Module Seven: Bach to the Future
Welcome to the grand saga of Western civilization and its melodic exploits since the dawn of the Renaissance. Get ready because we're embarking on a darkly amusing expedition through the peaks and valleys of humanity's musical wanderings.

Imagine this: the Renaissance, a period of cultural rejuvenation, where maestros like Josquin des Prez and Giovanni Pierluigi da Palestrina were strumming their instruments and crafting intricate harmonies. Ah, yes, the emergence of individual ingenuity, humanism, and musical notation. But let's not overlook the challenges of the era, with their rigid social structures, keeping women and commoners away from making music alongside the aristocracy. Yet, these barriers couldn't silence the music, as these talented individuals found ways to express themselves and create masterpieces.

Then arrives the Baroque epoch, where the music was as elaborate as Marie Antoinette's hairstyle and as passionate as a breakup letter from your first crush. Bach, Handel, and Vivaldi were composers who probably had more drama than a daytime soap opera. Sure, they bestowed upon us operas and concertos, but at what price? Trading their souls to affluent patrons to keep the pantry stocked. Talk about plucking the strings of desperation.

Zoom ahead to the Classical era, where Mozart and Beethoven reigned as the rockstars of their time. Clear-cut melodies, balanced phrases—it's like they were striving to maintain composure amidst societal turmoil. At least public concerts became a thing, so even the common folk could savor some musical enlightenment amid revolutions.

Then comes the Romantic period, where composers were all about pouring their hearts out and communing with nature. Beethoven was like the OG emo kid, his symphonies a testament to his raw emotions. The music of this era was a mirror to the human soul, reflecting the joys and sorrows of life in every note.

And now, in the modern era, rules are meant to be shattered, and everything is on record. Stravinsky, Schoenberg, Cage—these folks were the rebels of classical music, giving tradition the middle finger and smashing instruments just for kicks. At least they were tearing down barriers and amplifying the voices of the marginalized, even if it meant sacrificing a bit of harmony along the way.

But hold on, we're still going. In contemporary times, delving into this musical mayhem isn't just about musty old scores and deceased composers. It's about grasping our roots, understanding the struggles and triumphs of those who came before us, so we don't sing the same old tune. It's about acknowledging the inequalities and injustices plaguing the music industry today and finding a way to change the rhythm.

So, there you have it, folks. The chronicles of Western civilization and music post-1500 CE: a wild journey of peaks, valleys, and everything betwixt. We've explored the Renaissance, the Baroque, the Classical, the Romantic, and the Modern periods, each with its unique musical styles, societal influences, and cultural impacts. Put on your headphones and get ready to groove through the ages because the performance is over once the rotund lady delivers her showstopper. And trust me, it's going to be epic.

THE RUNDOWN
  • Renaissance music, like from the 1400s to 1600s, was fancy and famous guys like Monteverdi made cool tunes.
  • In the Baroque era, from the 1600s to early 1700s, Bach and Handel made big music with lots of instruments.
  • The Classical period, late 1700s to early 1800s, had Mozart and Beethoven making music that was neat and balanced.
  • Romantic music, around the 1800s, was all about feelings and nature, with composers like Beethoven and Brahms making big, emotional music.
  • In the Modern era, from the 1900s onwards, music got really different with people like Stravinsky and Cage trying new things.
  • Studying music history helps us understand where our music comes from and why it's important, teaching us about different cultures and times.

QUESTIONS
  • What are some characteristics of Renaissance music compared to music from other periods?
  • How did composers like Monteverdi contribute to the development of music during the Renaissance?
  • Describe the differences in musical styles between the Renaissance and Baroque eras.
#7 Historiography is Important and is Never Stagnant

In the intricate tapestry of human chronicles, historiography emerges as the voyeuristic aperture through which we peer into antiquity, albeit clouded by the biases and distortions inherent in subjective interpretation. It resembles deciphering hieroglyphs through the haze of intoxication; while the essence may be discerned, the finer details remain obscured.

