[MUSIC] All right, in our lest segment we tried to differentiate between the aristocratic baroque and the more democratic classical period. Admittedly all simplified a bit, but differentiated in terms of architecture dress and even social relations, the tension between the aristocracy and the middle class, now let's focus on the music. I'm going to play two pieces. One of the Baroque era by Bach, and one from the classical period by Mozart, and you are going to differentiate between the two. We'll start with Bach's Air, a slow song or air, coming from a suite of pieces for Baroque orchestra. As we listen and watch, I want you to think about the characteristics of style in this music. Let's focus on the first questions. Okay, list of questions here. What's the texture? - Monophonic, homophonic, or polyphonic? Where's the melody? What's the bass doing? What's the pulse of the bass? What is the mood of the music? Does the mood change? We'll watch a musical animation here by my friend Steve Malanowksy from Richmond, California. Here we get both a musical score and a graphic representation. Obviously, we have four parts. [MUSIC] First violin, second violin, viola and cello. Cello double [INAUDIBLE] double basses. Speaking of the double basses. Knows what they're doing. All the same beat plotting along in 8th notes here. Good example of a Baroque walking bass. There's melody, well it's up above for the most part but sometimes the second violin joins in to produce a composite melody. [MUSIC] Now they double basses work double time to signify a repeat. [MUSIC] Has the mood of the music changed in any way? No, I'd say the mood is pretty much the same from beginning to end. Okay, let's pause this here. What have we learned? Well, let's take a look at a slide that may help us in this regard. What's the texture? Is it monophonic, homophobic or polyphonic? Well, polyphonic, that's mostly the composite of four lines going their own way at one time. So I'd say mostly polyphonic texture, whereas the melody. Well, the melody is mostly in the first violin, but sometimes in the second. What's the bass doing? Well, as we heard, it's moving along, almost relentlessly in a steady beat. What's the pulse of that bass? Well, as we saw, eighth note but always the same, a good example of the baroque walking bass. And finally whats the mood of the music? Well, does the mood change in anyway? With the mood I would submit is generally serene relaxed, i feel secure when I listen to this. Does it ever change from beginning to end of this about five minute piece? No, it has the same ethos from beginning to end. So what have we learned here? Well, we might have learned that the strings dominate here in the Baroque. The melody spins out in these long, sometimes asymmetrical phrases. That late Baroque music is full of polyphony that has a very strong bass. It has consistent rhythmic patterns driving it forward and a consistent mood or ethos, ethos from beginning to end. Okay, good. Now, let's take a piece by Mozart. Again, we're going to grab only forty seconds or so here but that's really all we need, and let's focus on a few questions that will help us identify the difference between late baroque and classical musical style. Our choice here is the opening of Mozart's symphony number 25 written in 1773 when he was 17. Wait a minute, [LAUGH] hang on here a minute. Symphony number 25? 25 symphonies and he's 17? That's impossible. No, that's Mozart. He was a genius, and more than any other genius, he was a prodigy and able to do all of this at a very young age. Well, let's look now at our Mozart questions. How do we recognize a classical piece by Haydn or Mozart? What's the texture, monophonic, homophonic, polyphonic? Where is the melody? What's the bass doing? What's the pulse of the bass? What's the mood of the music? Does the mood change? So let's now go to a, a video again. This also by Steve Malinowsky. It doesn't have a musical score with it, only the graphics. And we may be stopping along the way. [MUSIC] Okay, I'm going to stop it right there. At the outset, we heard. [MUSIC] And it sounded like a lot of people were playing. Actually, it was just one melody line, everybody playing what's called at octaves. So this, although it might sound complex, is actually just a good example of monophonic texture. And then as you see on the screen there, you have up above a melody. That's why these animations are useful. Now you have up above a melody and have these green blocks underneath. Well, the green blocks are chords that are supporting the melody. So we have an example of homophonic texture here. So let's go back to the beginning. Let me go back to the beginning that'd be great. And we're going to pick it up with that's fine. We'll start right here, and in a moment up will come the music with our monophonic texture. [MUSIC] Yeah, back to monophonic they're all together, in chain. [MUSIC] Little bit of polyphony here, a little bit more activity here. Notice here back to homophony but notice how very soft sweet oboe takes over. Chord, chord. Okay, we are going to stop it right there. There we go, we are going to pause it right there, and go back and ask us, yes, some questions again about this piece by Mozart. So let's go to our first slide here and just removed what's the texture, monophonic, homophonic, or polyphonic. Well, let's see what we had in this piece. Yep, monophonic and, homophonic, very little polyphonic here. Where's the melody? Well, again, it's always on the top, more so on the top, it was virtually all on the top, always in the first violin. What's the bass doing? Well, I didn't hear much bass there, I just heard melody. Melody is much more important here in the classical era. Then, the bass is, what's the pulse of the bass? Well, the pulse of the bass, difficult really to find. Difficult to identify because the pulse is in the melody. What's the mood of the music? Well, it starts out as you heard- [MUSIC] All that syncopation is very agitated, veryanxious, but in the course of just those few seconds, it changes when the oboe comes to the. [MUSIC] The relaxed oboe lines has become very, very lyrical by that point. So what do we conclude from this, by way of classical music? How might we recognize a piece by Hayden or Mozart? Well, listen for a string dominated style, style. One in which occasionally solo woodwinds will pop up. Melody is generally shorter, often in units of two, or four, or eight. It's symmetrical, it's balanced, the texture in classical music is mostly homophonic. You get a melody plus chordal accompaniment. And the texture generally is lighter. The bass is much less obvious compared to baroque music. Rhythmic patterns, well, there's more of a stop and go process at work here. I always think of this as something like the slinky that I had as a kid. It would race to the next step and then sit there for awhile and then race, sit there, so it's much more unpredictable, the rhythmic patterns in classical music. And as we heard, the mood can change within the same piece or movement. There is no constant ethos here. You can start in agitated fashion, become very lyrical within a very short period of time. Okay, well, that's some music by Mozart. [INAUDIBLE] And the composer of this music, Mozart, was born in Salzburg, but moved to and died in Vienna. Haydn was born in Rohrau, Austria, but moved to and died in Vienna. Beethoven was born in Bonn, Germany, but moved to and died in Vienna. What do we detect from this pattern, don't go to Vienna? No, on the contrary, do very much go to Vienna. So let's go to Vienna and see what's going on.
