709 They start on Thursday and go through a Monday cycle. 15:28.710 --> 15:30.500 They do not start tonight. 15:30.500 --> 15:32.760 They start next Thursday in the cycle. 15:32.759 --> 15:36.069 You can go online and sign up there but you're still shopping 15:36.073 --> 15:38.343 so we're not starting sections tonight. 15:38.340 --> 15:41.450 You may not--may or may not be taking this course. 15:41.450 --> 15:45.250 Do the assignments, these listening exercises, 15:45.254 --> 15:46.104 on time. 15:46.100 --> 15:51.420 Music is an aurally perceived phenomenon. 15:51.418 --> 15:56.288 You can't cram information about music, 15:56.288 --> 15:59.608 the sound of music, into your head the night before 15:59.606 --> 16:03.586 a test the way you might be able to in an English course or a 16:03.589 --> 16:04.849 history course. 16:04.850 --> 16:09.510 The way we hear music, the way our mind processes 16:09.505 --> 16:12.255 music, is very, very different from 16:12.260 --> 16:17.460 this other kind of information, very different from history or 16:17.457 --> 16:18.547 economics. 16:18.548 --> 16:21.708 To make this point, let me see if we can get my 16:21.708 --> 16:23.958 helper here, technical person, 16:23.962 --> 16:28.612 to bring up a slide for me, and my question to you is--as 16:28.614 --> 16:32.534 this slide comes up-- is the following: 16:32.527 --> 16:38.197 where in the brain is music processed primarily? 16:38.200 --> 16:41.170 Where do we process--Anybody know the answer to that? 16:41.168 --> 16:44.488 Anybody who take psychology courses, neurobiological 16:44.489 --> 16:45.139 courses? 16:45.139 --> 16:46.149 Yes, young lady out here. 16:46.149 --> 16:47.149 Do you have a sense of that? 16:47.149 --> 16:49.629 Student: I think it's the left side-- 16:49.629 --> 16:50.679 Prof: The left side of the brain. 16:50.678 --> 16:53.158 That sounds like, well, maybe the old creativity 16:53.163 --> 16:53.643 theory. 16:53.639 --> 16:55.739 Could we--And that's possible. 16:55.740 --> 16:59.100 In a way it's correct. 16:59.100 --> 17:02.100 Anything more specific? 17:02.100 --> 17:02.960 All right. Here's our brain. 17:02.960 --> 17:04.650 We took this off of the internet. 17:04.650 --> 17:05.450 All right? 17:05.450 --> 17:08.110 That's why it's all in French, because it's not copyrighted, 17:08.105 --> 17:10.805 and we have to be careful with that in here with these camera 17:10.805 --> 17:12.105 rolling--cameras rolling. 17:16.376 --> 17:17.006 there. 17:17.009 --> 17:19.819 It just means the brainstem and the cerebellum and then the 17:19.819 --> 17:21.319 temporal lobe, the frontal lobe, 17:21.323 --> 17:23.313 the parietal and the occipital lobes. 17:23.308 --> 17:25.728 Now where is music and language processed? 17:25.730 --> 17:26.450 Anybody? 17:26.450 --> 17:27.870 And there is--Is somebody raising their hand? 17:27.868 --> 17:31.318 Student: Well, the temporal lobe is where your 17:31.320 --> 17:32.450 hearing occurs. 17:32.450 --> 17:35.060 Prof: Yes, the temporal lobe is where your 17:35.059 --> 17:36.039 hearing goes on. 17:36.038 --> 17:38.438 It doesn't matter whether you're hearing language or 17:38.440 --> 17:39.900 whether you're hearing music. 17:39.900 --> 17:45.080 This sort of processing happens in the primary auditory cortex, 17:45.082 --> 17:48.762 both left and right, of the temporal lobe. 17:48.759 --> 17:53.149 Let's say I had to remember to play something at the keyboard. 17:53.150 --> 17:55.560 Well, there I might be factoring in the frontal lobe 17:55.559 --> 17:58.399 because much of the short-term memory in particular is in the 17:58.395 --> 17:59.195 frontal lobe. 17:59.200 --> 18:05.630 Let's say I went to play a piece < 18:08.060 playing>> 18:08.059 --> 18:09.039 Now I didn't think about that. 18:09.038 --> 18:11.598 Actually, a minute ago I didn't even know what I was going to 18:11.597 --> 18:12.747 play but I remember that. 18:12.750 --> 18:14.690 Am I thinking back there, "Well, it starts in C and 18:14.692 --> 18:16.462 that's got an E up there and it's got a G"? 18:16.460 --> 18:17.390 No. 18:17.390 --> 18:18.910 It's like athletes. 18:18.910 --> 18:22.010 It's muscle memory. 18:22.009 --> 18:23.999 You do that eight billion times in your life and you can hit a 18:23.996 --> 18:24.806 good top spin backhand. 18:24.808 --> 18:28.478 It's muscle memory and that happens in the--that's mostly in 18:28.483 --> 18:29.733 the parietal lobe. 18:29.730 --> 18:33.200 Here I've got to scroll up here if I'm looking and then I've got 18:33.204 --> 18:34.754 the visual cortex engaged. 18:34.750 --> 18:36.400 So doing music, if I'm sight reading, 18:36.400 --> 18:38.480 playing, it's a very complex thing, 18:38.480 --> 18:45.080 but most of the--most of this music and language processing 18:45.083 --> 18:50.083 happens in these-- the--as I mentioned--the left 18:50.083 --> 18:52.623 and right auditory cortex. 18:52.618 --> 18:55.488 Therefore--Where am I going with all this? 18:55.490 --> 18:59.250 Therefore, the pedagogical techniques that we use in 18:59.246 --> 19:03.076 teaching "Listening to Music" are virtually 19:03.075 --> 19:07.195 identical to those that we use in teaching language. 