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OnMusic Explorations is the first step in your students’ journey to explore and hopefully start to untangle the mysterious power that music has on billions of people worldwide every day.

OnMusic Explorations


Table Of Contents

Getting Started
No Lessons found
Section 1: Basic Musical Concepts
Class 1: Can Music Have a Specific Purpose?
Can Music Have A Specific Purpose?
Class 2: The Performer’s Role
The Performer’s Role
Class 3: Types of Listeners
Types of Listeners 1: The Casual Listener
Types of Listeners 2: The Referential Listener
Types of Listeners 3: The Critical and Perceptive Listeners
Class 4: The Structure of Music
The Structure of Music
Class 5: Duration, Pitch, and Volume
Duration, Pitch, and Volume 1
Duration, Pitch, and Volume 2
Duration, Pitch, and Volume 3
Duration, Pitch, and Volume 4
Class 6: Instrumental and Vocal Timbre
Instrumental Timbre
Vocal Timbre 1
Vocal Timbre 2
Class 7: Orchestral Timbre
Orchestral Timbre 1: The Symphony Orchestra
Orchestral Timbre 2: The Orchestral Conductor
Class 8: Rhythm, Tempo, and Meter
Rhythm 1
Rhythm 2
Tempo 1
Tempo 2
Meter 1
Meter 2
Class 9: Melody
Melody 1
Melody 2
Melody 3
Melody 4
Melody 5
Melody 6
Class 10: Harmony
Harmony 1
Harmony 2
Class 11: Form
Form 1
Form 2
Form 3
Section 2: Contemporary Genres
Class 12: What Is Jazz?
Essential Features
Swing Feeling
Bluesy Flavor
Class 13: The Blues
The Blues
Essential Features: Pitch Bending and Harmony
Blues Chord Progressions
12-Bar Form and Tonality
Listening Skills
Class 14: Pivotal Figures Before Modern Jazz
Jelly Roll Morton
Louis Armstrong
Benny Goodman
Art Tatum
Duke Ellington
Mary Lou Williams
Billie Holiday
Ella Fitzgerald
Class 15: Bebop and the Advent of Modern Jazz
Modern Jazz
Charlie Parker
Parker’s Style
Bebop, Ballads, and Blues
Dizzy Gillespie
Gillespie, Parker, and 52nd Street
Afro-Cuban Jazz
Class 16: Early Exponents of Cool Jazz
Cool Jazz
Miles Davis and The Birth of Cool
Gerry Mulligan & Chet Baker
Lennie Tristano & Lee Konitz
1950 Metronome Magazine “All-Stars” Bands
Class 17: Miles Davis, Modal Jazz, and Bill Evans
Miles Davis
Miles Davis Sextet, 1959
Modal Jazz
Davis’ “So What”
Davis’ “Flamenco Sketches”
Bill Evans
Bill Evans Trio
Class 18: Ragtime, Popular Song, and Jazz Roots of Rock
Broadway and Ragtime
Swing and Big Band
Class 19: Rural Blues and Urban Blues
Musical and Poetic Form of the 12-Bar Blues
Rural Blues
Urban Blues
Boogie Woogie
Commercial or Arranged Blues
Class 20: Other African American Roots
Gospel Music
Vocal Harmony Groups
Early Rhythm and Blues
The Audience for Rhythm and Blues
Class 21: Swing and Big Bands
Music Consumption in the Swing Era
Society Syncopators
Big Bands
White Swing Bandleaders
Kansas City Swing
Class 22: Rhythm and Blues Becomes Rock and Roll
New Technologies and Means of Consumption
Alan Freed
Ray Charles and the Gospel Side of Rock and Roll
Rhythm and Blues Crosses Over
Cover Versions
Class 23: Elvis Presley
Sam Phillips and Sun Records
The Hillbilly Cat
Colonel Tom Parker and Presley at RCA-Victor
Presley’s Cover Versions
Presley After the 1950s
Class 24: Rockabilly
Jerry Lee Lewis
Johnny Cash
Other Rockabilly Stars
Buddy Holly and the Crickets
The Day the Music Died
Class 25: Bluegrass
The Roots of Bluegrass
Bill Monroe and the Birth of Bluegrass
Bill Monroe and the Birth of Bluegrass (Continued)
Bluegrass Takes Off
Bluegrass and the Folk Music Revival
Class 26: Soul
The African American Presence in Pop
Motown 1
Motown 2
Motown 3
Atlantic and Stax
Class 27: The British Invasion: The Beatles
Rock and Roll in the United Kingdom
Becoming The Beatles
Becoming The Beatles (Continued)
The Music of the Beatles
From Songs to Recordings
Class 28: The British Invasion: The Rolling Stones
The British Blues Revival
Making the Rolling Stones
Jagger and Richards as Songwriters
Breaking into the United States
The Music of the Rolling Stones
Class 29: Folk and Folk Rock
Folk Music Before the 1960s
Authentic vs. Commercial
Bob Dylan
Bob Dylan (Continued)
The Rise of Folk Rock
Dylan’s Influence During the 1960s
Class 30: Country Rock and Southern Rock
Country Rock
Country Rock (Continued)
Southern Rock 1
Southern Rock 2
Southern Rock 3
Class 31: Hard Rock
Hard Rock: Predecessors
Hard Rock: Early Examples
Led Zeppelin 1
Led Zeppelin 2
Led Zeppelin 3
Led Zeppelin’s Influence
Class 32: Hip-Hop
The Roots of Hip-Hop
Early Commercial Hip-Hop
Hip-Hop Goes Mainstream
Hip-Hop Goes Mainstream (Continued)
Hip-Hop Takes Over
Section 3: Music of the World
Class 33: Exploring the Landscape of African Music
Colonial Africa
Music in Community Life I: Music in the Sande Initiation
Music in Community Life II: Music and Dance
Class 34: African Instruments, Drum Language, and Popular Music
African Instruments I: Regional Differences
African Instruments II: Musical Instruments as Symbols
African Drum Language 1
African Drum Language 2
Modern Popular Music in Africa & Conclusion
Class 35: Music of Japan
Introduction and History
Westernization and Religion
Musical Elements
Class 36: Instruments & Japanese Folk and Pop Music
Instruments: Koto and Shamisen
Instruments: Shakuhachi and Taiko
Japanese Folk & Pop Music
Class 37: The Many Voices of Latin American Music
History and Culture of Indigenous Peruvian Music
Music in Pre-Columbian Peru
Indigenous Music of Latin America: Peru (Continued)
Sounds of Africa: African Slaves in Brazil
Europeans and Africans in Latin America
Class 38: Music of Colombia
Colombian Music: Introduction
Colombian Music (Continued)
An In-Depth Look into the Vocal Music from the Colombian Pacific
Folk Chant: Alabaos
The Voice of the People I
The Voice of the People II
Elements from African and European Music
Class 39: In the Concert Hall
Indigenous, African, and Vernacular Traditions
Indigenous, African, and Vernacular Traditions (Continued)
Latin American Composers on the World Stage
Latin American Composers on the World Stage (Continued); Conclusion