{"id":972,"date":"2023-06-01T20:43:17","date_gmt":"2023-06-01T20:43:17","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/?post_type=back-matter&p=972"},"modified":"2025-06-18T21:09:39","modified_gmt":"2025-06-18T21:09:39","slug":"index-of-playlists","status":"publish","type":"back-matter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/index-of-playlists\/","title":{"raw":"Index of playlists","rendered":"Index of playlists"},"content":{"raw":"<\/colgroup>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
Chapter<\/strong><\/td>\r\nPlaylist name<\/strong><\/td>\r\nURL<\/strong><\/td>\r\n<\/tr>\r\n
1<\/td>\r\nStravinsky's Rite of Spring<\/td>\r\n\r\n
\r\n
2<\/td>\r\nAural meter ID (simple meters only)<\/td>\r\n\r\n
\r\n
<\/td>\r\nSimple meters<\/td>\r\n\r\n
\r\n
3<\/td>\r\nMajor scales in context<\/td>\r\n\r\n
\r\n
4<\/td>\r\nWhy key signatures?<\/td>\r\n\r\n
\r\n
5<\/td>\r\nInterval ID (aural)<\/td>\r\n\r\n
\r\n
6<\/td>\r\nMinor scales in context<\/td>\r\n\r\n
\r\n
7<\/td>\r\nCompound meter<\/td>\r\n\r\n
\r\n
<\/td>\r\nAural meter ID<\/td>\r\n\r\n
\r\n
8<\/td>\r\nModes & other scales<\/td>\r\n\r\n
\r\n
9<\/td>\r\nTriads in context<\/td>\r\n\r\n
\r\n
10<\/td>\r\nSeventh chords in context<\/td>\r\n\r\n
\r\n
11<\/td>\r\nLead sheet realization<\/td>\r\n\r\n
\r\n
<\/td>\r\nTranscription with triads in pop music<\/td>\r\n\r\n
\r\n
12<\/td>\r\nFigured bass<\/td>\r\n\r\n
\r\n
13<\/td>\r\nFigured bass analysis<\/td>\r\n\r\n
\r\n
<\/td>\r\nChords in various textures<\/td>\r\n\r\n
\r\n
14<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
15<\/td>\r\nNashville numbers<\/td>\r\n\r\n
\r\n
16<\/td>\r\nHarmonic function examples<\/td>\r\n\r\n
\r\n
<\/td>\r\nCadences in context<\/td>\r\n\r\n
\r\n
<\/td>\r\nAnalysis with I, IV, and V(7)<\/td>\r\n\r\n
\r\n
17<\/td>\r\nMelody<\/td>\r\n\r\n
\r\n
18<\/td>\r\nSequence<\/td>\r\n\r\n
\r\n
<\/td>\r\nUses of the mediant<\/td>\r\n\r\n
\r\n
19<\/td>\r\nPhrases and periods<\/td>\r\n\r\n
\r\n
20<\/td>\r\nMelody harmonization<\/td>\r\n\r\n
\r\n
21<\/td>\r\nTwo-part counterpoint<\/td>\r\n\r\n
\r\n
22<\/td>\r\nHarmony in pop and rock<\/td>\r\n\r\n
\r\n
23<\/td>\r\nText setting<\/td>\r\n\r\n
\r\n
24<\/td>\r\nChord motion and voicing<\/td>\r\n\r\n
\r\n
25<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
26<\/td>\r\nSecond inversion chords<\/td>\r\n\r\n
\r\n
27<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
28<\/td>\r\nInstrument transpositions and ranges<\/td>\r\n\r\n
\r\n
29<\/td>\r\nNon-chord tones<\/td>\r\n\r\n
\r\n
30<\/td>\r\nComposite meters<\/td>\r\n\r\n
\r\n
31<\/td>\r\nSecondary dominants<\/td>\r\n\r\n
\r\n
32<\/td>\r\nSecondary diminished chords<\/td>\r\n\r\n
\r\n
33<\/td>\r\nModulation to closely related keys<\/td>\r\n\r\n
\r\n
34<\/td>\r\nBinary form<\/td>\r\n\r\n
\r\n
35<\/td>\r\nTernary form<\/td>\r\n\r\n
\r\n
36<\/td>\r\nStrophic form<\/td>\r\n\r\n
\r\n
37<\/td>\r\nForm in pop and rock<\/td>\r\n\r\n
\r\n
<\/td>\r\nAural analysis (form in pop)<\/td>\r\n\r\n
\r\n
38<\/td>\r\nChromatic mediants<\/td>\r\n\r\n
\r\n
39<\/td>\r\nModulation by common tone<\/td>\r\n\r\n
\r\n
40<\/td>\r\nMode mixture<\/td>\r\n\r\n
\r\n
41<\/td>\r\nNeapolitan sixth<\/td>\r\n\r\n
\r\n
42<\/td>\r\nAugmented sixth chords<\/td>\r\n\r\n
\r\n
43<\/td>\r\nDescending tetrachord<\/td>\r\n\r\n
\r\n
44<\/td>\r\nEnharmonic reinterpretation with Ger.+6 and V7<\/td>\r\n\r\n
\r\n
45<\/td>\r\nEnharmonic reinterpretation with viio7<\/td>\r\nhttps:\/\/open.spotify.com\/playlist\/4hpnDpouWc1ChGFApn9Bhg?si=630a0675e76d4849<\/a><\/td>\r\n<\/tr>\r\n
46<\/td>\r\nThe \"flatting process\"<\/td>\r\nhttps:\/\/open.spotify.com\/playlist\/4EXsRyUWPD6AnIUlvGVFdm?si=c62b3c1c2f654631<\/a><\/td>\r\n<\/tr>\r\n
47<\/td>\r\nExtended tertian chords and altered dominants<\/td>\r\n\r\n
\r\n
48<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
49<\/td>\r\nSonata form<\/td>\r\n\r\n
\r\n