Imagine this: Herodotus, the original chronicler, striding through ancient Greece with an air of ownership, weaving narratives of deities, monsters, and drama rivaling the climax of "Keeping Up with the Spartans." Skip ahead a few millennia, and Howard Zinn detonates truth bombs like confetti at a rebellion-themed soirée, unsettling historical narratives akin to a bartender vigorously shaking a cocktail.

Yet, let's delve into revisionism, shall we? It's akin to hitting the "undo" button on history's greatest hits compilation. Consider Native American history: once relegated to footnotes by those viewing Columbus as merely a geographically befuddled Italian, it now basks in the limelight. Thanks to movements like the American Indian Movement and voices like Vine Deloria Jr., a fresh perspective emerges that refuses to gloss over centuries of oppression akin to a poor Tinder profile.

Historiography is not merely about stirring the pot but infusing zest into an otherwise bland concoction. Think of it as a culinary experiment gone deliciously awry, with historians tossing in new ingredients akin to contestants on "Chopped: Ancient Civilizations Edition." Case in point: the Dead Sea Scrolls. Forget Indiana Jones; these artifacts are true treasures, offering a tantalizing glimpse into the lives of ancient Essenes and igniting debates fiercer than a chili-eating contest.

However, let's not deceive ourselves; historiography harbors biases like street vendors peddling counterfeit wares. Recall the Cold War-era scholars who perceived communists lurking behind every corner. It turns out that impartiality wasn't their forte. And the Nazi propaganda machine? It churned out historical narratives akin to Goebbels-approved bedtime tales.

In today's era of misinformation and alternative truths, historiography assumes unprecedented significance. It is the antidote to historical forgetfulness, the shield against cognitive lethargy. By acknowledging our biases and scrutinizing the narratives we ingest, we inch closer to an honest comprehension of the past—one that confronts human existence's messy, intricate reality. So here's to historiography, the unsung hero of the annals. Without it, we'd flounder in a sea of half-truths and falsehoods, destined to replay the errors of yesteryears like a broken record. Here's to reshaping history, one revision at a time.

RUNDOWN
  • Historiography, the study of history, helps us understand past mysteries.
  • Like history, historiography changes over time, shaping how we see the past.
  • Ancient and modern historians offer different perspectives on historical events.
  • The internet changed how we research history, making information easier to find.
  • "Revisionist" approaches challenge biased views, like rethinking Native American history.
  • Historians uncover hidden treasures, like the enlightening Dead Sea Scrolls.
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​STATE OF THE WORLD
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World Map, 1600 CE
In 1600, the world was a chaotic theater of absurdities, where Europe's political puppets, like Spain's beige King Philip III and England's indomitable Queen Elizabeth I, played chess with nations while Shakespeare penned immortal plays and Galileo's star charts risked the wrath of the Catholic Church. Across the Atlantic, indigenous civilizations crumbled under European colonization's brutal comedy, with Jamestown and Quebec foreshadowing centuries of conflict and cultural imposition. Asia's Ming Dynasty decayed amid internal strife, as Japan's Tokugawa shogunate promised isolationist stability, and India's Mughal Empire flourished under Akbar's enlightened rule. Africa, a mosaic of kingdoms and European exploitation, faced the horrors of the transatlantic slave trade, while the Middle East's Ottoman and Safavid empires, in a testament to their cultural renaissance, blossomed. Technological and scientific advancements sparked the early Scientific Revolution, clashing with religious upheaval from the Protestant Reformation and the Catholic Counter-Reformation. This era's global trade and exploration knit the world closer through threads of conquest, setting the stage for modernity's triumphs and tragedies, where human ambition and folly danced on the edge of profound change.
HIGHLIGHTS
We've got some fine classroom lectures coming your way, all courtesy of the RPTM podcast. These lectures will take you on a wild ride through history, exploring everything from ancient civilizations and epic battles to scientific breakthroughs and artistic revolutions. The podcast will guide you through each lecture with its no-nonsense, straight-talking style, using various sources to give you the lowdown on each topic. You won't find any fancy-pants jargon or convoluted theories here, just plain and straightforward explanations anyone can understand. So sit back and prepare to soak up some knowledge. 

