Introduction to Classical Music  

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Notes:
1. Lists pieces that appear in each lecture
2. Notes accompany these pieces which point out ‘what to listen for’ (in ​BLUE​)
3. Unknown pieces are marked in ​RED
4. Duplicates exist.
5. Introduction to Classical Music​ : The Spotify playlist that goes with this list.

Lecture 1.1 
1. Chopin – Sonata No. 2 in B-Flat Minor for Piano, Op. 35: III. Marche funébre (Funeral
March)
a. What do you feel? This was supposed to be a funeral march. Listen for the
‘soaring’ melody which falls into a sudden and urgent dark chasm.
2. Bach – Wachet auf, ruft uns die Stimme Cantata, BWV 140 : Choral: "Gloria sei dir
gesungen"
a. What was the purpose of the composition? To induce a sense of belonging ?

Lecture 1.2 
1. Tchaikovsky – Piano Concerto No 1 in B-flat minor, Op. 23: i. Allegro non troppo e molto
maestoso
a. Stronger beat (with respect to most classical music) and prominent melody
 
Lecture 1.3 
1. Mozart – Serenade No. 13 In G Major, K. 525, "Eine Kleine Nachtmusik"
a. What context is this piece appropriate for ?
2. Bach – Fugue in g BWV 578
a. What context is this piece appropriate for ?
3. Giacomo Puccini – Gianni Schicchi, Act 1: "O mio babbino caro"
a. What context is this piece appropriate for ?
 
Lecture 1.8 
1. Richard Strauss – Also Sprach Zarathustra Op. 30 - Introduction
a. Rising of the sun (sounded with trumpets) portrayed using primary overtones.
Note elements of classical music syntax

Lecture 2.1 
1. Edward Elgar – Pomp and Circumstance, Op. 39: Land of Hope and Glory
 a. Example of piece with prominent beat
2. Debussy - Clair de Lune
a. Example of piece with subtle beat

Lecture 2.3 
1. Maurice Ravel – Bolero
a. Layered Rhythm : Snare, Strings and Flute (melody)
2. Handel : Xerxes, HWV 40, Act 1: "Frondi tenere e belle, Ombra mai fù"
a. in Duple Meter
3. Schubert – Schwanengesang, D.957: IV: Ständchen (Rellstab)
a. in Triple Meter

Lecture 2.4 
1. John Newton – Amazing Grace
a. Longer notes signal downbeats (Short-long)
2. Mozart – Symphony No. 40 in G Minor, K. 550: I
a. Duple meter
b. Accented notes signal downbeats
3. Johann Strauss II – An der schönen blauen Donau, Op.314
a. Low-middle-middle (Range, accompaniment pattern) signals downbeats
b. Triple meter
c. Low note is the downbeat
4. Tchaikovsky – Piano Concerto No 1 in B-flat minor, Op. 23: i
a. Low-middle-high (Range, accompaniment pattern) signals downbeats
b. Triple meter
c. Low note is the downbeat
 
Lecture 2.5 
1. Schumann – Kinderszenen (Scenes of Childhood), Op. 15: VII. Traumerei (Dreaming)
a. Flexibility with tempo to add substance to the composition
b. Interaction between melody and harmony
 
Lecture 3.1 
1. Mozart – Sonata No. 16 in C Major for Piano, K. 545, "Sonata facile"
a. Choice of higher frequencies for melodies

Lecture 3.2 
1. Martin Luther – A Mighty Fortress is Our God
a. Descending scale in melody

Lecture 3.4 
 1. Mozart: Requiem in D Minor, K. 626: VIII. Lacrimosa
a. Use of ascending chromatic scale
2. Beethoven: Piano Sonata No.8 In C Minor Opus 13 "Pathetique": 1. Grave - Allegro Di
Molto E Con Brio
a. Use of descending chromatic scale

Lecture 3.5
1. Schumann – Album for the Young, Op. 68: No. 10, "The Happy Farmer"
a. Happy = Major (Nurture)
2. Chopin – Sonata No. 2 in B-Flat Minor for Piano, Op. 35: III. Marche funébre (Funeral
March)
a. Sad = Minor (Nurture)

Lecture 3.7
1. Beethoven – Sonata No. 14 in C-Sharp Minor for Piano, Op. 27:2, "Moonlight": I
a. Changing tonic (minor to major) : Modulation
2. Aaron Copland – Appalachian Spring: Doppio movimento
a. Modulation (Trombone bridge , followed by trumpets in different key)

Lecture 3.8 
1. Beethoven – Symphony No. 9 in D Minor, Op. 125 "Choral": Recitativo "O Freunde, nicht
diese Töne!" (Ode to Joy)
a. Phrase Structure : A (Antecedent) , B(Consequent), C (Syncopation at the end),
B(Consequent)
b. Watch Bernstein jump in the video. Loop.

Lecture 4.1 
1. Beethoven – Piano Trios B Flat, Op.97 'Archduke': Andante cantabile
a. Importance of harmony. Imagine the melody without the harmony
2. Chopin : Prelude No. 20 in C Minor, opus 28 (Largo)
a. Interaction between melody and harmony

Lecture 4.2
1. Richard Strauss : Also Sprach Zarathushtra, Op. 30, Introduction
a. The final cadence is ‘Authentic’
2. Pachelbel : Canon in D
a. Listen for the Half Cadence and the Authentic Cadence

Lecture 4.3 
1. Giacomo Puccini : Gianni Schicchi, Act 1, O mio babbino caro
a. First phrase ends in a half cadence
b. Second phrase ends in a deceptive cadence
 c. Ends with Amen cadence
d. Note antecedent and consequent phrase structure
 
Lecture 4.4 
1. John Adams : The Black Gondola
a. Major-Minor triad alternation with pitch changes to represent rocking.
2. Beethoven : Sonata No. 14 in C-sharp Minor, Movement 1 (Moonlight)
a. Minor-Major triad alternation in arpeggio form.
3. Beethoven : Sonata No. 14 in C-sharp Minor, Movement III (Moonlight)
a. Major-Minor triad Arpeggios.