19:07.200 --> 19:09.590 There is a great deal of similarity here because it's 19:09.586 --> 19:10.686 just processing sound. 19:10.690 --> 19:13.540 This was a point--I was listening to some National 19:13.537 --> 19:15.627 Public Radio thing the other day-- 19:15.630 --> 19:21.780 and listening to something that had a psychologist talking about 19:21.780 --> 19:25.980 the correlation between sound and music, 19:25.980 --> 19:27.110 and he said it was something about-- 19:27.108 --> 19:29.008 he said music is sometimes very strange, 19:29.009 --> 19:33.159 sometimes very strange, sometimes very strange, 19:33.160 --> 19:36.540 > 19:36.538 --> 19:39.898 , and that sort of brought home to me the text is irrelevant, 19:39.900 --> 19:43.260 the idea that music really is sound and that language is just 19:43.259 --> 19:43.819 sound. 19:43.818 --> 19:47.218 There's a very thin line between the two and we therefore 19:47.215 --> 19:50.975 use the same pedagogical methods in the sense that we've got to 19:50.976 --> 19:52.246 do the following. 19:52.250 --> 19:55.610 If you ever read the course descriptions of French 115 or 19:55.608 --> 19:57.818 Chinese language, basic intro to Chinese, 19:57.823 --> 19:59.633 they say--I think I wrote it down here, 19:59.630 --> 20:02.380 this process of gradual assimilation. 20:02.380 --> 20:03.040 Yes. 20:03.038 --> 20:06.798 Daily participation in language labs required. 20:06.799 --> 20:09.059 So daily is the key thing here. 20:09.058 --> 20:11.398 You've got to do this gradual assimilation. 20:11.400 --> 20:14.180 So learning to listen to music is just like listening to 20:14.182 --> 20:14.742 language. 20:14.740 --> 20:16.540 We've got to do a little bit every day. 20:16.538 --> 20:19.928 You've got to turn in these listening exercises in a regular 20:19.930 --> 20:21.540 fashion and come to class. 20:21.539 --> 20:22.979 This is a beginning course. 20:22.980 --> 20:26.180 I assume that you know nothing, starting from ground zero here 20:26.183 --> 20:27.133 and build it up. 20:27.130 --> 20:27.990 All right. 20:27.986 --> 20:30.896 I've talked--I've droned on here. 20:30.900 --> 20:34.270 Let me ask you if you have questions about the course in 20:34.273 --> 20:37.713 general and do you have questions of me at this point? 20:37.710 --> 20:40.800 20:40.799 --> 20:41.799 Yes, the gentleman in the back. 20:41.798 --> 20:44.058 Student: What are the formats of the tests? 20:44.058 --> 20:47.558 Prof: The formats of the tests will be very clearly laid 20:47.558 --> 20:48.348 out for you. 20:48.348 --> 20:49.748 There'll be a little bit of written work. 20:49.750 --> 20:52.400 There'll be a fair amount of listening. 20:52.400 --> 20:55.340 You will be given a list of pieces that you'll have to 20:55.337 --> 20:58.547 prepare for a little bit and then we will play out of those 20:58.554 --> 21:01.554 particular pieces, but most importantly, 21:01.547 --> 21:03.997 I will give you a prep sheet. 21:04.000 --> 21:06.400 Each test comes in advance with a prep sheet telling you how to 21:06.403 --> 21:07.843 get ready for that particular test. 21:07.839 --> 21:08.869 Good question though. 21:08.869 --> 21:09.739 Thank you. 21:09.740 --> 21:12.560 Anything else? 21:12.559 --> 21:13.099 Okay. 21:13.098 --> 21:15.448 If not, let's go on to the following. 21:15.450 --> 21:17.670 We're going to have a diagnostic quiz and you are 21:17.671 --> 21:19.061 taking a quiz the first day. 21:19.058 --> 21:22.078 Now that's on the back of your handout there. 21:22.078 --> 21:24.398 This is not really a quiz 'cause we're not going to 21:24.396 --> 21:24.996 collect it. 21:25.000 --> 21:28.130 You can throw it away going out. 21:28.130 --> 21:32.130 It's in here to--intended to do two things: One, 21:32.130 --> 21:36.570 to show you something about the method that we will be using in 21:36.573 --> 21:39.553 here and two, to show you something of the 21:39.548 --> 21:42.408 level of this course-- the level of the course. 21:42.410 --> 21:48.460 The questions that I'm asking on this quiz-- 21:48.460 --> 21:51.470 the questions asked on the quiz--are the types of things we 21:51.473 --> 21:54.233 would expect you to know at the end of the course-- 21:54.230 --> 21:56.660 not now, but at the end of the course. 21:56.660 --> 21:58.020 Some of these are difficult. 21:58.019 --> 22:02.929 So if you find yourself getting most of these answers correct, 22:02.925 --> 22:05.335 then don't take this course. 22:05.338 --> 22:07.538 You'd be wasting your time, wasting your money here, 22:07.538 --> 22:10.708 so don't do this if you find at the end of this you've got 22:10.708 --> 22:12.918 sixteen, seventeen, eighteen of these 22:12.923 --> 22:13.443 correct. 22:13.440 --> 22:14.060 All right. 22:14.058 --> 22:18.108 Let's start with a little bit of classical music here and this 22:18.105 --> 22:20.225 engages questions one and two. 22:20.230 --> 22:23.990 Who is the composer of the piece that you're about to hear 22:23.993 --> 22:26.903 and what is its title or what's it called? 