LECTURES
  • UNDER CONSTRUCTION!
The Reading section—a realm where our aspirations of enlightenment often clash with the harsh realities of procrastination and the desperate reliance on Google. We soldier on through dense texts, promised 'broadening perspectives' but often wrestling with existential dread and academic pressure. With a healthy dose of sarcasm and a strong cup of coffee, I'll be your guide on this wild journey from dusty tomes to the murky depths of postmodernism. In the midst of all the pretentious prose, there's a glimmer of insight: we're all in this together, united in our struggle to survive without losing our sanity. 

READING
  • Chapter 18. Coping with Change: Ideology, Politics, and Revolution, 1815-1850
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​This class utilizes the following textbook:
Sherman, Dennis, and Joyce Salisbury. The West in the World. 5th ed. McGraw Hill, 2013.
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In the whirlwind of academia, where tweed jackets and discussions about the best coffee spot reign, Joyce Salisbury and Dennis Sherman stand out as the rebels of historical scholarship. Armed with Salisbury's Ph.D. in medieval history from Rutgers University and Sherman's academic journey from UC Berkeley to the University of Michigan, they challenge the conventional norms with their scholarly prowess and irreverent wit. Salisbury fearlessly delves into ancient violence with works like "The Blood of Martyrs" and uncovers forgotten tales of resilience in "The Encyclopedia of Women in the Ancient World." Meanwhile, Sherman, akin to an academic Indiana Jones, roams the globe contemplating French history in Parisian cafes and making history accessible with titles like "A Short History of Western Civilization." Together, they disrupt the ivory tower with their unapologetic approach and thirst for asking the tough questions.

As a dynamic duo, Salisbury and Sherman defy the stereotype of the stuffy historian. Their partnership merges Salisbury's pen, mightier than Excalibur itself, with Sherman's knack for weaving accessible narratives. They're not just scholars but cultural provocateurs challenging the status quo. So, here's to raising a glass (or a quill) to these academic renegades, who breathe life into the dusty corridors of historical scholarship with their relentless curiosity and scholarly swagger.

RUNDOWN
  • In 1815, conservatives tried to maintain their power by suppressing changes brought by the French Revolution and Enlightenment.
  • Conservatives saw change as a threat, but the Industrial Revolution and ideologies like liberalism, nationalism, and socialism grew stronger.
  • In the early 1820s, revolutions and reforms began to emerge slowly.
  • By 1830, revolutionary forces became more challenging and achieved significant victories in Western Europe.
  • In 1848, revolutions spread across Europe, initially succeeding but ultimately failing by 1850 as conservatives regained power.
  • Historians call the 1848 revolutions "the turning point at which modern history failed to turn" due to their short-lived success.
  • Despite the failures, the 1848 revolutions left lasting legacies, with some liberal reforms being retained or modified over time.
  • The spread of industrialization and urbanization continued to weaken traditional life and the old order.
  • The revolutions demonstrated the power of ideologies and economic and social realities to inspire political action.
  • Reestablished conservative governments learned from 1848 and worked harder to maintain control, temporarily stabilizing the situation
​​Howard Zinn was a historian, writer, and political activist known for his critical analysis of American history. He is particularly well-known for his counter-narrative to traditional American history accounts and highlights marginalized groups' experiences and perspectives. Zinn's work is often associated with social history and is known for his Marxist and socialist views. Larry Schweikart is also a historian, but his work and perspective are often considered more conservative. Schweikart's work is often associated with military history, and he is known for his support of free-market economics and limited government. Overall, Zinn and Schweikart have different perspectives on various historical issues and events and may interpret historical events and phenomena differently. Occasionally, we will also look at Thaddeus Russell, a historian, author, and academic. Russell has written extensively on the history of social and cultural change, and his work focuses on how marginalized and oppressed groups have challenged and transformed mainstream culture. Russell is known for his unconventional and controversial ideas, and his work has been praised for its originality and provocative nature. 