Lecture 4.4 
1. Pachelbel : Canon in D
a. Canon, listen to how the instruments come in and how they play the melodies in
rounds.
2. Bach : Prelude and Fugue No. 1 in C
a. Harmony only
b. Harmony continually evolves.
3. Bach, Gounod : Ave Maria
a. With Vocal melody

Lecture 5.1 
1. Rossini : William Tell Overture
a. Trumpets, French horns and strings (in that order)
2. Beethoven : Symphony No. 5 in C Minor, Op. 67 (Fate), Movement I
a. Amplitude/Volume signals momentum in the piece.

Lecture 5.2 
1. Mussorgsky : Pictures at an Exhibition, Bydlo
a. Listen to how each instrument section is used to depict motion.
b. The tuba (ascending melody), strings (descending melody)
c. Brass and Strings playing in unison
d. Use of volume for relative distance from the observer/listener
e. Snare/percussions used emphasizing close distance
f. Crescendo and descent (wedge)

Lecture 5.3 
1. Camille Saint-Saëns : Carnival of the Animals, Movement XIII, Le Cygne (The Swan)
a. Example of melody on an instrument of the “Strings” family (Cello)
2. Sergei Prokofiev : Peter and the Wolf, Op. 67, Grandfather takes Peter home
a. Low notes on the Bassoon
Lecture 5.4
1. Beethoven : Symphony No. 3 in E-flat Major, Op. 55 (Eroica), Movement IV (Finale)
a. Listen to the (softer) section in the middle with the interaction between the Oboe,
Bassoon, Clarinet, French horns and then strings.

Lecture 6.1
1. Mussorgsky : Pictures at an Exhibition, The Great Gate of Kiev
a.
2. Mussorgsky : Pictures at an Exhibition, Promenade
a. Monophonic texture when trumpet plays alone, Homophonic texture when the
brass section comes in.
3. Bach : Fugue in G
a. Fugue = Imitative Polyphonic texture
b. Differs from canons since each layer goes its own way, after an imitative
beginning
4. Handel : Messiah Pt.2, Hallelujah
a. Identify all kinds of music textures here
b. Amen Cadence

Lecture 6.2 
1. Brahms : Wiegenlied (Lullaby), Op 49:4
a. Strophe form (A-A-A-A…)
2. Mozart : Twelve Variations in C Major on Ah vous dirai-je, Maman (Twinkle twinkle, little
star)
a. Variation Form
3. Bach : Orchestral Suite No.3 in D Major, Movement II (Air)
a. Binary Form (A-B)
4. Schumann : Kinderszenen, Op. 15, Movement I, (Von fremden…)
a. Ternary Form (A-B-A)
5. Beethoven : Bagatelle in A Minor (Für Elise)
a. Ternary Form (A-B-A)

Lecture 6.3 
1. John Adams – Short Ride in a Fast Machine
a. Example of Post-modern (style) composition
2. Mozart – Serenade No. 13 In G Major, K. 525, "Eine Kleine Nachtmusik"
a. Sample of Classical (style) composition
3. Wagner – Tristan and Isolde, Act 3: "Mild und leise wie er lächelt" (Isoldes Liebestod)
a. Example of Romantic (style) composition
4. Arnold Schoenberg – Pierrot Lunaire, Op. 21: VI. Madonna
a. Example of Modern (style) composition
5. Handel : Messiah Pt.2, Hallelujah
 a. Soprano, Alto, Tenor, Bass Choir
b. Strong Beat, Duple Meter
c. Polyphonic texture
d. Example of Baroque (style) composition
6. Dvořák – Symphony No. 9 in E Minor, Op. 95 "From the New World": Largo
a. Example of Romantic (style) composition 
 
Lecture 7.4 
1. Hildegard von Bingen – O rubor sanguinis (based on Dendermonde MS Cod. 9)
a. Gregorian chant (composition of the middle ages)
b. Phrases end on either dominant or tonic notes
c. Both syllabic and melismatic sections exist

Lecture 7.5 
1. Anonymous – Viderunt omnes
a. Gregorian Chant (composition of the middle ages)
b. Modern version based on expansion and re-interpretation of the text by Pérotin of
Notre Dame
c. One of the first appearances of written polyphonic music

Lecture 7.6 
1. Guillaume de Machaut – Messe de Nostre Dame: Kyrie
a. Ordinary of (Order of, modern use) the Mass
b. Polyphonic
c. Four component piece
d. Separate transcribed sections for the soprano, alto, tenor and bass vocals
 
Lecture 7.6 
1. Anonymous: La Quinte estampie real
a. Medieval Dance Music
b. Use of the instrument Shawm

Lecture 8.1 
1. Anonymous : Suite of Dances
a. Example of early Renaissance music

Lecture 8.3 
1. Paul Hofhaimer – Salve Regina
a. Use of organs in Renaissance music
2. Anonymous – Estampie, Robertsbridge Codex
a. One of the earliest pieces written for the keyboard (Mediaeval)
Lecture 8.4 
1. Josquin des Prez – Ave Maria
a. Example of Renaissance religious music
b. A Capella Motet
c. Voice pairing
d. Polyphonic, Imitation
e. Duple meter
f. Switch to Homophonic and triple meter in 4th verse
g. Symmetrical form in verse/phrase structure

