yale course how to listen to music

What kind of music is taught at Yale University?

MUSI 112 - Lecture 1 - Introduction. Chapter 1. Introduction to Listening to Music [00:00:00] Professor Craig Wright: Okay. Good morning, ladies and gentlemen. My name is Craig Wright and this is “Listening to Music,” the most basic course that the Department of Music has to offer. Its aim is to teach you how to listen to music.

Where can I watch the lectures in listening to music?

Description This course fosters the development of aural skills that lead to an understanding of Western music. The musical novice is introduced to the ways in which music is put together and is taught how to listen to a wide variety of musical styles, from Bach and Mozart, to Gregorian chant, to the blues. Course Takeaways

What is the introduction to listening to music about?

MUSI 112 - Lecture 2 - Introduction to Instruments and Musical Genres. Chapter 1. Distinguishing “Songs” from “Pieces”: Musical Lexicon [00:00:00] Professor Craig Wright: Okay. Good morning. Over the weekend, you were assigned material from chapter one of the text and it dealt really with three famous beginnings of pieces of classical ...

Where can I find the listening exercises for the course?

MUSI 112 - Lecture 4 - Rhythm: Jazz, Pop and Classical. Chapter 1. Introduction to Multiple Partials [00:00:00] Professor Craig Wright: Now what I’d like to do is something that you’ll probably cut out because of copyright issues but it’s a kind of fun warm-up anyway, so we’re going to go ahead and do this and then we’ll actually start.

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How long is a violin?

This particular one is about 16 inches long. Violins are — maybe — go up about to twelve inches. They have a slightly smaller body to them but violins and violas have the same general construction. All of the sounds are produced by the strings on the instrument and how the bow is pulled across the instrument.

How many movements are there in a symphony?

So symphonies have these four movements and they usually operate in the following way: A fast opening movement; a slower, more lyrical second movement; then a third movement that’s derived from dance; and then a fourth movement that’s sort of again “up tempo,” fast, emphatic conclusion.

What are the principles of active listening?

The practice of active listening cultivates transferrable skills for how to listen carefully and critically in other situations both inside and outside the classroom—listening to lectures, to political speeches, to TED talks, and even to one another. For example, in her recent op-ed for The New York Times, “Lecture Me. Really.”, Molly Worthen argues about the validity of the lecture course in the midst of today’s debates about active learning. [6] All too often, such pedagogical debates condense lecturing and active learning into an oppositional binary, with the implication that lecturing only results in passive learning, if it engenders learning at all. Yet I would argue that the underlying principles of active listening—critical engagement with aurally received information—challenge the foundational assumptions for such a binary. Although Worthen does not specifically use the phrase “active listening,” her argument is essentially built upon the notion that lectures require—or should require—students to listen rather than just hear. As Worthen points out, in 1869 former president of Harvard University Charles Eliot cautioned that “the lecturer pumps laboriously into sieves. The water may be wholesome, but it runs through. A mind must work to grow.” [7] However, for Worthen—as well as for myself—an alternative to abolishing the lecture is to teach students how to listen, to hone the sieve instead of turning off the water. Thus, whether applied to teaching with music or to other situations, active listening is a useful pedagogical strategy for teaching the principles of critical inquiry.

Why is teaching music so challenging?

Teaching with music can be challenging—especially because we as a society have developed the habit of hearing without listening. In playing a musical example in class, the risk is often one of losing control of student attention. Too often, the moment the music starts playing, eyes begin to glaze.

What are university libraries doing?

Many university libraries are purchasing subscriptions to online streaming databases and supporting initiatives to catalogue and archive their multimedia collections, thus providing access to a rapidly diversifying treasure-trove of newly available resources for use in undergraduate courses .

Why do we play music multiple times?

Playing examples multiple times allows students to better absorb the music and to make more informed assessments and observations of what they have heard.

What is an English course?

An English course might examine how particular texts have been set to music, or how canonical theatrical works have been adapted for the operatic stage. A class on Shakespeare’s Othello, for example, might feature a musical excerpt from Giuseppe Verdi’s 1887 operatic setting of the play.

Is music a text?

While the importance of teaching with a variety of artifacts or objects is generally recognized, music may not always be the first port of call outside of music classes. But music is not just for musicians and music courses. By expanding the notion of a “text” to include any object that can communicate meaning—as in the literary theory sense ...

Does active listening require music?

Whether employed in music courses or in non-music courses, active listening does not require advanced musical training or the ability to read music, yet it can still be used with students who can read music.