WEBVTT

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Prof: Okay.

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Good morning,
ladies and gentlemen.

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My name is Craig Wright and
this is "Listening to

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Music," the most basic
course that the Department of

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Music has to offer.

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Its aim is to teach you how to
listen to music.

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"Wait a minute,"
you say.

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"That's preposterous.

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I listen to music all the time.

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I've got, what,
my iPod, I'm downloading mp3

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files, continually swapping
files.

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I've got my car..."

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(What do we call those things
in the automobile where you--

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Is it a DAT tape that you can
take your iPod and plug it in to

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the--
your--the stereo system in your

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car?)

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"I've got that.

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I listen to music in my dorm
room off my computer,

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in the bookstore,
wherever.

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I bet I listen to a lot more
music than you do,

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you old goat."

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And you're right.

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You probably do.

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But what kind of music are you
listening to?

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Well, probably pop music and
that's fine;

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that's okay,
fair enough,

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pop music.

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But are you getting the most
out of this particular

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experience?

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Are you getting the most out of
your listening experience?

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I contend that perhaps you are
not, that you are not maximizing

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the time, using that time most
profitably.

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How do I know this?

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What makes me think that you
are not getting as much as you

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possibly can out of your music?

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Well, experience,
to some degree,

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but also an experiment that I
did just last weekend.

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I have four children.

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The last of the four has now
turned seventeen so I said last

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weekend--
he's always with the iPod

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on--"Chris,
what are you listening to?"

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"Go away.

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You're bothering me." Okay.

01:40.500 --> 01:42.000
"You're ruining my life
again."

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So >

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"Well now,
come on.

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Let me listen to this.

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Let me listen to it.

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What are you listening to?"

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So I listened to it and I said,
"All right.

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Here, you listen to this and
tell me what you're

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hearing."

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And what did--what was he
tracking?

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He was tracking the text;
he was tracking the beat of the

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piece.

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I asked him,
"Well, what's the mode of

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the piece?

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What's the meter of the piece?

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What's the bass doing?

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Can you follow the bass line
there?

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Can you identify any chords in
this particular piece?"

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Nothing. Zero.

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And this from a reasonably
sophisticated kid who's had

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twelve years of serious cello
lessons,

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and that brings up,
I suppose, a point:

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that although I don't know much
about your music I think I can

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teach you a great deal about
your music by using the

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paradigms of classical music.

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So I'm going to tell you a lot
about classical music in here:

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Mozart, Bach,
Beethoven.

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It will be the locus of our
course.

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How many of you already listen
to classical music?

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Raise your hand.

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Okay. Great.

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A lot of you and that's
wonderful.

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I'd be interested to know,
gentleman down here,

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how do you do this?

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Is it streaming off of your
computer?

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Are you downloading mp3 files
and saving them?

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How--Tell me. How do you do it?

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Student: I just go to
YouTube.

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Prof: You go to YouTube.

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All right.

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Very interesting.

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I should have known that but I
didn't.

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You go to YouTube and you
listen there.

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Anybody else do it a different
way?

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Yes?

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Student: On the radio.

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Prof: On the radio. Okay.

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That's interesting.

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We'll come back to that point.

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Anything else, anybody?

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Yes?

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Student: My parents' CDs
or records.

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Prof: Okay.

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Your parents' CDs or records.

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That's wonderful.

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They have sort of the old
technology here but some of

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those old recordings might be
very, very good.

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Now here is a question for you.

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Why would we want to listen to
classical music?

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Why do--why--who just answered
a question for me,

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those folks who raised your
hand?

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What--gentleman here again.

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I'll--you're my sacrificial
lamb this morning.

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Why do you like to listen and
why would you want to listen to

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classical music?

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Student: It relaxes me.

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Prof: Okay.

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Very interesting.

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National Public Radio asked
exactly this question in a

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survey a year or so ago and they
got the following principal

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responses back.

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Why do people listen to
classical music?

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One, it helps them relax and
relieve stress,

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so this is perhaps the
principal reason.

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Two, it helps us center the
mind, allowing the listener to

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concentrate.

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Three, classical music provides
a vision of a better world,

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a refuge of beauty,
of majesty, perhaps of even--

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of love--and sometimes,
at least for me personally,

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it suggests that there might be
something out there,

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God or whatever,
bigger than ourselves,

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and it asks us to think
sometimes, think about things.

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That's what I think these great
fine arts do,

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great literature,
poetry, painting,

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music.

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They show what human beings can
be, the capacity of the human

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spirit.

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They suggest to us as indicated
maybe there is something,

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a larger spirit out there than
ourselves, and they get us to

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think.

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They get me to think frequently
about what I'm doing on this

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earth.

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What are you doing on this
earth?