Lecture 8.5 
1. Martin Luther – Eine feste Burg ist unser Gott
a. Monophonic/Homophonic
b. In German
c. Example of Renaissance Protestant reformation music
2. Alessandro Moreschi – Ave Maria
a. Castrato
b. Example of counter-reformation music
3. Gregorio Allegri – Miserere
a. Acapella Choral
b. Includes Castrato style
c. Include Gregorian chants (syllabic hymns)
d. Homophonic in parts

Lecture 8.6 
1. Pierre Attaingnant – Tant que vivray
a. Popular renaissance music
b. Voices and lute
2. Thomas Weelkes – As Vesta Was
a. 6 part Madrigal
b. Voices only
c. Music faithfully mimics/represents the text

Lecture 9.1 
1. Vivaldi – The Four Seasons, Op. 8, "La primavera" (Spring): I. Allegro
a. Example of Baroque music

Lecture 9.2 
1. Claudio Monteverdi – L'Orfeo: Toccata (Overture)
a. Example of Early Italian (Baroque) opera
 2. Claudio Monteverdi – L'Orfeo: Act III: Possente spirto, e formidabil nume
a. Aria
b. Vocal embellishments to convey emotion

Lecture 9.3 
1. Claudio Monteverdi – L'incoronazione di Poppea / Act 3: Pur ti miro (Poppea, Nerone)
2. Henry Purcell – Dido & Aeneas: Act III, Dido "Thy hand, Belinda"
a. Early Baroque Opera
b. Recitative
3. Henry Purcell – Dido & Aeneas: Act III, "When I am laid in earth" (Dido's lament)
a. Aria
b. Basso Ostinato
c. Versions on the Spotify playlist (in order)
i. Elin Manahan Thomas
ii. Emma Kirkby (Orchestra of the age of Enlightenment) (11:03)
1. Conventional Baroque symphonic structure
2. Faster tempo
3. Moderate embellishments (controlled vibratos)
iii. Jessye Norman (English Chamber Orchestra)
1. Modern Symphonic structure
2. More significant embellishments and vibratos

Lecture 9.4
1. Bach – Fantasia for piano BWV 922, in A Minor
a. Basso Continuo
b. Figured Bass in transcription
2. Bach: Prelude and Fugue in C
a. Used for Harpsichord demonstration
3. Johann Pachelbel – Canon In D
a. Used for Harpsichord demonstration

Lecture 9.5 
1. Johann Pachelbel – Canon In D
a. Imitative Canon (hard to listen to because all pieces in imitation are on the violin)
b. Basso ostinato in basso continuo

Lecture 9.6
Vivaldi – The Four Seasons, Op. 8, "La primavera" (Spring): I. Allegro

 
Lecture 10.1 
1. Bach – Herz und Mund und Tat und Leben, Cantata : Jesu, joy of man's desiring
2. Bach – Tocatta and Fugue in D minor
a. Tocatta - free flowing, improvisatory

Lecture 10.2
1. Bach : Prelude and Fugue No. 1 in C
2. Bach – Prelude & Fugue No. 2 in C Minor: Fugue
a. An example of a fugue
b. 3 voices
c. Notice the use of invertible counterpoint
d. Subject and Episodes alternate
e. Pedal point at end

Lecture 10.3 
1. Bach – Brandenburg Concerto No. 5 in D : I. Allegro
a. Ritornello form
b. Concertino : Violin, Flutes, Harpsichord
c. Late Baroque style

Lecture 10.4
1. Martin Luther – A Mighty Fortress is Our God
a. Chorale tune
b. Lutheran Chorale
2. Bach – Wachet auf, ruft uns die Stimme Cantata
a. Cantata
b. 7 movements
c. 1,4,7 : Chorale
d. 2,5 : Recitatives
e. 3,6 : Arias

Lecture 10.5 
1. Bach – The Art of the Fugue: Contrapunctus 1 - Andante sostenuto
2. Bach – Cello Suite No. 1 in G Major : Prélude
 
Lecture 11.1 
1. Handel – Concerto Grosso In B Flat Major, Op. 6 No.7: II. Allegro
a. Polyphonic Fugue
2. Handel – Xerxes, Act 1: "Frondi tenere e belle... Ombra mai fù"
a. Prototypical Baroque music
 3. Bach – Concerto in A minor for Violin and Orchestra: I. Allegro

Lecture 11.3 
1. Handel – Water Music Suite No.2 in D: 12. Alla hornpipe
2. Handel – Water Music, VII. Minuet for the French Horn
a. Minuet in Dance Suite
3. Handel – Music for the Royal Fireworks : Minuet

Lecture 11.4 
1. Handel – Rinaldo, Act 2: "Lascia ch'io pianga"
a. (Philippe Jaroussky’s version is not on Spotify, it is on Youtube) :
http://youtu.be/HWD8d_YL30o​,
b. Elin Thomas (her version is on Spotify is also really good)
c. Opera seria
d. Baroque operas had high vocal pitches for hero/ines
e. A-B section, followed by da capo (repeat)
f. Each repetition has more ornamentation/improvisation that the last one
2. Handel – V'adoro, pupille - Giulio Cesare
a. Da Capo form

Lecture 11.5 
1. Handel : Messiah Pt.2, Hallelujah
a. Oratorio
2. Handel – Messiah, Pt. 3: Worthy Is The Lamb
a. Fugue in parts
b. Listen to the powerful silence before the final `Amen` !
 