My classes utilize both Howard Zinn's A People's History of the United States and Larry Schweikart's Patriot's History of the United States, mostly in excerpts posted to the modules. 
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Zinn, A People's History of the United States
"...The most important thing about dress in the cultural change of the (1960s) was the greater informality. For women it was a continuation of the historic feminist movement's insistence on discarding of 'feminine,' hampering clothes. Many women stopped wearing bras. The restrictive 'girdle'-almost a uniform of the forties and fifties-became rare. Young men and women dressed more nearly alike, in jeans, in discarded army uniforms. Men stopped wearing neckties, women of all ages wore pants more often-unspoken homage to Amelia Bloomer.

There was a new popular music of protest. Pete Seeger had been singing protest songs since the forties, but now he came into his own, his audiences much larger. Bob Dylan and Joan Baez, singing not only protest songs, but songs reflecting the new abandon, the new culture,
became popular idols. A middle-aged woman on the West Coast, Malvina Reynolds, wrote and sang songs that fit her socialist thinking and her libertarian spirit, as well as her critique of the modern commercial culture. Everybody now, she sang, lived in 'little boxes' and they 'all came out just the same.'

Bob Dylan was a phenomenon unto himself: powerful songs of protest, persona] songs of freedom and self-expression. In an angry song, 'Masters of War,' he hopes that one day they will the and he will follow their casket "in the pale afternoon.' 'A Hard Rain's A-Gonna Fall' recounts the terrible stories of the last decades, of starvation and war, and tears, and dead ponies, and poisoned waters, and damp, dirty prisons-'It's a hard rain's a-gonna fall.' Dylan sang a bitter antiwar song, 'With God on Our Side,' and one about the killer of the black activist Medgar Evers, 'Only a Pawn in Their Game.' He offered a challenge to the old, hope to the new, for 'The Times They Are A-Changin'..." ​​
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Larry Schweikart, A Patriot's History of the United States
...Colonial art, architecture, drama, and music also reflected American practicality and democracy spawned in a frontier environment. Artists found their only market for paintings in portraiture and, later, patriot art. Talented painters like John Singleton Copley and Benjamin West made their living painting the likenesses of colonial merchants, planters, and their families; eventually both sailed for Europe to pursue purer artistic endeavors. American architecture never soared to magnificence, though a few public buildings, colleges, churches, and private homes reflected an aesthetic influenced by classical motifs and Georgian styles. Drama, too, struggled. Puritan Massachusetts prohibited theater shows (the “Devil’s Workshop”), whereas thespians in Philadelphia, Williamsburg, and Charleston performed amateurish productions of Shakespeare and contemporary English dramas. Not until Royall Tyler tapped the patriot theme (and the comic potential of the Yankee archetype) in his 1789 production of The Contrast would American playwrights finally discover their niche, somewhere between high and low art.
In eighteenth century Charleston, Boston, and Philadelphia, the upper classes could occasionally hear Bach and Mozart performed by professional orchestras. Most musical endeavor, however, was applied to religion, where church hymns were sung a cappella and, occasionally, to the accompaniment of a church organ. Americans customized and syncopated hymns, greatly aggravating pious English churchmen. Reflecting the most predominant musical influence in colonial America, the folk idiom of Anglo, Celtic, and African emigrants, American music already had coalesced into a base upon which new genres of church and secular music—gospel, field songs, and white folk ballads—would ultimately emerge..."​
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Thaddeus Russell, A Renegade History of the United States​
"... After World War II, Soviet soldiers brought the virus home from the western front. It soon infected large portions of the Soviet population, then spread to other Eastern Bloc countries. Within a few years, the Communist Party leadership feared it would destroy the socialist fatherland from within. But it was not a biological disease that threatened Communism. Soviet Premier Joseph Stalin and his commissars called it an “amoral infection” in the minds of Soviet youth. It was 'American primitivism,' 'capitalist cultural imperialism,' and 'bourgeois cosmopolitanism.' But it was really American renegade culture.

In 1946, soon after Stalin’s chief aide Andrei Zhdanov warned that jazz would 'poison the consciousness of the masses,' the Central Committee of the Communist Party ordered all state orchestras to stop playing the music. Also banned were saxophones, wah-wah trumpet mutes, the plucking of bass strings, the deliberate lowering of tones to create 'blue notes,' and the playing of drums with too much rhythm. Brigades of music patrols monitored theaters and dance halls to ensure that nothing jazzy was being played. Couples caught dancing anything other than the waltz, the polka, or Russian folk dances were subject to arrest. Members of jazz bands were rounded up and sent to Siberian prisons or exiled to remote cities, where they were supposed to undergo 'rehabilitation.'