22:26.900 --> 22:44.670 > 22:44.670 --> 22:44.940 Okay. 22:44.938 --> 22:48.098 So let's--I'm going to ask them to queue the next piece here 22:48.102 --> 22:50.572 while we talk about that just for a moment. 22:50.568 --> 22:53.208 The composer--Anybody know the composer of this? 22:53.210 --> 22:54.170 Raise your hand. 22:54.170 --> 22:54.840 Okay. 22:54.839 --> 22:56.049 Some people do. 22:56.049 --> 22:57.299 Some people don't. 22:57.298 --> 22:59.048 Gentleman over here, in the dark shirt. 22:59.049 --> 23:00.119 Student: Beethoven? 23:00.118 --> 23:00.828 Prof: Okay. 23:00.825 --> 23:02.345 That is Beethoven, Ludwig van Beethoven, 23:02.353 --> 23:03.963 and do you know the name of the piece? 23:03.960 --> 23:05.120 Student: Fifth Symphony? 23:05.118 --> 23:05.968 Prof: Okay. 23:05.967 --> 23:06.527 Symphony no. 23:06.530 --> 23:06.720 5. 23:06.720 --> 23:08.570 Now if you're sitting next to this gentleman--Oh, 23:08.566 --> 23:09.716 god, this guy knows so much. 23:09.720 --> 23:12.100 I'm going to go down the tube in this course. 23:12.098 --> 23:12.248 No. 23:12.249 --> 23:13.739 Don't be intimidated by this. 23:13.740 --> 23:17.500 As I say, we're going to build everybody up here together. 23:17.500 --> 23:20.590 So that was Beethoven's Fifth Symphony, the beginning of it, 23:20.586 --> 23:23.356 a famous passage in the history of classical music. 23:23.358 --> 23:26.478 Let's listen to another composition here. 23:26.480 --> 23:30.580 Who is the composer of this and what--in what composition is 23:30.578 --> 23:31.828 this piece used? 23:31.829 --> 24:05.239 > 24:05.240 --> 24:06.490 So who is the composer of that? 24:06.490 --> 24:07.860 Does anybody know the answer? 24:07.859 --> 24:10.649 Fewer people do. 24:10.650 --> 24:13.450 Young lady out here in the green, did you have your hand 24:13.453 --> 24:13.713 up? 24:13.710 --> 24:14.630 Student: Beethoven. 24:14.630 --> 24:15.550 Prof: Again Beethoven. 24:15.548 --> 24:19.118 What's--what's the--in what composition does Beethoven use 24:19.116 --> 24:20.616 this particular piece? 24:20.619 --> 24:21.629 Does anybody know? 24:21.630 --> 24:22.550 Gentleman here? 24:22.549 --> 24:23.419 Student: Ninth Symphony. 24:23.420 --> 24:23.910 Prof: Okay. 24:23.910 --> 24:25.890 In the Ninth Symphony again and you're saying, 24:25.891 --> 24:28.051 "Oh, I'm getting really worried now." 24:28.049 --> 24:30.639 Don't be worried here. 24:30.640 --> 24:32.360 Okay. So Ninth Symphony. 24:32.358 --> 24:37.398 Now I believe that music works a magical potion, 24:37.396 --> 24:39.966 a magical spell on us. 24:39.970 --> 24:43.680 Music gets us to do particular kinds of things, 24:43.680 --> 24:47.390 gets us to feel particular kinds of ways, 24:47.390 --> 24:50.760 and I think these two pieces by the same composer get-- 24:50.759 --> 24:55.149 cause--us to feel very, very different, 24:55.150 --> 24:57.400 cause a different mood, a different psychological 24:57.397 --> 24:59.167 state, to come over us. 24:59.170 --> 25:08.000 One of them goes this way: > 25:08.000 --> 25:09.880 Okay? And the other. 25:09.880 --> 25:17.450 > 25:17.450 --> 25:22.650 I want to do a little experiment, have never done this 25:22.652 --> 25:28.642 before but I'd like to do the following and that is to ask you 25:28.638 --> 25:35.018 to think about what mood each piece causes you to fall into, 25:35.019 --> 25:37.979 and I've put some adjectives up on the board up there and I've 25:37.980 --> 25:40.700 grouped them by Rs and Ls because I'm going to ask you to 25:40.700 --> 25:43.520 raise your right hand if you respond one way to a piece and 25:43.516 --> 25:45.746 your left hand if you respond the other. 25:45.750 --> 25:48.340 So under the R group there we've got positive, 25:48.338 --> 25:49.258 happy, secure. 25:49.259 --> 25:52.579 Under the L group we've got negative, anxious, 25:52.583 --> 25:53.473 unsettled. 25:53.470 --> 25:57.190 So I've chosen pieces maybe with slightly different feels 25:57.193 --> 25:57.663 here. 25:57.660 --> 25:59.650 Let's see what we do with this. 25:59.650 --> 26:07.590 Now piece number one: > 26:07.589 --> 26:09.119 How do you feel about that? 26:09.118 --> 26:14.818 Now here's piece two: > 26:14.818 --> 26:15.348 All right. 26:15.352 --> 26:17.802 So here's one if--I'm going to play it again. 26:17.799 --> 26:23.329 > 26:23.328 --> 26:27.218 If you raise your right hand or left hand as your response to 26:27.224 --> 26:27.684 that. 26:27.680 --> 26:30.850 Okay. 26:30.848 --> 26:38.468 Here's piece one: > 26:38.470 --> 26:39.530 Right hand or left hand. 26:39.529 --> 26:41.119 All right. 26:41.118 --> 26:43.748 So those of you that are raising your hand, 26:43.750 --> 26:49.050 and some aren't raising their hands but that's okay, 26:49.048 --> 26:52.528 those of you almost unanimously say that the Beethoven Fifth 26:52.530 --> 26:55.010 Symphony sounds somewhat ominous to us, 26:55.009 --> 26:57.049 somewhat fateful to us, and the Beethoven Ninth 26:57.046 --> 26:59.566 Symphony conversely has a different sort of feel to it. 26:59.568 --> 27:02.578 Indeed, does anybody know the title of the Beethoven Ninth 27:02.578 --> 27:03.158 Symphony? 