Music Videos of Classical Canon

Also Cited in Presentation:

Toward a Theory of Musical Intelligence, Robert J. Sternberg 

The Phenomenon of the Violin Cover as a Current Problem of Modern Musicology, Kiknavelidze Kateryna Olegivna 

On March 9th, 2022, I was a guest lecturer for Dr. Paula Harper's class "Music 498/898 Divas, Monsters, Material Girls: Women and/in Music Video" which is made up of undergraduate and graduate music majors at the University of Nebraska - Lincoln. In this lecture I sought to explore how we analyze music videos where the music is from classical canon.

The Homework Prior to Class Was:

To Read:

The Moonlight Sonata: 

Poetry by John Hall Wheelock

 Mashing Through the Conventions: Convergence of Popular and Classical Music in the Works of The Piano Guys 

Pg. 9 – 36, 54 - 74, 78 – 80, 138 – 164 (actually read this last section) 

 Very lightly skim:

Subscription Based Crowdfunding A look into an alternative monetization model for music creators in the present era.  

Required Appraising: 

The Piano Guys - Something Just like Liszt:

Tina Guo – Moonlight Sonata

 Marcin – Moonlight Sonata 

Lola and Hauser – Moonlight Sonata: 

Piano Guys – Pictures at an Exhibition 

 Questions to Think About:  

• Is there a difference between a performance of classical repertoire vs a cover?

• Is the purpose of a classical music video the same as a pop music video?

• Should classical music videos be analyzed differently than pop music videos?

• How is the analysis of a music video without lyrics different than the analysis of a music video with lyrics?

• What is the prevalence of character presence? Is iconography in the classical realm different than that of the pop world?

• How are the expectations for gender in the classical music realm reflected/dismissed in classical music videos?