Soviet authorities were right to fear jazz, but they could not stop it. Bootleg recordings were sold by the millions on the black market. Stiliagi, or 'style hunters,' appeared on the streets of all the major cities in the Soviet bloc, wearing zoot suits and ducktails if they were male or tight dresses—'stretched tightly over their figures to the point of indecency,' according to one state-run Soviet newspaper—and bouffant hairdos if they were female. They refused to work and loved to drink, 'hang out,' read American comic books, and listen to African American music. With little access to American-made products, the stiliagi were forced to re-create them on their own. To make flashy, multicolored ties, they literally painted over their drab, state-issued ties, or affixed to them American cigarette packages. Because there were no hairstylists behind the Iron Curtain who could or would give them the look of their American idols, the style hunters used heated metal rods on one another’s hair. So, many sported not only fashionable ducktails but also burns on their necks. Instead of American chewing gum, many chewed paraffin wax. They smuggled as many of the real sounds of renegade America as they could but were forced to copy them in an ingenious way. A jazz-loving Soviet medical student discovered that he could inscribe sound grooves on the surface of X-ray plates, and invented a machine that allowed him to produce low-quality but sufficient copies of music recordings. From there, the stiliagi used the technique to take over the black market in American music. Swing and boogie-woogie were early favorites, then bebop and rhythm and blues.

Every nation of the Eastern Bloc had its own stiliagi. In Poland, they were the bikiniarze. In Hungary, they were the jampec. And in Czechoslovakia, pásek overran the streets. When the police in these countries didn’t arrest the renegades, they gave them impromptu street haircuts or slashed their clothes..."​
Welcome to the thrilling journey of Western civilization's musical odyssey, a ride packed with more surprises and excitement than a blockbuster movie. Get ready, because we're about to embark on a time-traveling escapade, fusing the melodies of the past with the exhilarating symphony of today.

Picture this: it's the Renaissance, a time when Europe is shaking off its medieval slumber, awakening to a revival of all things classical. Art, literature, music—it's a cultural renaissance. Suddenly, Josquin des Prez and his contemporaries are producing masterpieces at an unprecedented rate. But what's the secret to their inspiration? Perhaps it's the revolutionary printing press, churning out sheet music faster than you can say 'Gutenberg'.

Then we jump to the Baroque era, where it's all about going overboard. Picture lavish wigs, flamboyant fashion, and intricate music that makes your grandma's doilies look bare. Bach, Handel, and Vivaldi are the rockstars of their time, pumping out tunes like there's a deadline (which, let's face it, there probably is). And let's remember the rise of the show-off performer because what's a concert without someone flexing their harpsichord skills?

Fast forward to the Classical period, where Mozart and Beethoven talk about that sweet balance and clarity. They glanced at the Baroque era and said, "Let's tone it down, but also, let's add some drama." Symphonies, sonatas, string quartets—they're cranking them out like it's a factory shift. And who can blame them? When you've got Enlightenment ideals to live up to, your music's got to be as rational and orderly as your powdered wig.

But then along comes the Romantic era, and all bets are off. Beethoven tossed classical norms out the window to favor raw emotion and the sublime. It's like a musical midlife crisis—except instead of a sports car, they're composing symphonies about love, nature, and the big questions. And don't even get me started on the rise of nationalism. Suddenly, every composer worth their salt is racing to out-patriotize each other. Spoiler alert: usually the one with the most significant brass section.

And then, bam! The 20th century smacks us right in the face. Are they recording tech? Check. Radio? Check. Mass media? Triple check. Suddenly, everyone and their granny can access music, and it's like Pandora's box just exploded. Jazz, blues, rock, and roll—music's morphing through genres faster than a teenager flipping through radio stations. And with movements like civil rights and anti-war protests shaking things up, musicians use their songs as protest banners quicker than you can say, "Give peace a chance." The advent of recording technology and mass media in the 20th century revolutionized the music industry, making music more accessible and allowing for the rapid spread of new genres and styles.