27:03.160 --> 27:06.080 It was the setting of a poem by Friedrich Schiller called-- 27:06.078 --> 27:07.168 Student: Ode to Joy? 27:07.170 --> 27:08.520 Prof: Ode to Joy. 27:08.519 --> 27:12.549 So how does Beethoven go about making the Ode to Joy 27:12.547 --> 27:13.447 joyful? 27:13.450 --> 27:16.120 What does he do here? 27:16.118 --> 27:18.068 This is what we're going to be doing in our course. 27:18.068 --> 27:19.848 We're going to be zeroing in on this music. 27:19.848 --> 27:23.188 Can anybody tell me why to a person in this room we all 27:23.191 --> 27:26.841 responded positively to the Ninth Symphony and somewhat more 27:26.842 --> 27:29.072 anxiously to the Fifth Symphony? 27:29.069 --> 27:31.669 You have to tell me one thing. 27:31.670 --> 27:32.640 Student: Major and minor? 27:32.640 --> 27:33.970 Prof: Okay. 27:33.971 --> 27:35.231 Major and minor. 27:35.230 --> 27:40.040 Now once again you--you're out here in front. 27:40.038 --> 27:42.888 You've been listening to your parents' records and CDs and so 27:42.892 --> 27:45.712 maybe-- I'm delighted that you know 27:45.710 --> 27:51.110 this, but maybe this is too far below your dignity here so-- 27:51.109 --> 27:52.179 but good for you. 27:52.180 --> 27:52.680 All right. 27:52.676 --> 27:54.366 So: <> 27:54.368 --> 27:58.028 we've got this idea of major chords and minor chords so let 27:58.025 --> 27:59.155 me ask you this. 27:59.160 --> 28:02.100 Which--I think this is a quiz question here, 28:02.097 --> 28:03.667 probably number five. 28:03.670 --> 28:04.600 Which is this? 28:04.598 --> 28:11.688 A major chord or a minor chord > 28:11.690 --> 28:12.590 as opposed to? 28:12.589 --> 28:17.909 > 28:17.910 --> 28:20.090 The first one is a minor chord. 28:20.089 --> 28:23.709 The second one is a major chord. 28:23.710 --> 28:26.310 We can call them triads and we'll be talking about what that 28:26.309 --> 28:28.689 is before--so that's one reason: major versus minor. 28:28.690 --> 28:29.940 Here's a question for you. 28:29.940 --> 28:31.240 What about this? 28:31.240 --> 28:32.950 > 28:32.950 --> 28:34.200 Let me take the rhythm out of it. 28:34.200 --> 28:37.210 > 28:37.210 --> 28:39.000 That's a bit skippy, isn't it? 28:39.000 --> 28:42.050 Doesn't that move around a lot? 28:42.048 --> 28:47.358 Whereas the--if I take the rhythm out of the Ninth Symphony 28:47.361 --> 28:50.201 > 28:50.200 --> 28:53.690 really Beethoven there is just going up and down a scale so 28:53.693 --> 28:54.963 it's very conjunct. 28:54.960 --> 28:58.400 We have the difference between conjunct music with the 28:58.404 --> 29:00.424 > 29:00.420 --> 29:04.280 and disjunct music > 29:04.278 --> 29:07.478 and that perhaps adds to the unsettled quality of the 29:07.484 --> 29:09.154 Beethoven Fifth Symphony. 29:09.150 --> 29:13.440 Here's something else and I guess it's a quiz question I 29:13.435 --> 29:17.795 think I'm asking you there, and it has to do about a home 29:17.799 --> 29:18.579 pitch. 29:18.578 --> 29:25.558 Music gravitates around a home pitch and in the Beethoven Fifth 29:25.557 --> 29:30.057 Symphony <> 29:30.058 --> 29:31.308 we still haven't gotten the home pitch. 29:31.308 --> 29:33.218 We go that far and we still haven't heard the home pitch. 29:33.220 --> 29:35.040 Can anybody sing the home pitch? 29:35.038 --> 29:36.818 > 29:36.816 --> 29:39.476 > 29:39.480 --> 29:43.670 But he hasn't given it to us and maybe that's why this sounds 29:43.665 --> 29:48.805 so disjunct and so unsettled, apart from the skippy nature of 29:48.808 --> 29:51.588 the melody, is that we are not given at the 29:51.589 --> 29:54.409 outset the home pitch whereas with the Ninth Symphony, 29:54.410 --> 29:59.340 > 29:59.338 --> 30:01.458 second phrase, that's the home pitch there and 30:01.463 --> 30:03.733 we all feel sort of secure in that home pitch. 30:03.730 --> 30:06.950 There's another reason I think these two sound differently and 30:06.951 --> 30:08.221 that is the following. 30:08.220 --> 30:11.910 What's the direction generally of Beethoven's Fifth Symphony? 30:11.910 --> 30:16.490 > 30:16.490 --> 30:17.760 Student: Down. 30:17.759 --> 30:18.219 Prof: Down. 30:18.220 --> 30:18.910 It's generally going down. 30:18.910 --> 30:22.640 So the direction that music goes can also affect how we feel 30:22.635 --> 30:26.355 about it, our mood about it, so I think the next question--I 30:26.362 --> 30:28.322 play another piece for you. 30:28.318 --> 30:31.538 I want to play this one with the piano a little bit and I ask 30:31.535 --> 30:33.995 you the name of the composer of this piece-- 30:34.000 --> 30:37.200 it's a bit less well known but maybe not-- 30:37.200 --> 30:41.440 what it's called and when in the history of music it was 30:41.439 --> 30:42.209 written. 30:42.210 --> 31:00.960 > 31:00.960 --> 31:04.380 Anybody know that piece and the name of the composer? 