Lecture 12.1 
1. Mozart – Serenade No. 13 In G Major, K. 525, "Eine Kleine Nachtmusik"
a. Symmetrical, Balanced phrasing
b. Light texture, no brass, based on strings
2. Bach – Brandenburg Concerto No. 3 in G Major: I. (Allegro)
a. One long melody line
b. Repetitive strong rhythm
3. Wagner – Die Walküre (The Valkyrie), Act 3: Ride of the Valkyries
a. Big sound : Brass instruments, 19th Century
4. Mozart – Le Nozze Di Figaro (The Marriage Of Figaro) : Act I Scene 2: Cavatina - Se
Vuol Ballare, Signor Contino
a. Opera Comique (contrast : Opera Seria)
b. Libretto about common people/events (A barber in this case)
Lecture 12.2 
1. Bach : Orchestral Suite No.3 in D Major, Movement II (Air)
a. Baroque (style)
b. Polyphonic
c. Melody in 1st and 2nd Violin
d. Steady/Strong bass in 8th notes (walking bass)
e. Consistent mood throughout the piece
2. Mozart – Symphony No. 25 in G Minor: I. Allegro con brio
a. Classical (age/style)
b. Monophonic and homophonic
c. Melody in 1st violin
d. Almost non-existent bass
e. Mood changes during the piece

Lecture 12.4 
1. Haydn – String Quartet No. 62 in C Major, Op. 76, No. 3, "Emperor": II. Poco adagio,
cantabile
a. Variations on the Emperor’s Hymn
b. Written for a string quartet (2 violins, 1 viola and 1 cello) where each player has
equal parts (significance) and the subject is held by a different instrument through
different variations

Lecture 12.5 
1. Mozart – Symphony No. 1 in E-Flat Major: I. Molto allegro
a. Written at the age of 8 !!
2. Mozart – Symphony No. 25 in G Minor: I. Allegro con brio
a. at 17 !!!
3. Mozart – Concerto for Flute and Harp in C Major: II. Andantino
4. Mozart – Symphony No. 29 in A Major: I. Allegro moderato
5. Mozart – Concerto for 2 Pianos and Orchestra (No.10) in E flat: 3. Rondeau (Allegro)
6. Mozart – Sinfonia concertante in E-Flat Major: I. Allegro maestoso
7. Mozart – Mass in C Minor: Kyrie
8. Mozart – Piano Concerto No.21 in C - 2. Andante
a. Sharp notes in simple melody
b. Falling melodic sequences
c. Deceptive Cadence
9. Mozart – Symphony No. 41 in C Major "Jupiter": IV. Molto Allegro
a. Interaction of 5 melodies
b. Extremely polyphonic
10. Mozart – Le Nozze di Figaro (The Marriage of Figaro) : Overture
11. Mozart – Le nozze di Figaro (The Marriage of Figaro), Act 1: "Non più andrai"
Lecture 13.1 
1. Mozart – Sonata No. 11 in A Major for Piano, "Turkish March": I. Tema con variazioni:
Andante grazioso

Lecture 13.3 
1. Mozart – Piano Sonata No. 16 in C Major, "Sonata facile": I. Allegro
a. Sonata Allegro
b. Alberti Bass (Classical Era)
2. Mozart – Piano Sonata No. 16 in C Major, "Sonata facile": II. Andante
a. Ternary form (A-B-A)
b. Alberti Bass

Lecture 13.4 
1. Mozart – Serenade No. 13 In G Major, K. 525, "Eine Kleine Nachtmusik"
a. Sonata Allegro (Intro, Exposition, Development, Recap, Coda)

Lecture 13.5 
1. Haydn – Symphony in G, No.94 - "Surprise": 2. Andante
a. Binary form (A-B)
b. Minor harmonic shift in after a few repetitions of A-B
c. Coda emphasizes the tonic

Lecture 13.6 
1. Mozart – Sonata No. 11 in A Major for Piano, "Turkish March": III. Rondo alla Turca:
Allegretto
a. Rondo Form (A-B-C-B-A-B + Coda)
b. Ternary forms within sections (A,C)
c. B section heard most frequently
 
Lecture 14.1 
1. Mozart – Piano Concerto No.20 in D minor, K.466 - 1. Allegro
a. Piano Concerto
b. Double exposition form (2 expositions/themes)
c. Orchestra presents the theme(s) followed by the soloist
d. Cadenza for the piano actually written by Beethoven
e. Trill indicates change in passage, orchestra to resume for example
f. Multiple moods per movement (property of Classical music)
 
Lecture 14.2 
1. Mozart – Don Giovanni, ossia Il dissoluto punito - Act 1 - "Là ci darem la mano"
2. Mozart – Don Giovanni, ossia Il dissoluto punito - Overture
 a. Sudden fortissimo
b. Minor chords
3. Mozart – Don Giovanni, ossia Il dissoluto punito - Act 1 - "Notte e giorno faticar" -
"Lasciala, indegno!"
a. Ends with a sword fight !
b. Diminished chords to signify tension
c. Rising melodic sequences
4. Mozart – Don Giovanni, ossia Il dissoluto punito - Act 1 - "Ah, soccorso! son tradito..."
5. Mozart – Don Giovanni, ossia Il dissoluto punito, Act 2 - "Don Giovanni, a cenar teco
m'invitasti"

Lecture 14.3
English Translation at : ​http://www.stmatthews.com/choir/mozartsrequiem.htm
IMSLP has the complete score
1. Mozart – Requiem in D minor : I Requiem (Intriot)
2. Mozart – Requiem in D minor : VII Confutatis
a. Agitated bass with minor melody (Dark/Hell)
b. Female voices in a major melodic sequence (Light/Heaven)
3. Mozart – Requiem in D Minor : VIII. Lacrimosa
a. Chromatic Ascending scale to signify rise (from ashes)
b. Major modulation when the text invokes Jesus
c. Descending scale towards the end signifies resolution
d. Amen Cadence

Lecture 15.1 
1. Beethoven – Piano Sonata No.8 In C Minor Opus 13 "Pathetique": 2. Adagio Cantabile

Lecture 15.2
1. Beethoven – Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio

Lecture 15.3 
1. Beethoven – Sonata No. 14 in C-Sharp Minor for Piano, Op. 27:2, "Moonlight": I 
2. Beethoven – Piano Sonata No.8 In C Minor Opus 13 "Pathetique": 1. Grave - Allegro Di
Molto E Con Brio
a. Notice volume modulation