But amidst the chaos, there's a darker side to the tale. Sure, American culture spreads like wildfire, but it leaves a scorched trail behind. Cultural imperialism, commodification, exploitation—you name it, we've mastered it. And while we're busy congratulating ourselves for exporting democracy and freedom, we conveniently forget about the voices we've silenced along the way.

So where does that leave us? Adrift in a sea of musical history, trying to untangle the symphony of it all. At least we have killer tunes to keep us sane on this rollercoaster ride. So crank up the volume, folks, and let's surf this wave of cultural insanity to wherever it takes us.


THE RUNDOWN
  • Western civilization's musical history is a thrilling journey, blending melodies from the past with today's symphony.
  • The Renaissance sparked a cultural revival with Josquin des Prez and others creating masterpieces, helped by the printing press revolutionizing sheet music production.
  • The Baroque era featured lavish fashion and intricate music by rockstars like Bach, Handel, and Vivaldi, who embraced showmanship and elaborate compositions.
  • The Classical period brought balance and clarity with composers like Mozart and Beethoven, who aimed for rational and orderly music inspired by Enlightenment ideals.
  • The Romantic era broke classical norms, focusing on raw emotion and nationalism, with composers creating passionate works about love, nature, and profound questions.
  • The 20th century transformed music with recording technology, radio, and mass media, making music widely accessible and rapidly evolving through genres like jazz, blues, and rock.