31:04.380 --> 31:04.660 Yeah? 31:04.661 --> 31:06.801 Student: * 31:06.799 --> 31:07.849 Prof: Okay. 31:07.848 --> 31:11.118 Debussy, a French composer writing at the end of the 31:11.124 --> 31:14.274 nineteenth century in the Impressionist style, 31:14.269 --> 31:16.379 and the piece is called Moonlight-- 31:16.380 --> 31:19.920 Clair de Lune--but again you may- you'll come out of this 31:19.917 --> 31:21.607 course-- four months from now you'll 31:21.612 --> 31:22.622 know all of this stuff. 31:22.618 --> 31:25.808 Now you're not supposed to know any of this. 31:25.808 --> 31:29.388 What I'm interested in is your emotional response to this. 31:29.390 --> 31:31.460 How do you feel about this music? 31:31.460 --> 31:33.820 What kind of mood does it put you in? 31:33.819 --> 32:09.449 > 32:09.450 --> 32:10.750 Now how do you feel about that? 32:10.750 --> 32:14.190 Anybody want to tell me about that? 32:14.190 --> 32:14.480 Student: --serene.. 32:14.476 --> 32:14.836 Prof: I beg your pardon. 32:14.838 --> 32:19.278 Oops, I heard--Nice and loud please. 32:19.279 --> 32:20.389 Student: Serene? 32:20.390 --> 32:21.330 Prof: Serene. 32:21.329 --> 32:21.859 Yeah, serene. 32:21.859 --> 32:24.579 Why does it feel serene? 32:24.578 --> 32:27.958 Boy, I wish I could play my Rave 'Til Dawn CD now. 32:27.960 --> 32:28.540 Right? 32:28.538 --> 32:34.918 <> 32:34.920 --> 32:36.460 Okay. There's no beat to it. 32:36.460 --> 32:37.340 All right. 32:37.338 --> 32:40.488 It's very languid in terms of the pulse here. 32:40.490 --> 32:44.260 It's very understated in terms of a beat. 32:44.259 --> 32:48.789 You'd be hard pressed to identify what the meter of that 32:48.787 --> 32:53.027 is so that's one reason, and of course what--where am I 32:53.029 --> 32:57.069 going with the next important point about what's happening in 32:57.067 --> 32:58.007 this music? 32:58.009 --> 33:06.479 It makes us feel serene, relaxed, because it's all going 33:06.477 --> 33:12.017 down <> 33:12.019 --> 33:21.449 and only when we get here > 33:21.450 --> 33:24.720 do our spirits soar upward at that particular point. 33:24.720 --> 33:29.040 So again, direction in music also is important with how we 33:29.037 --> 33:30.247 respond to it. 33:30.250 --> 33:31.790 So what are we going over here? 33:31.789 --> 33:32.829 Major versus minor? 33:32.829 --> 33:35.979 Disjunct versus conjunct? 33:35.980 --> 33:36.890 What else? 33:36.890 --> 33:41.060 Strongly felt tonal key, which is called-- 33:41.058 --> 33:42.728 I don't know if I mentioned this or not-- 33:42.730 --> 33:44.690 the tonic key, the tonic pitch, 33:44.692 --> 33:48.372 the tonic pitch there, and this idea of the direction 33:48.367 --> 33:49.317 of the music. 33:49.318 --> 33:53.888 All of these we'll have to be thinking about as we listen to 33:53.887 --> 33:55.667 music in this course. 33:55.670 --> 34:02.430 Okay. Now let's see. 34:02.430 --> 34:08.380 I think I want to do the following. 34:08.380 --> 34:09.660 Yeah. 34:09.659 --> 34:10.989 Here's a question for you. 34:10.989 --> 34:14.469 Here's a question, a completely different subject 34:14.472 --> 34:14.982 here. 34:14.980 --> 34:17.970 What are the two dimensions of music? 34:17.969 --> 34:21.509 Think about dimensions of painting or architecture perhaps 34:21.514 --> 34:24.194 but what are the two dimensions of music? 34:24.190 --> 34:25.970 Have you thought about that? 34:25.969 --> 34:28.759 Can anybody give me one? 34:28.760 --> 34:31.860 Well, pitch--Oh, yeah. 34:31.860 --> 34:33.350 I'm sorry. Okay. 34:33.349 --> 34:34.009 Pitch. 34:34.010 --> 34:36.160 And what would the other one be? 34:36.159 --> 34:37.049 Time. 34:37.050 --> 34:41.010 Okay, pitch and time and pitch and duration, 34:41.010 --> 34:42.670 excellent, so those are the two dimensions of music and well, 34:42.670 --> 34:45.810 indeed we could even call them the axes of music because we 34:45.813 --> 34:48.203 tend to think of pitch on a vertical axis. 34:48.199 --> 34:50.719 We talk in terms of high pitch and low pitch although we'll 34:50.715 --> 34:53.415 fine tune that next time, and then we have this idea of 34:53.422 --> 34:57.062 duration or time, which we tend to write out in 34:57.061 --> 35:01.011 symbols that move from your left to right. 35:01.010 --> 35:04.410 So what I'd like to do now is focus on a piece that 35:04.413 --> 35:07.413 emphasizes--foregrounds--just the first axis, 35:07.409 --> 35:08.089 pitch. 35:08.090 --> 35:11.030 Here is a question for you. 35:11.030 --> 35:17.780 How many of you have heard Richard Strauss's Also Sprach 35:17.782 --> 35:19.882 Zarathustra? 35:19.880 --> 35:21.480 Okay. 35:21.480 --> 35:24.670 How many--and be courageous here--how many have not heard 35:24.666 --> 35:27.566 Richard Strauss's Also Sprach Zarathustra? 35:27.570 --> 35:28.960 Raise your hand nice and big. 35:28.960 --> 35:32.700 Okay, the overwhelming majority of people say they have not. 35:32.699 --> 35:33.799 Wrong. 35:33.800 --> 35:35.980 You all have heard this many times. 35:35.980 --> 35:39.340 It's used continuously as a movie score, television, 35:39.340 --> 35:40.660 radio commercials. 