Lecture 15.4 
1. Beethoven – Fidelio: Ouvertüre
a. Stresses notes/passages through repetition

Lecture 15.5 
1. Beethoven : Sonata No. 14 in C-sharp Minor, Movement 1 (Moonlight)
 a. Minor-Major triad alternation in arpeggio form.
2. Beethoven : Sonata No. 14 in C-sharp Minor, Movement III (Moonlight)
a. Minor-Major triad alternation in arpeggio form.
b. Question expression
3. Beethoven – Piano Trios B Flat, Op.97 'Archduke': Andante cantabile

Lecture 16.1 
1. Beethoven – Symphony No. 5 in C Minor, Op. 67: II. Andante con moto
a. Example of a composition of Beethoven’s Heroic period
2. Beethoven – Symphony No. 1 in C Major, Op. 21: I. Adagio molto - Allegro con brio
a. Example of a composition of Beethoven’s early period
b. Sonata Allegro form
3. Beethoven – Symphony No. 3 in E-Flat Major, Op. 55 "Eroica": IV. Finale. Allegro molto
a. Use of brass instruments
b. Slow unfolding of the theme (Powerful, grand)
c. Example of a composition of Beethoven’s Heroic period

Lecture 16.2 
1. Beethoven – Symphony No. 3 in E-Flat Major, Op. 55 "Eroica": I. Allegro con brio
a. Heroic style
b. Hammer strokes to begin
c. Initial triadic theme in cellos, followed by woodwinds
2. Beethoven – Symphony No. 3 in E-Flat Major, Op. 55 "Eroica": II. Marcia funebre -
Adagio assai
a. Funeral march in C-minor
3. Beethoven – Symphony No. 3 in E-Flat Major, Op. 55 "Eroica": IV. Finale. Allegro molto
a. Heroic style
b. Triadic melody
c. Double theme and variation (variations in bass or melody)
d. Includes theme for woodwinds followed by horns (Lecture 5.4)
e. Heroic character : Triads, Loud volumes, major keys, use of brass instruments
f. Slow unfolding of a majestic theme

Lecture 16.3
1. Beethoven – Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio
a. Uses diminished triads in rising sequence to describe tension (or the building up
of it)
b. Short-short-short long
c. Modulated second theme is lyrical (the bass still plays the initial motive ! )
d. Dissonant intervals at the beginning of the development
 e. The middle of the development section has energetic/shocking repetitive
(short-short….) diminished chords
f. Development becomes more consonant towards the end
g. After multiple attempts, the main theme (orchestra) comes back in
h. Oboe cadenza releases the tension built by the development section
2. Beethoven – Symphony No. 5 in C Minor, Op. 67: II. Andante con moto
a. Example of a composition of Beethoven’s Heroic period
b. Initial lyrical theme followed by brass instruments with a heroic theme
c. Short-short-short long for brass
3. Beethoven – Symphony No. 5 in C Minor, Op. 67: III. Scherzo. Allegro
a. Ends with a Beethovenian swell which connects this to the 4th movement
4. Beethoven – Symphony No. 5 in C Minor, Op. 67: IV. Allegro
a. Brass instruments play triadic themes
b. Bulking up the orchestra , trombone and contrabassoon
c. Very prominent (read as long) cadence

Lecture 16.4 
1. Haydn – Symphony No. 104 in D Major, "London": IV. Finale: Spiritoso
2. Beethoven – Symphony No. 7 in A Major, Op. 92: I. Poco sostenuto - Vivace
a. Beethovenian swell : build up of volume
b. The orchestra builds up gradually
c. Brass instruments with heroic theme
3. Beethoven – Leonore Overture, No, 3, Op. 72
4. Beethoven – Symphony No. 6 in F Major, Op. 68 "Pastorale": I. Allegro ma non troppo
a. Same musical idea gets repeated over and over again (triad)
5. Beethoven – Symphony No. 5 in C Minor, Op. 67: IV. Allegro
a. Piccolo used for high sounds
b. Bulking up the orchestra , trombone and contrabassoon
6. Beethoven – Symphony No. 6 in F Major, Op. 68 "Pastorale": IV. Allegro
a. Storm scene
b. Piccolo used for high sounds (winds)

Lecture 16.5 
1. Beethoven – Symphony No. 7 in A Major, Op. 92: II. Allegretto

Lecture 16.6 
1. Beethoven – Symphony No. 9 in D Minor, Op. 125 "Choral": Recitativo "O Freunde, nicht
diese Töne!" (Ode to Joy)
a. Exception to Beethoven’s Late style where he composed for the sake of art only
 
Lecture 17.1 
1. 0:00
 2. Johannes Brahms – In stiller Nacht
a. Example of Romantic era music (lyrical theme is inspired by nature)
3. Schumann – Kinderszenen (Scenes of Childhood), Op. 15: VII. Traumerei (Dreaming)
a. Example of Romantic era music
4. Mussorgsky – Night on Bald Mountain
a. Example of Romantic era music
b. Fantasy : Horrific theme

Lecture 17.2 
1. Schubert – Schwanengesang, D.957: IV: Ständchen (Rellstab)

Lecture 17.3 
1. Schubert – Piano Quintet in A major ("The Trout"): IV. Tema (Andantino) con variazioni
1-6
a. A lied converted to a movement for a quintet
b. Second violin replaced with by a double bass, includes a piano

Lecture 17.4 
1. Schubert – Der Erlkönig
a. Roles and events:
i. Son : Upper registers, increased chromaticism to denote panic/tension
ii. Erlking : Seductive, major piano accompaniment
iii. Deadly trick : Sudden change to violent music
iv. Death of the child : Sudden minor cadence
v. Horse : Triplets (fast and slow for speed)
vi. Father : Low reassuring notes, major and first and then minor later

