The Elements of Music: Introduction to Music Appreciation
  • 1.1 Introductory Overview
  • 1.2 A History of Rock and Roll, Part 1
  • 1.3 A History of Rock and Roll, Part 2
  • 1.4 Elements and Rhythm
The Elements of Music: Rhythm, Meter and Melody
  • 2.1 Rhythm, Part 2
  • 2.2 Compound Meter
  • 2.3 Additive Meter and miscellaneous
  • 2.4 Characteristics of Melody
  • 2.5 Melody and Notation
The Elements of Music: Melodic structure; Harmony and Texture
  • 3.1 Melodic Structure and Harmony
  • 3.2 Harmony and phrase structure
  • 3.3 Harmonic progressions
  • 3.4a Texture —supplemental (non-musical)
  • 3.4b Musical texture
The Elements of Music: Timbre
  • 4.1 Timbre and the human voice
  • 4.2 Instruments of the orchestra
  • 4.3 The Young Person’s Guide to the Orchestra
The Elements of Music: A Summary
  • 5.1 What is musical form?
  • 5.2 a discussion of the building blocks of form
  • 5.3 Bringing all the elements together
  • 5.4 Ravel’s Bolero
Antiquity and the Middle Ages
  • 6.1 Beginnings
  • 6.2 Early church music
  • 6.3 Plainchant
  • 6.4 Dies irae
The Late Middle-Ages and the transition to the Renaissance
  • 7.1 Notation and modes; Hildegard von Bingen
  • 7.2 The Notre Dame School
  • 7.3 The Late Middle Ages
  • 7.4 A Sleeping Europe wakes
The Renaissance
  • 8.1 The Overtone Series
  • 8.2 The Early Renaissance
  • 8.3 Imitative Polyphony
  • 8.4 The Renaissance Mass
  • 8.5 The Reformation and Counter-Reformation
Secular trends and introduction to the Baroque
  • 9.1 Secular trends in the Renaissance
  • 9.2 A New style for the madrigal
  • 9.3 Introduction to the Baroque
  • 9.4 Baroque opera and a new musical language
The Early Baroque and the Beginnings of Opera
  • 10.1 Baroque opera, part 2
  • 10.2 Monteverdi’s Orfeo
  • 10.3 New trends of the Baroque
  • 10.4 The Nature of opera
17th century developments and the Rise of Instrumental Music
  • 11.1 17th century developments
  • 11.2 Musical developments in the middle Baroque
  • 11.3 The rise of instrumental music
  • 11.4 The Baroque concerto
  • 11.5 Bach Brandenburg Concerto No. 5
Instrumental Genres; the fugue and the church cantata
  • 12.1 Bach’s Brandenburg Concerto No. 5, part 2
  • 12.2 Bach and the fugue
  • 12.3 The dance suite
  • 12.4a The church cantata in Germany, part 1
  • 12.4b The church cantata in Germany, part 2
Opera and Oratorio of the High Baroque; transition to the Classical Period
  • 13.1 Handel opera
  • 13.2 Handel oratorio
  • 13.3 Transition to the Classical style
  • 13.4 the Age of Enlightenment
Unity and Form in the Classical Era
  • 14.1a Unity and Variety in Poetry
  • 14.1b Unity and Variety in Painting
  • 14.2 Unity and Variety in The Music Man
  • 14.3 Forms in the Classical period
  • 14.4 Forms in the Classical period, part 2
Forms of the Classical Period; Introduction to Sonata Form
  • 15.1 Ternary Form in Mozart’s Clarinet Concerto
  • 15.2 Rondo Form
  • 15.3 Sonata Form in Eine Kleine Nachtmusik
  • 15.4 Sonata Form in Mozart’s Symphony No. 40
Instrumental Genres
  • 16.1 The Classical concerto
  • 16.2 Lebrun; the glass harmonica
Opera according to Mozart: The Marriage of Figaro
  • 16.3 Mozart and opera
  • 16.4 Marriage of Figaro Act 1 Se vuol ballare
  • 16.5 Marriage of Figaro preparation for Scene ii
  • 16.6 Marriage of Figaro Act I, scene 2
  • 17.1 Marriage of Figaro, preparation for Act II
  • 17.2a Marriage of Figaro, Act II, part 1
  • 17.2b Marriage of Figaro, Act II, part 2
  • 17.2c Marriage of Figaro, Act II, part 3
  • 17.3 Marriage of Figaro, epilogue
Transition Beethoven
  • 18.1 Transition Beethoven
  • 18.2 Introduction to Beethoven’s Symphony No. 5
  • 18.3 Beethoven’s Fifth, Movement I
  • 18.4 Beethoven’s Fifth, Movement II
Beethoven, Part 2
  • 19.1 Beethoven’s Fifth Symphony, Movement III