35:40.659 --> 35:42.379 It's all over the place, and as soon as I start to play 35:42.378 --> 35:44.448 it, at least once we get in to it, 35:44.452 --> 35:45.662 you'll say, "Oh, yeah, 35:45.659 --> 35:46.259 I've heard that." 35:46.260 --> 35:51.660 So this is a piece by Strauss where he's trying to resurrect 35:51.664 --> 35:53.884 the content, or mirror the content, 35:53.882 --> 35:55.802 of a philosophical novel by Friedrich Nietzsche, 35:55.800 --> 36:00.270 Thus Spoke Zarathustra, and it's about the unleashing 36:00.266 --> 36:04.806 of human capacity as it comes forth from the primordial earth 36:04.807 --> 36:05.487 here. 36:05.489 --> 36:09.669 And in Strauss in attempting to do this will use the orchestra 36:09.673 --> 36:13.383 to depict here in this particular case perhaps the rise 36:13.378 --> 36:16.298 of human power, maybe as metaphorically 36:16.302 --> 36:20.682 represented by the sun, so here is Strauss depicting 36:20.681 --> 36:22.701 the rise of the sun. 36:22.699 --> 36:27.259 And the first question I think that you have on the quiz here 36:27.257 --> 36:30.597 is the following: what keyboard instrument is 36:30.597 --> 36:31.887 playing here? 36:31.889 --> 36:33.269 It's a keyboard instrument. 36:33.268 --> 36:35.498 So let's listen to just a little bit of this please right 36:35.500 --> 36:35.740 now. 36:35.739 --> 36:44.739 36:44.739 --> 36:51.879 > 36:51.880 --> 36:54.670 What that is, is an organ pipe of the type of 36:54.666 --> 36:57.386 organ that we have over in Woolsey Hall, 36:57.389 --> 37:01.769 thirty-two feet tall, this gigantic sound of 37:01.768 --> 37:04.008 > 37:04.010 --> 37:06.070 down there so that's what he's trying to set up. 37:06.070 --> 37:07.280 Okay? 37:07.280 --> 37:11.420 Then a brass instrument enters and what is the name of this 37:11.422 --> 37:12.782 brass instrument? 37:12.780 --> 37:35.710 > 37:35.710 --> 37:37.290 And a percussion instrument. 37:37.289 --> 37:54.089 > 37:54.090 --> 37:59.570 So the brass instrument is the--is a--trumpet. 37:59.570 --> 38:00.220 Okay? 38:00.219 --> 38:01.099 That's what that is. 38:01.099 --> 38:02.069 It's coming up there. 38:02.070 --> 38:04.170 Let's talk about what we've done on the board here. 38:04.170 --> 38:10.360 We can see we have these low pitches, > 38:10.360 --> 38:11.340 What did I just sing? 38:11.340 --> 38:13.340 > 38:13.340 --> 38:14.910 Almost the same sounding pitch. 38:14.914 --> 38:15.274 Right? 38:15.269 --> 38:16.079 Well, we'll talk about this. 38:16.079 --> 38:17.499 This is called an octave. 38:17.500 --> 38:18.720 > 38:18.719 --> 38:21.639 It has to do with frequency ratios that we'll go in to a 38:21.639 --> 38:22.859 little bit next time. 38:22.860 --> 38:25.730 So he's coming up initially just through octaves. 38:25.730 --> 38:27.580 > 38:27.579 --> 38:30.139 Then the next pitch on the trumpet > 38:30.139 --> 38:32.969 is actually an interval of a fifth. 38:32.969 --> 38:34.439 > 38:34.440 --> 38:35.930 That's a fourth > 38:35.929 --> 38:38.009 but it happens to produce an octave > 38:38.010 --> 38:39.640 against that. 38:39.639 --> 38:41.949 Then the first time > 38:41.949 --> 38:45.929 so he came up a major third there and then quickly backed 38:45.927 --> 38:50.257 off with just a half step below it, which completely gave it a 38:50.260 --> 38:51.610 different feel. 38:51.610 --> 38:54.210 So a bright, shiny major and then dark 38:54.208 --> 38:54.768 minor. 38:54.769 --> 38:57.439 > 38:57.440 --> 38:59.770 Then a percussion instrument came in. 38:59.769 --> 39:03.709 Anybody know what that was? 39:03.710 --> 39:05.640 Okay. 39:05.639 --> 39:07.419 Tell me what it was. 39:07.420 --> 39:08.320 Nice and loud. 39:08.322 --> 39:09.552 Yell it out there. 39:09.550 --> 39:10.070 Student: Timpani? 39:10.070 --> 39:12.010 Prof: Timpani or as it's sometimes called a kettle drum, 39:12.010 --> 39:14.820 and it was playing two different pitches, 39:14.820 --> 39:17.150 actually sort of playing this pitch and this pitch, 39:17.150 --> 39:20.160 the octave and then the fifth. 39:20.159 --> 39:25.189 The fifth degree of the scale after the tonic is the next most 39:25.188 --> 39:28.978 important and it's called the dominant note. 39:28.980 --> 39:29.750 Okay? 39:29.750 --> 39:32.230 So that's what that is in that particular question. 39:32.230 --> 39:38.920 So the timpani comes in and it goes crazy > 39:38.920 --> 39:42.260 and comes back to the tonic at which point the trumpet takes 39:42.255 --> 39:42.985 over again. 39:42.989 --> 39:45.469 So let's listen to just a little bit more and I 39:45.469 --> 39:46.979 think--Well, let's listen. 39:46.980 --> 39:48.700 I forget where we left off. 39:48.699 --> 40:02.009 > 40:02.010 --> 40:05.760 Now at this point what happens is the trumpet 40:05.755 --> 40:07.625 > 40:07.630 --> 40:08.410 all the way up there. 40:08.409 --> 40:09.519 It's going to jump way, way up. 40:09.519 --> 40:13.089 So let's listen to that. 40:13.090 --> 40:34.280 > 40:34.280 --> 40:36.560 What's happening and interests me acoustically, 40:36.559 --> 40:38.929 and again we'll come back to it, is that we're getting up 40:38.925 --> 40:40.935 toward here, and notice how these pitches in 40:40.940 --> 40:43.790 terms of the ratio frequencies are getting very close together. 