QUESTIONS
  • Renaissance Impact: How did the invention of the printing press change how music was made and shared during the Renaissance? Can you think of ways modern technology affects music in a similar way?
  • Baroque Showmanship: How did the Baroque era’s focus on flashy performances and complex music affect musicians back then? Can you see any similarities in how musicians perform today?
  • Classical Clarity: How do Mozart and Beethoven's pieces from the Classical period show their interest in balance and order? How does this compare to what music says about society today?
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The Wedding Meal by Paul Kauffmann
Prepare to be transported into the captivating realm of historical films and videos. Brace yourselves for a mind-bending odyssey through time as we embark on a cinematic expedition. Within these flickering frames, the past morphs into a vivid tapestry of triumphs, tragedies, and transformative moments that have shaped the very fabric of our existence. We shall immerse ourselves in a whirlwind of visual narratives, dissecting the nuances of artistic interpretations, examining the storytelling techniques, and voraciously devouring historical accuracy with the ferocity of a time-traveling historian. So strap in, hold tight, and prepare to have your perception of history forever shattered by the mesmerizing lens of the camera.
​WATCH
THE RUNDOWN
In his revelatory opus, 'The Musical Human: A History of Life on Earth,' Michael Spitzer guides us through humanity's rhythmic odyssey, intertwining the evolution of music with the fabric of society. Brace yourself, for this isn't your grandmother's bedtime lullaby; Spitzer's narrative packs a punch akin to a seismic bass drop. Bid farewell to stuffy composers and elitist concert halls, Spitzer plunges fearlessly into the murky depths of ancient jams, where our ancestors banged rocks and blew on bones like proto-garage band virtuosos. From there, it's a whirlwind journey through time, with music evolving faster than the latest viral TikTok challenge. Yet, don't be fooled by the catchy tunes; Spitzer wields his conductor's baton like a cultural wrecking ball, shattering the notion that music history is merely a dusty archive of older men scribbling notes on parchment. He fearlessly delves into the darker shades of musical history, from the church's grip on medieval melodies to the global revolution sparked by musical notation, akin to a rebellious punk crashing a posh gala. As for modern technology, while some mourn the decline of the album in the Spotify era, Spitzer views it as a punk rock uprising, empowering anyone with a laptop and a dream to create digital symphonies. In the end, Spitzer's vision is as bold as a rock opera finale, envisioning a world where music isn't merely consumed but serves as a riotous rebellion against the status quo, a cacophony of voices proclaiming, 'We were here, and we rocked the cosmos.' So crank up the volume, and let's groove to the beat of Spitzer's uproarious symphony of human absurdity.
​Welcome to the mind-bending Key Terms extravaganza of our history class learning module. Brace yourselves; we will unravel the cryptic codes, secret handshakes, and linguistic labyrinths that make up the twisted tapestry of historical knowledge. These key terms are the Rosetta Stones of our academic journey, the skeleton keys to unlocking the enigmatic doors of comprehension. They're like historical Swiss Army knives, equipped with blades of definition and corkscrews of contextual examples, ready to pierce through the fog of confusion and liberate your intellectual curiosity. By harnessing the power of these mighty key terms, you'll possess the superhuman ability to traverse the treacherous terrains of primary sources, surf the tumultuous waves of academic texts, and engage in epic battles of historical debate. The past awaits, and the key terms are keys to unlocking its dazzling secrets. 
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KEY TERMS
  • 1600 CE: Baroque Period Begins
  • 1700 CE: The Invention of the Piano 
  • 1722 CE: Johann Sebastian Bach
  • 1730 CE: The Classical Period Begins
  • 1756 CE: Wolfgang Amadeus Mozart
  • 1770 CE: The Romantic Period
  • 1791 CE: Joseph Haydn
  • 1802 CE: Ludwig Von Beethoven
  • 1876 CE: Richard Wagner
  • 1877 CE: Pyotr Ilyich Tchaikovsky
  • 1894 CE: Claude Debussy
  • 1895 CE: Rise of Jazz 
  • 1913 CE: Igor Stravinsky
  • 1940 CE: Bebop Revolution
  • 1943 CE: Duke Ellington 
  • 1950 CE: Birth of Rock and Roll 
  • 1967 CE: The Beatles' "Sgt. Pepper's Lonely Hearts Club Band" 
  • 1970 CE: Hip-Hop Emerges
  • 1990 CE: Grunge Movement
  • 1999 CE: Digital Music Revolution
​DISCLAIMER: Welcome scholars to the wild and wacky world of history class. This isn't your granddaddy's boring ol' lecture, baby. We will take a trip through time, which will be one wild ride. I know some of you are in a brick-and-mortar setting, while others are in the vast digital wasteland. But fear not; we're all in this together. Online students might miss out on some in-person interaction, but you can still join in on the fun. This little shindig aims to get you all engaged with the course material and understand how past societies have shaped the world we know today. We'll talk about revolutions, wars, and other crazy stuff. So get ready, kids, because it's going to be one heck of a trip. And for all, you online students out there, don't be shy. Please share your thoughts and ideas with the rest of us. The Professor will do his best to give everyone an equal opportunity to learn, so don't hold back. So, let's do this thing!

Activity #1: UNDER CONSTRUCTION

Activity #2: UNDER CONSTRUCTION​
​Ladies and gentlemen, gather 'round for the pièce de résistance of this classroom module - the summary section. As we embark on this tantalizing journey, we'll savor the exquisite flavors of knowledge, highlighting the fundamental ingredients and spices that have seasoned our minds throughout these captivating lessons. Prepare to indulge in a savory recap that will leave your intellectual taste buds tingling, serving as a passport to further enlightenment.​
Let's embark on a riveting expedition through the melodious labyrinth of Western civilization's post-1500 CE musical escapades! Buckle up for a journey that's as exhilarating as a rollercoaster ride through history, where Mozart meets Monteverdi in a whirlwind of cultural enthusiasm, sprinkled with a pinch of Stravinsky's avant-garde eccentricity just for kicks.

Picture yourself in the Renaissance, a time of unearthing dusty relics, much like stumbling upon grandpa's vinyl collection in the attic and giving it a spin. In this era, Claudio Monteverdi boldly suggests, 'Why not add a dash of drama to this musical soup?' And just like that, opera is born. It's a theatrical flair for the cultured elite, with extravagant costumes and enough plot twists to rival any reality TV saga. Thanks to the printing press, musical scores flood the market faster than you can say 'harpsichord concerto.'

They then arrived in the Baroque period, when maestros like Bach and Handel reigned supreme as the rockstars of their time. Ornate compositions, labyrinthine fugues – they flaunted their musical prowess at every turn. And let's not overlook the rise of instrumental music; who needs lyrics when violins can weave tales without uttering a word?