Lecture 17.5 
1. Robert Schumann - Frauenliebe und -leben Op.42 - 4. Du Ring an meinem Finger
a. Lied (Lyric poem)
b. Rondo form (A-B-A-C-A)
2. Clara Schumann – Liebst du um Schönheit, Op. 12 No. 4
a. Nicht (not) stressed using a minor chord
b. Modified Strophic form
c. Rising chromaticism (Bach-esque)
d. Dissonance to consonance, through chromatic steps in the coda

Lecture 18.1 
1. Berlioz – Symphonie fantastique, Op. 14: V. Ronde du sabbat

Lecture 18.2 
1. Vivaldi – The Four Seasons, Op. 8, "La primavera" (Spring): I. Allegro
 a. Contains musical signifiers for “Birds”, “River”, “Storm” and “Clearing” in that
order (this forms the basis of everything except the primary theme (which is also
a signifier in itself))

Lecture 18.3 
1. Berlioz – Symphonie fantastique, Op. 14: V. Ronde du sabbat
2. Berlioz – Symphonie fantastique, Op. 14: I. Rêveries - Passions
a. Program Music
b. Events : Reverie followed by something akin to infatuation and/or obsession
c. Amorphous rhythm that moves towards a climax
3. Berlioz – Symphonie fantastique, Op. 14: II. Un Bal
a. Event : Dance
b. Same theme as the one presented in Movement 1, in waltz (triple form)
4. Berlioz – Symphonie fantastique, Op. 14: III. Scène aux champs
a. Event : Protagonist contemplates his obsession and the likelihood of its success.
Ends with a realization that his endeavour may not be successful

Lecture 18.4 
1. Berlioz – Symphonie fantastique, Op. 14: IV. Marche au supplice
a. Event : Dream where the protagonist who has murdered his love is being
marched to the scaffold for execution. He witnesses his own death.
b. Cornet and Ophicleide (low brass instruments) used for the march (sounds like a
military procession/march)
c. Clarinet plays the theme from movement 1 (a reflection of the unfulfilled love)
d. Sudden chord to denote the fall of the guillotine, followed by a cheer from the
crowd (Major themes)

Lecture 18.5 
1. Berlioz – Symphonie fantastique, Op. 14: V. Ronde du sabbat
a. Event : Witches gathered for the funeral followed by an encounter with a
corrupted version of this love.
b. Descent into hell
c. Church Bells provide a religious context (funeral) with the requiem mass, dies
irae
d. Rhythmic diminution in the requiem mass
e. Witch dance depicted using a fugato (a short fugue in the middle of a movement)
f. Followed by double counterpoint : fugue subject on top, dies irae below
g. Burning in hell : Col legno (violins played with the wooden part of the bow), for
burning
 
Lecture 18.6 
1. Tchaikovsky – Romeo and Juliet, Fantasy Overture
 2. Tchaikovsky – Festival Overture in E-Flat Major, Op. 49 "1812 Overture" Beethoven –
Beethoven - Symphony No. 3 in E-Flat Major, Op. 55 "Eroica": II. Marcia funebre -
Adagio assai
a. Funeral March
3. Edvard Grieg – Peer Gynt-Suite Nr. 1, Op. 46: I. Morgenstemning (Morning Mood)
a. Sunrise in the midst of nature
4. Franz von Suppé – Light Cavalry
a. Cavalry march
5. Beethoven – Symphony No. 6 in F Major, Op. 68 "Pastorale": IV. Allegro
a. Storm Scene
6. Brahms – Symphony No. 1 in C minor Op. 68: Adagio - Piu andante - Allegro non troppo
ma con brio
a. Spacious meadow and mountains
7. Wagner – Tannhäuser: Overture
a. Triumphant pilgrim march

Lecture 19.1 
1. Chopin – Sonata No. 2 in B-Flat Minor for Piano, Op. 35: III. Marche funébre (Funeral
March)

Lecture 19.2
1. Mozart – Piano Sonata No.12 In F: 2. Adagio
2. Beethoven – Piano Concerto No.1 in C major, Op.15: 1. Allegro con brio
3. Beethoven – Piano Concerto No. 3 in C Minor, Op. 37: Allegro con brio
a. More dramatic compared to op.15
b. Bigger and more expansive
4. Schubert – Piano Sonata No.4 In A Minor - 1. Allegro ma non troppo

Lecture 19.3 
1. Chopin – Prelude No 20 in C Minor, Op. 28: Largo
a. Fortissimo
2. Chopin – Prelude in A Major, Op 28 No 7: Andantino
a. More intimate sound
3. Schubert – Impromptu No. 3 in G-Flat Major

Lecture 19.4 
1. 0:00 ??
2. Brahms – 6 Piano Pieces, Op.118: 2. Intermezzo in A
3. Brahms – Fantasias (7 Piano Pieces), Op.116: 3. Capriccio In G Minor

Lecture 19.5 
 1. Chopin – Nocturne No.8 in D flat, Op.27 No.2
a. Nocturne
b. Big Guitar effect
c. Bel canto applied to the piano
2. Chopin – Nocturne No.2 in E flat, Op.9 No.2
a. Low middle high
b. Theme and variation form
c. Vocal like cadenza before climax (trills)

Lecture 19.6
1. Liszt – Transcendental Etudes - No. 8 Wilde Jagd
2. Liszt – Un Sospiro
a. End includes tritone chord shifts

Lecture 20.1 
1. Verdi: La traviata / Act 1 - "Un dì felice, eterea"

Lecture 20.2 
1. Bellini – Norma / Act 1: Casta Diva
a. Soprano (Joan Sutherland)
b. Bel canto style
c. Orchestra plays arpeggios
d. Big guitar effect