40:43.789 --> 40:47.949 So we're going to go > 40:47.949 --> 40:49.189 You sing the next note. 40:49.190 --> 40:51.980 > 40:51.980 --> 40:52.860 There it is up there. 40:52.860 --> 40:53.470 Okay? Good. 40:53.469 --> 40:54.329 You got it. Come on. Louder. 40:54.329 --> 40:55.849 > 40:55.849 --> 40:57.149 Coraggio! 40:57.150 --> 40:58.150 Okay. So there we are there. 40:58.150 --> 41:00.580 My question on the quiz is what's this one called? 41:00.579 --> 41:05.919 > 41:05.920 --> 41:06.230 Okay. 41:06.233 --> 41:09.993 So this is a leading tone going in to that particular note. 41:09.989 --> 41:24.909 So let's listen to here again just the very end of this with 41:24.911 --> 41:38.061 the spectacular sound of the orchestra, < 41:42.873 playing>> 41:42.869 --> 41:45.879 and there at the end you could hear the organ a little bit 41:45.884 --> 41:46.364 better. 41:46.360 --> 41:51.400 So that's how using some of these basic ratios gives us this 41:51.398 --> 41:56.008 primordial type of music and it's quite spectacular. 41:56.010 --> 41:59.390 It's quite spectacular because here in the 1890s we have the 41:59.393 --> 42:02.203 apex of the Western classical orchestra, this big, 42:02.202 --> 42:04.212 beautiful, powerful instrument. 42:04.210 --> 42:04.750 Okay. 42:04.753 --> 42:09.553 We've talked a little bit about pitch here. 42:09.550 --> 42:15.820 Let's go on to talk about the other axis of music and that is 42:15.815 --> 42:18.005 rhythm or duration. 42:18.010 --> 42:22.770 Now in music as you probably know--we've already talked a 42:22.773 --> 42:27.883 little bit about this--we have the importance of the beat. 42:27.880 --> 42:31.730 The beat's very important in music and generally speaking, 42:31.726 --> 42:33.816 in music, we divide the beat. 42:33.820 --> 42:35.530 We organize it into groups. 42:35.530 --> 42:37.210 The beat's kind of like the heartbeat. 42:37.210 --> 42:42.990 It's kind of like the basic pulse of > 42:42.989 --> 42:47.009 but, given our psychological makeup, 42:47.010 --> 42:49.590 we tend to divide these up into units: so generally two and 42:49.585 --> 42:52.845 generally three, and if we have groups of two we 42:52.846 --> 42:56.116 call that duple meter; groups of three we call that of 42:56.117 --> 42:57.117 course triple meter. 42:57.119 --> 42:58.509 How do we indicate these? 42:58.510 --> 43:00.680 Well, by some kind of conducting pattern. 43:00.679 --> 43:01.429 We'll come back to this. 43:01.429 --> 43:02.819 You'll all be conducting in here. 43:02.820 --> 43:08.640 So duple is just one, two, one two, 43:08.637 --> 43:14.967 one two, one, > 43:14.969 --> 43:17.029 , one strong beat, one weak beat, 43:17.034 --> 43:18.474 strong, weak, strong, 43:18.467 --> 43:22.417 weak, in that fashion, and conversely of course triple 43:22.420 --> 43:24.720 is strong, weak, weak, strong, 43:24.717 --> 43:28.767 weak, weak, with two weak beats between each strong beat. 43:28.769 --> 43:31.529 So here's a question for you. 43:31.530 --> 43:34.400 Who wrote the musical, and it's on your quiz there, 43:34.402 --> 43:35.382 Chicago? 43:35.380 --> 43:36.750 Anybody know the answer to that? 43:36.750 --> 43:37.520 How--Okay. 43:37.523 --> 43:42.173 How many don't know--a rousing show of hands here--don't know 43:42.170 --> 43:44.340 who wrote Chicago? 43:44.340 --> 43:45.680 This is amazing to me. 43:45.679 --> 43:48.229 This guy is the stealth bomber of music. 43:48.230 --> 43:51.420 How nobody could know the name of this person that has given us 43:51.416 --> 43:53.306 so much great music, Cabaret, 43:53.307 --> 43:55.527 Chicago, songs that you go on singing, 43:55.530 --> 43:58.380 have in your ear all the time, John Kander, 43:58.380 --> 44:01.300 lives down in New York City, writes a lot of this stuff. 44:01.300 --> 44:06.050 So we're going to listen to a track out of John Kander's 44:06.052 --> 44:09.902 Chicago here, and the question that's at--in 44:09.903 --> 44:13.263 play at the moment is what's the meter of this cut from 44:13.260 --> 44:14.380 Chicago? 44:14.380 --> 44:25.070 > 44:25.070 --> 44:25.470 Okay. 44:25.465 --> 44:28.625 Here's something that may interest you. 44:28.630 --> 44:31.570 We'll be playing a lot of pop music in here but they will 44:31.570 --> 44:33.670 generally be short clips of pop music. 44:33.670 --> 44:38.850 Why is that the case? 44:38.849 --> 44:42.369 For copyright reasons, that's right. 44:42.369 --> 44:44.209 So we've heard a passage here. 44:44.210 --> 44:48.030 What was the meter of that section? 44:48.030 --> 44:50.220 Gentleman down here, you seem to be moving with the 44:50.215 --> 44:51.435 music, which is very good. 44:51.440 --> 44:52.150 What did you think? 44:52.152 --> 44:52.792 Duple or triple? 44:52.789 --> 44:53.849 Student: Duple. 44:53.849 --> 44:55.559 Prof: Okay, duple. 44:55.557 --> 44:58.047 Now I would come--That's correct. 44:58.050 --> 45:00.810 I would come right back to you with yeah, you intuited that but 45:00.811 --> 45:02.861 can you explain to me what you were hearing? 45:02.860 --> 45:07.130 What did you hear that allowed your brain to instantly go to 45:07.126 --> 45:10.306 that decision, make that correct decision? 