Leap to the Classical epoch, where Mozart and Beethoven dropped symphonies like mixtapes. It was all about equilibrium, transparency, and avoiding losing one's head amidst the chaos of the French Revolution. Fancy a touch of sophistication? Just pop on a string quartet and contemplate life's mysteries over tea.

But prepare yourself for the Romantic era, a time when composers declared, 'To heck with balance, let's dive into the depths of emotion and nature.' Beethoven pours his heartache into compositions, while Liszt transforms symphonies into literary odysseys. With a surge in nationalism, folk music becomes the craze, as if it were the latest viral sensation on social media.

And now, witness the Modern era, a time of delightful eccentricity. Stravinsky throws caution to the wind, experimenting with sounds that would make even the most seasoned pearl-clutches gasp. From impressionism to serialism, it's a musical buffet offering something for everyone, whether you're vibing with avant-garde jazz or electronic beats.

As we journey through this musical odyssey, it's not just about admiring the music of the past. It's about recognizing how our own musical preferences and experiences are intertwined with a grand, timeless symphony of human expression. So, the next time you find yourself lost in the rhythm of your favorite tunes, remember, you're not just a listener, you're a living part of this vibrant musical history.

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Or, in others words:
  • Renaissance music, like Monteverdi's tunes, was fancy and famous in the 1400s to 1600s.
  • Big orchestral music with Bach and Handel defined the Baroque era from the 1600s to early 1700s.
  • Mozart and Beethoven made neat and balanced music during the Classical period from late 1700s to early 1800s.
  • Romantic music by Beethoven and Brahms in the 1800s was all about feelings and nature.
  • Modern music, like Stravinsky, tried new things from the 1900s onwards.
  • Studying music history helps us understand different cultures and times, just like studying history helps us uncover past mysteries and challenges biased views.
​ASSIGNMENTS
  • Forum Discussion #8
  • Final Thesis Due
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Click Here to Get the Rundown on the Final Thesis
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Remember all assignments, tests and quizzes must be submitted official via BLACKBOARD
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Forum Discussion #07
Sound Field is a music education series that explores the music theory, production, history and culture behind our favorite songs and musical styles. Watch the following:
Please answer the following question:
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Blues music has had a big effect on lots of different types of music, like jazz and rock. How do you think blues has changed and been a part of other kinds of music? Use examples from different music styles to explain.
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Need help? Remember the Discussion Board Rubric.
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THE RUNDOWN
It’s the late 1800s, and the air is thick with oppression, particularly for African Americans in the deep South. Amid relentless hardships, the blues emerged, a product of the sweat-soaked cotton fields of the Mississippi Delta. Every note was a testament to survival, every riff a rebellion against the norm. From these humble beginnings, the blues made its way from ramshackle shacks to the gritty streets of Chicago, where it found a new audience and evolved. The blues spread its soul-stirring message, infusing itself into the very fabric of American culture. It transcended boundaries, influencing everything from sultry jazz haunts to rowdy rock stages. Its hypnotic blend of 12-bar progressions and soulful scales became the soundtrack of resilience, leaving an indelible mark on every genre it touched, even heavy metal. So, the next time you tap your foot to a bluesy tune, remember its roots in the sweltering heat of the Delta, where pain gave birth to beauty and the blues became a way of life.
Hey, welcome to the work cited section! Here's where you'll find all the heavy hitters that inspired the content you've just consumed. Some might think citations are as dull as unbuttered toast, but nothing gets my intellectual juices flowing like a good reference list. Don't get me wrong, just because we've cited a source; doesn't mean we're always going to see eye-to-eye. But that's the beauty of it - it's up to you to chew on the material and come to conclusions. Listen, we've gone to great lengths to ensure these citations are accurate, but let's face it, we're all human. So, give us a holler if you notice any mistakes or suggest more sources. We're always looking to up our game. Ultimately, it's all about pursuing knowledge and truth. ​​​

Work Cited:
  • ​UNDER CONSTRUCTION​​
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