https:\/\/open.spotify.com\/playlist\/47IOLeBcck5WbC4CUaF9FJ?si=0d643e91fe5940b4<\/a><\/div>\r\n<\/div><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","rendered":"\n\n\n\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Chapter<\/strong><\/td>\nPlaylist name<\/strong><\/td>\nURL<\/strong><\/td>\n<\/tr>\n
1<\/td>\nStravinsky’s Rite of Spring<\/td>\n\n
2<\/td>\nAural meter ID (simple meters only)<\/td>\n\n
<\/td>\nSimple meters<\/td>\n\n
3<\/td>\nMajor scales in context<\/td>\n\n
4<\/td>\nWhy key signatures?<\/td>\n\n
5<\/td>\nInterval ID (aural)<\/td>\n\n
6<\/td>\nMinor scales in context<\/td>\n\n
7<\/td>\nCompound meter<\/td>\n\n
<\/td>\nAural meter ID<\/td>\n\n
8<\/td>\nModes & other scales<\/td>\n\n
9<\/td>\nTriads in context<\/td>\n\n
10<\/td>\nSeventh chords in context<\/td>\n\n
11<\/td>\nLead sheet realization<\/td>\n\n
<\/td>\nTranscription with triads in pop music<\/td>\n\n
12<\/td>\nFigured bass<\/td>\n\n
13<\/td>\nFigured bass analysis<\/td>\n\n
<\/td>\nChords in various textures<\/td>\n\n
14<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
15<\/td>\nNashville numbers<\/td>\n\n
16<\/td>\nHarmonic function examples<\/td>\n\n
<\/td>\nCadences in context<\/td>\n\n
<\/td>\nAnalysis with I, IV, and V(7)<\/td>\n\n
17<\/td>\nMelody<\/td>\n\n
18<\/td>\nSequence<\/td>\n\n
<\/td>\nUses of the mediant<\/td>\n\n
19<\/td>\nPhrases and periods<\/td>\n\n
20<\/td>\nMelody harmonization<\/td>\n\n
21<\/td>\nTwo-part counterpoint<\/td>\n\n
22<\/td>\nHarmony in pop and rock<\/td>\n\n
23<\/td>\nText setting<\/td>\n\n
24<\/td>\nChord motion and voicing<\/td>\n\n
25<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
26<\/td>\nSecond inversion chords<\/td>\n\n
27<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
28<\/td>\nInstrument transpositions and ranges<\/td>\n\n
29<\/td>\nNon-chord tones<\/td>\n\n
30<\/td>\nComposite meters<\/td>\n\n
31<\/td>\nSecondary dominants<\/td>\n\n
32<\/td>\nSecondary diminished chords<\/td>\n\n
33<\/td>\nModulation to closely related keys<\/td>\n\n
34<\/td>\nBinary form<\/td>\n\n
35<\/td>\nTernary form<\/td>\n\n
36<\/td>\nStrophic form<\/td>\n\n
37<\/td>\nForm in pop and rock<\/td>\n\n
<\/td>\nAural analysis (form in pop)<\/td>\n\n
38<\/td>\nChromatic mediants<\/td>\n\n
39<\/td>\nModulation by common tone<\/td>\n\n
40<\/td>\nMode mixture<\/td>\n\n
41<\/td>\nNeapolitan sixth<\/td>\n\n
42<\/td>\nAugmented sixth chords<\/td>\n\n
43<\/td>\nDescending tetrachord<\/td>\n\n
44<\/td>\nEnharmonic reinterpretation with Ger.+6 and V7<\/td>\n\n
45<\/td>\nEnharmonic reinterpretation with viio7<\/td>\nhttps:\/\/open.spotify.com\/playlist\/4hpnDpouWc1ChGFApn9Bhg?si=630a0675e76d4849<\/a><\/td>\n<\/tr>\n
46<\/td>\nThe “flatting process”<\/td>\nhttps:\/\/open.spotify.com\/playlist\/4EXsRyUWPD6AnIUlvGVFdm?si=c62b3c1c2f654631<\/a><\/td>\n<\/tr>\n
47<\/td>\nExtended tertian chords and altered dominants<\/td>\n\n
48<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
49<\/td>\nSonata form<\/td>\n\n
\n
https:\/\/open.spotify.com\/playlist\/47IOLeBcck5WbC4CUaF9FJ?si=0d643e91fe5940b4<\/a><\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"author":3,"menu_order":8,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"back-matter-type":[39],"contributor":[],"license":[],"class_list":["post-972","back-matter","type-back-matter","status-publish","hentry","back-matter-type-index"],"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/972","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/back-matter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":7,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/972\/revisions"}],"predecessor-version":[{"id":6872,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/972\/revisions\/6872"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/972\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=972"}],"wp:term":[{"taxonomy":"back-matter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter-type?post=972"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=972"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=972"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}