45:10.309 --> 45:11.639 Any ideas? 45:11.639 --> 45:12.869 Anybody. 45:12.869 --> 45:15.229 Student: Cut time-- Prof: Okay, cut time. 45:15.230 --> 45:16.010 Student: Accent on one.. 45:16.007 --> 45:16.507 Prof: What? 45:16.510 --> 45:19.050 Accent on one, but what part of the music were 45:19.054 --> 45:20.134 you listening to? 45:20.130 --> 45:23.830 Student: > 45:23.829 --> 45:24.479 Prof: Yeah. 45:24.478 --> 45:25.088 Yeah, that's it. 45:25.090 --> 45:27.570 Somebody's up there going > 45:27.570 --> 45:29.990 and it's actually the bass so we'll be wanting to zero in on 45:29.992 --> 45:32.172 the bass in a big way in music > 45:32.170 --> 45:34.910 because that's oftentimes giving us much more information 45:34.909 --> 45:35.789 than the melody. 45:35.789 --> 45:37.209 > 45:37.210 --> 45:39.170 So there we had an example of duple. 45:39.170 --> 45:39.860 Let's see. 45:39.860 --> 45:41.260 Have we got another excerpt here? 45:41.260 --> 45:43.150 Let's listen to a little bit of that. 45:43.150 --> 45:54.130 > 45:54.130 --> 45:56.000 So what about that one? 45:56.000 --> 45:57.230 Student: Triple. 45:57.230 --> 45:57.590 Prof: Yeah. 45:57.585 --> 45:58.075 You know the setup here. 45:58.079 --> 45:59.589 We did duple and now we've got to do triple. 45:59.590 --> 46:00.310 Okay. 46:00.306 --> 46:07.046 So that's strong, weak, weak, in that fashion. 46:07.050 --> 46:07.680 All right? 46:07.679 --> 46:09.599 Now let's listen to a little bit more of this, 46:09.599 --> 46:11.649 and something interesting happens to the beat. 46:11.650 --> 46:13.030 It slows down. 46:13.030 --> 46:17.550 What do we call the passage of music in which the beat slows 46:17.552 --> 46:18.092 down? 46:18.090 --> 46:19.150 What's being applied? 46:19.150 --> 46:20.490 What's being affected here? 46:20.489 --> 46:22.499 What's being used here? 46:22.500 --> 46:31.810 > 46:31.809 --> 46:34.959 Okay, a very simple word there: Ritard. 46:34.960 --> 46:38.010 Okay? So the music is retarded. 46:38.010 --> 46:42.290 We have the pulse being slowed down and almost like a law of 46:42.289 --> 46:46.319 physics or something, now comes a reaction--now John 46:46.317 --> 46:50.047 Kander makes the music accelerate so let's watch a 46:50.052 --> 46:53.182 wonderful example of accelerando here. 46:53.179 --> 47:00.309 > 47:00.313 --> 47:04.253 Let me hear it. 47:04.250 --> 47:05.240 Okay. 47:05.239 --> 47:09.639 So at that point the music begins to speed up with the 47:09.637 --> 47:10.797 accelerando. 47:10.800 --> 47:11.920 Now <> 47:11.920 --> 47:14.760 getting close > 47:14.760 --> 47:16.190 drive to the end. 47:16.190 --> 47:17.700 Do you ever notice this in musical compositions? 47:17.699 --> 47:19.909 Keep an eye out for this, particularly in pop music. 47:19.909 --> 47:22.759 They've got an idea but they've got to fill up a track. 47:22.760 --> 47:27.010 They really need a good three minutes and thirty seconds here. 47:27.010 --> 47:30.070 They'll have something going and then almost unbeknownst to 47:30.067 --> 47:33.177 you they will take that and lift it up in terms of the pitch 47:33.177 --> 47:33.807 content. 47:33.809 --> 47:38.209 What is that called when you change the fundamental pitch in 47:38.213 --> 47:41.503 a piece, going to a different pitch level? 47:41.500 --> 47:43.190 Anybody know about that? 47:43.190 --> 47:46.330 Called modulation and this is sort of where we'll be really, 47:46.326 --> 47:48.556 really four months from now, modulation. 47:48.559 --> 47:50.619 It's very subtle. 47:50.619 --> 47:54.539 A lot of what we were doing today is very straightforward, 47:54.541 --> 47:58.741 the idea of duple versus triple meter, but most modulations we 47:58.737 --> 48:00.317 don't usually hear. 48:00.320 --> 48:04.640 So let's listen to--We've got two more cuts to do and then 48:04.643 --> 48:06.013 I'll let you go. 48:06.010 --> 48:08.690 Let's listen to John Kander sit on one pitch level and then 48:08.693 --> 48:10.363 suddenly raise the whole thing up. 48:10.360 --> 48:14.540 Raising up music builds excitement. 48:14.539 --> 48:33.909 > 48:33.909 --> 48:36.499 Now he builds--I think this is the last question. 48:36.500 --> 48:38.930 What do we call this last chord? 48:38.929 --> 48:40.629 What <> 48:40.628 --> 48:41.038 chord? 48:41.039 --> 48:44.369 It's the--Anybody remember the second most important pitch? 48:44.369 --> 48:45.639 The dominant. 48:45.639 --> 48:59.509 So let's watch John Kander sit on the dominant chord now 48:59.510 --> 49:07.330 > 49:07.329 --> 49:10.009 and now you sing the tonic. 49:10.010 --> 49:11.510 > 49:11.505 --> 49:13.745 > 49:13.750 --> 49:17.240 And okay, hit the tonic. 49:17.239 --> 49:18.679 > 49:18.679 --> 49:28.109 > 49:28.110 --> 49:28.920 Okay. 49:28.920 --> 49:30.840 So these are the kinds of things we will be doing. 49:30.840 --> 49:33.860 If you decide to take this course, get a hold of the 49:33.864 --> 49:37.254 materials for next Tuesday, do listening exercises one and 49:37.246 --> 49:38.666 nine through eleven. 49:38.670 --> 49:39.520 I'll see you then. 49:39.519 --> 49:44.999