Lecture 20.3 
1. Verdi – Rigoletto, Act 3: "La donna è mobile"
2. Verdi – Macbeth : Overture (Preludio)
a. Compression of ideas in a short duration
b. Bel canto style orchestration in slower lyrical segments

Lecture 20.4
1. Verdi: La traviata / Act 1 - "Un dì felice, eterea"
a. Aria (Duet)
b. Simple accompaniment
c. Triple meter
d. Tempo rubato
e. Female vocalist in major
f. Orchestra pauses at climax
2. Verdi: La traviata / Act 1 - "Follie! Delirio vano è questo!" - "Sempre libera"
a. Scena (aria-recitative-aria)
b. Accompanied Recitative
c. Cabaletta : A fast aria towards the end
 3. Verdi: La traviata / Act 2 - "Annina, donde vieni?" - "Oh mio rimorso!"
a. Listen to the tenor (Pavarotti)

Lecture 20.5 
1. 0:00 ???

Lecture 20.6 
1. 0:00 ???

Lecture 20.7 
1. 0:00 ???
2. Wagner – Die Walküre (The Valkyrie), Act 3: Ride of the Valkyries
a. Starts with trills in woodwinds (entry in octaves)
b. Rhythmic motif for swaying in the air
c. Theme in brass (leitmotif)
d. Switch to minor in the middle and then back to major
e. Texture builds gradually with more brass
3. Wagner – Die Walküre: Act 3 Scene 3: Leb' wohl, du kuhnes, herrliches Kind!
a. Starts off with the slumber leitmotif
b. Listen for the fire leitmotif in the middle
c. Final lament uses the slumber leitmotif again
d. Ends with a rising melodic sequence and climax

Lecture 21.1 
1. Mozart – Symphony No.36 in C - "Linz": 4. Finale (Presto)
a. Example of compositions in Classical style
2. Wagner – Die fliegende Holländer (The Flying Dutchman) : Overture
a. Example of compositions in Romantic style
3. Mozart – Serenade No. 13 In G Major , "Eine Kleine Nachtmusik"
a. Example of compositions in Classical style
b. Symmetrical phrasing
c. Monophonic followed by homophonic texture
d. Thin texture
e. Strings predominate, woodwinds punctuate, brasses almost absent
f. New ideas in rapid succession
4. Tchaikovsky – Romeo and Juliet, Fantasy Overture
a. Example of compositions in Romantic style
b. Long sweeping melody, string vibratos
c. Freer rhythm, syncopation over bar lines
d. Tempo rubato
e. Wild swings of dynamics
f. Large orchestra, prominent brass
 5. Berlioz – Requiem, Op.5 (Grande Messe des Morts): 2b. Tuba mirum
a. Loud prominent brass section

Lecture 21.2 
1. 0:00 (​Dvořák?)
2. Dvořák – Symphony No. 9 in E Minor, Op. 95 "From the New World": Largo
a. Use of low Brasses
b. Use of english horn adds a nostalgic sound
3. Prokofiev – Peter and the Wolf, Op. 67: Peter in the meadow
a. Expressive violins (modern)
4. Prokofiev – Peter and the Wolf, Op. 67: The Bird
a. Birds in high piccolo

Lecture 21.3
1. Mozart – Serenade No. 13 In G Major , "Eine Kleine Nachtmusik"
a. Ideas in rapid succession
2. Wagner – Die fliegende Holländer (The Flying Dutchman) : Overture
a. Rising and descending major triad
b. Ideas present themselves gradually in a rather grand fashion
3. Brahms – Symphony No. 1 in C minor Op. 68: Adagio - Piu andante - Allegro non troppo
ma con brio
a. Slow and majestic unfolding of ideas
b. Sustained notes (long and sweeping)

Lecture 21.4
1. Sibelius – Symphony No. 2 in D Major, Op. 43: IV. Finale: Allegro moderato
a. Larger symphony (bigger sound)

Lecture 21.5 
1. Mahler – Symphony No. 5: IV. Adagietto. sehr langsam
2. Mahler – Symphony No. 1 in D Major "Titan": Wieder vorwärts drängend
a. Tempo rubato
b. Double counterpoint
c. Half step slide at the end
3. Mahler – Rückert-Lieder: Ich bin der Welt abhanden gekommen
a. Lieder (orchestral song)
b. Starts with english horn solo, followed by the harp and the clarinet
c. Ends with english horn solo, violin (dissonance to consonance) and then the
english horn (dissonance to consonance)

Lecture 22.1 
1. Henrik Måwe – Préludes for Piano : La Cathédrale engloutie (The Sunken Cathedral)
 a. Example of Impressionist music
2. Debussy – Prélude À L'après-midi D'un Faune (Prelude To A Faun's Afternoon)
a. Example of Impressionist music
b. Languishing (in a moment)
3. Gustav Mahler – Mahler: Symphony No.1 In D - 4. Stürmisch bewegt
a. Example of Romantic Music
b. Goal oriented

Lecture 22.2 
1. Debussy - Clair de Lune
a. Intermediate between romantic and impressionist
b. No counterpoints : Parallel motion (vs contrary motion created by counterpoint)
c. Suppressed beat and meter
d. 7th Chords
e. Augmented triads

Lecture 22.3 
1. Debussy – Prélude À L'après-midi D'un Faune (Prelude To A Faun's Afternoon)
a. Example of impressionist music
b. ABA - Ternary structure
c. A: Flute roulades (with string tremolos later)
d. A: Harp glissando
e. A: Crescendo (to nowhere)
f. B: Romantic strings with Vibrato
g. B: Pulsating wind support
h. A: Oboe roulade
i. A: Four pitch ostinato
j. A: Parallel motion
k. A: Anti-climax
l. No clear meter
m. No melody (flourishes used instead)