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>

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Don't answer that.

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What am I doing on this earth
with regard to this particular

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course?

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What am I trying to accomplish
in here?

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Well, maybe two things.

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One, change your personality.

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I want to make you a richer
person,

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a broader person,
by instilling you with an

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unending deep and abiding
understanding of classical

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music,
so that's part of this,

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and not just here for Yale but
for your life after Yale.

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I would hope that how you lead
your life ten years from now,

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twenty years from now,
thirty years from now,

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would have been significantly
influenced by this particular

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experience in this course.

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And secondly,
if I'm successful in my

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teaching I will accomplish this
second aim here.

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I will impart to you a love of
classical music.

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You, through,
later on after Yale,

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your attendance at concerts,
buying of one fashion or

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another,
downloading mp3 files,

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iTunes or whatever it happens
to be,

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maybe being members of your
local symphony board,

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opera company,
something like that,

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maybe giving music lessons to
your children,

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you will become the purveyors
of classical music thereafter.

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You, the intelligentsia of the
next generation,

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will be those that preserve
this great treasure of Western

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culture and it is a great
treasure of Western culture.

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Okay.

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How are we going to do all of
this?

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How are we going to accomplish
these two things on our list of

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agenda here?

06:44.519 --> 06:46.919
What are the mechanics of the
course?

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Did you all get a syllabus?

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Everybody's got a syllabus?

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The first three or four weeks
or so we'll be following the

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elements of music:
rhythm, melody and harmony--and

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then a test.

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Next we will deal with what's
the--arguably--the single most

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important thing when we listen
to any piece of music and that

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is its musical form.

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Here is a question for you.

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I was thinking about this the
other day as I was preparing the

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lecture for today.

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What's the most common type of
musical form in pop music?

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When you listen to pop music do
you ever think about the form of

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the music?

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Can anybody name a form of pop
music, any one form?

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Well, maybe verse and chorus?

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Think about that.

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That shows up in a lot of stuff
and we'll come back to that.

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We'll talk about verse and
chorus when we get to the issue

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of form.

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And then toward the end of the
course we will turn to the

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question of musical style.

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How does a piece of pop music
differ from a piece of classical

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music?

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We sort of all know this
intuitively but can we

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articulate why?

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This particular difference
about musical style was driven

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home to me the other day.

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It was last Friday.

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I was walking across the
campus--maybe you saw this too,

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corner of Elm and College.

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There was a large flatbed truck
out there and there were these

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people on this truck getting
you--

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trying to sell you audio
equipment,

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and they had a big banner up
there.

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It said "Pump Up Your
Room."

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Okay?

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So then to encourage you to
"pump up your room"

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they had music playing and this
is the kind of music that they

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had on that flatbed truck.

08:34.279 --> 08:37.559


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>

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Okay.

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I'm feeling very pumped up at
that particular point

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>

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and my cell phone rings.

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Okay. My--This is true.

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My cell phone rings and because
one has the capacity nowadays to

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select your own ring
tone--right?

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I have mine selected not to
that sound but to Mozart,

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so I hear this sound on my
telephone.

09:10.950 --> 09:14.260


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And it will give us a sense of
the difference in style between

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pop music and classical music.

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How does this,
what we're about to hear,

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differ?

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Can you give me,
say, three or four reasons why

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what we're about to hear differs
from what we just heard?

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>

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Mozart.

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>

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Can anyone tell me?

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What's the difference between
these two?

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What's the--what did the pop
piece have?

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That's Rave 'Til Dawn.

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That's my--I own that album,
I'll have you know,

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Rave 'Til Dawn.

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Gentleman back here.

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Student: In classical
music there's much more

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attention to detail.

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Prof: Yes,
that's probably true as a

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general observation,
whether it comes through

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clearly on these two--
this comparison--I'm not quite

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so sure,
but there--I wouldn't say

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there's a great deal of detail
in the first one.

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There's a lot of repetition.

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That's where I--once that gets
going, it goes for a long period

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of time.

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Anything else?

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Yes?

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Student: A melody?

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Prof: Oh,
melody.

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Which one had the melody?

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Student: The classical
music.

10:30.528 --> 10:32.028
Prof: Yeah.

10:32.028 --> 10:33.858
>

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The first I couldn't pick out
any melody at all.

10:35.659 --> 10:39.229
It was all what?

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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--

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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.

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The music comes on.

12:01.840 --> 12:03.530
Is it baroque or romantic?

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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

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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 <<music

18:05.630 --> 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: <<music
playing>>

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 <<music
playing>>

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
<<simulates playing
music>>

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 <<music
playing>>

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, <<music

41:38.063 --> 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 <<music
playing>>

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 <<music
playing>>

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