Lecture 22.4 
1. Debussy – Préludes - Book 1, L. 117 : 2. Voiles
a. Whole tone scale
b. Use of ostinatos
c. Parallel motion
d. Glissando on pentatonic scale

Lecture 22.6 
1. Francisco Tarrega – Recuerdos De La Alhambra
a. Use of tremolo like effect (Flamenco)
 b. Straightforward melody line
c. Triple meter

Lecture 22.7 
1. Dvorak – Symphony No. 9 in E Minor, Op. 95 "From the New World": Largo
a. Melody in english horn
b. Color supports melody
2. Brahms: Symphony No. 1 in C minor Op. 68: Adagio - Piu andante - Allegro non troppo
ma con brio
a. Melody in French horn
b. Color supports melody
3. Claude Debussy – Nocturnes - Orchestral Version, L. 91: 3. Sirènes
a. Color largely independent of melody
4. John Adams – Short Ride in a Fast Machine
a. Example of modern classical music

Lecture 23.1 
1. Stravinsky – The Rite of Spring - Part 1- The Adoration of the Earth : Dance of the
Adolescents
a. Example of modern classical music
2. Schoenberg – Erwartung, Op. 17 Monodrama in one act: IV. Szene/Scene IV: "Er ist
auch nicht da.."
a. Example of modern classical music
b. No template (scale, chords, melody, meter)

Lecture 23.2 
1. Schoenberg: Concerto for Piano and Orchestra, Op.42 - Andante
2. Stravinsky – The Firebird Suite : Finale
a. Romantic style
3. Stravinsky – Petrushka : Tableau I: The Shrovetide Fair
a. Modern style
b. Brittle sound
c. Heavy use of woodwinds and percussions
d. Irregular meters
e. Polymeters
f. Syncopation

Lecture 23.3 
1. Tchaikovsky – The Nutcracker, Op.71 - Act 2: No. 12e Dance of the Reed Pipes
a. Contrast with the Rite of Spring (Stravinsky)
2. Stravinsky – The Rite of Spring - Part 1- The Adoration of the Earth : Dance of the
Adolescents
 a. Example of modern music
b. Polyrhythms
c. Polymeters
d. Irregular meters
e. No vibrato in strings (percussion effect)
f. Polychords
g. Percussion heavy
h. Brittle woodwinds
i. Heavy dissonance
3. Stravinsky –The Rite of Spring : Part 1: The Adoration of the Earth - Introduction
a. This introduction was used in Disney’s Fantasia

Lecture 23.4
1. Mozart – Piano Concerto No. 21 In C Major : Andante
a. Contrast with Schoenberg
2. Schoenberg – Pierrot Lunaire, Op. 21: VI. Madonna
a. Atonal music
b. Remove scales, triads and chord progressions
c. No tonal center
d. Octave displacement

Lecture 23.5 
1. Bach – Musical Offering : Canon 1. a 2: Canon cancrizans
a. Crab canon
b. Use of retrograde
2. Arnold Schoenberg – Piano Suite, Op. 25: V. Menuett - Trio
a. Example of atonal music (12-tone)

Lecture 23.6
1. 2:47 : Mozart ?
2. Chopin – Nocturne No. 2 in E-Flat Major, Op. 9
a. Dissonance resolves to consonance (end)
3. 3:23 : Mahler ?
4. Richard Strauss – Also Sprach Zarathustra Op. 30 - Introduction
a. Use of overtones
5. Richard Strauss – Death and Transfiguration, Op. 24
a. Use of overtones
b. Dissonance to consonance

Lecture 24.1 
1. John Adams – Short Ride in a Fast Machine
2. Debussy – Préludes - Book 1 : 2. Voiles
 a. Example of impressionist music
3. Stravinsky – Le sacre du printemps (The Rite of Spring): Auguries of Spring (Dances of
the Young Girls)
a. Example of modern music
4. 2:20 : Example of Romantic music (sound like Liszt's chords)
5. Copland – Appalachian Spring: Doppio movimento
a. Example of Postmodern music

Lecture 24.2 
1. Copland – Appalachian Spring: Very Slowly
a. Example of postmodern music
b. Polychords
c. Dissonance in higher registers
d. Gradual unfolding of dissonance
2. Copland – Appalachian Spring: Doppio movimento
a. Example of postmodern music
b. Antecedent - Consequent structure
c. Theme and variation form
d. Rhythmic augmentation and diminution
e. Imitation (Fugato)
f. Modulation
g. Amen cadence

Lecture 24.3 
1. 0:00

Lecture 24.4 
1. 0:00
2. Philip Glass – Opening, Glassworks
a. Example of postmodern minimalism
b. Repetition of the same ideas
3. Bach – Prelude and Fugue in C
a. Example of minimalism
4. Philip Glass – Floe
a. Example of postmodern minimalism

 
Lecture 24.5 
1. John Adams – Short Ride in a Fast Machine 
2. John Adams – Act I, Scene 1: Landing of the Spirit of '76, Nixon in China
a. Example of postmodern minimalism in opera
b. Repeated patterns for emphasis
 c. Several pattern playing simultaneously
d. Syncopation
3. John Adams – Act I, Scene 1: "Your Flight Was Smooth, I Hope?", Nixon in China
a. Example of postmodern minimalism in opera
b. Repeated patterns for emphasis
c. Several pattern playing simultaneously
d. Syncopation
4. John Adams – Act I, Scene 1: "News Has a Kind of Mystery:", Nixon in China
a. Example of postmodern minimalism in opera
b. Repeated patterns for emphasis
c. Several pattern playing simultaneously
d. Syncopations

Lecture 24.6 
1. Christopher Rouse – Flute Concerto: V. Amhran