How to Listen to and Understand Great Music

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Length
319 tracks, 1022:56
Release Date
1998

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Tracklist

Track number Play Loved Track name Artist name Buy Options Duration Listeners
1 Lecture 1.1 - Introduction
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2 Lecture 1.2 - Introduction
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3 Lecture 1.3 - Introduction
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4 Lecture 1.4 - Introduction
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5 Lecture 1.5 - Introduction
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6 Lecture 1.6 - Introduction
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7 Lecture 1.7 - Introduction
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8 Lecture 1.8 - Introduction
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9 Lecture 1.9 - Introduction
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10 Lecture 2.1 - Sources - The Ancient World And The Early Church
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11 Lecture 2.2 - Sources - The Ancient World And The Early Church
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12 Lecture 2.3 - Sources - The Ancient World And The Early Church
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13 Lecture 2.4 - Sources - The Ancient World And The Early Church
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14 Lecture 2.5 - Sources - The Ancient World And The Early Church
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15 Lecture 2.6 - Sources - The Ancient World And The Early Church
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16 Lecture 2.7 - Sources - The Ancient World And The Early Church
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17 Lecture 2.8 - Sources - The Ancient World And The Early Church
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18 Lecture 3.1 - The Middle Ages - Darkness, Change, And Diversity
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19 Lecture 3.2 - The Middle Ages - Darkness, Change, And Diversity
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20 Lecture 3.3 - The Middle Ages - Darkness, Change, And Diversity
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21 Lecture 3.4 - The Middle Ages - Darkness, Change, And Diversity
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22 Lecture 3.5 - The Middle Ages - Darkness, Change, And Diversity
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23 Lecture 3.6 - The Middle Ages - Darkness, Change, And Diversity
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24 Lecture 3.7 - The Middle Ages - Darkness, Change, And Diversity
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25 Lecture 3.8 - The Middle Ages - Darkness, Change, And Diversity
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26 Lecture 3.9 - The Middle Ages - Darkness, Change, And Diversity
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27 Lecture 4.1 - Introduction to the Renaissence
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28 Lecture 4.2 - Introduction to the Renaissence
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29 Lecture 4.3 - Introduction to the Renaissence
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30 Lecture 4.4 - Introduction to the Renaissence
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31 Lecture 4.5 - Introduction to the Renaissence
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32 Lecture 4.6 - Introduction to the Renaissence
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33 Lecture 4.7 - Introduction to the Renaissence
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34 Lecture 4.8 - Introduction to the Renaissence
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35 Lecture 4.9 - Introduction to the Renaissence
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36 Lecture 5.1 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
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37 Lecture 5.2 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
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38 Lecture 5.3 - The Renaissance Mass - Josquin Des Prez, Palestrina, and The Counter-Reformation
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39 Lecture 5.4 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
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40 Lecture 5.5 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
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41 Lecture 5.6 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
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42 Lecture 5.7 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
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43 Lecture 5.8 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
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44 Lecture 5.9 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
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45 Lecture 6.1 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
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46 Lecture 6.2 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
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47 Lecture 6.3 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
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48 Lecture 6.4 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
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49 Lecture 6.5 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
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50 Lecture 6.6 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
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51 Lecture 6.7 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
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52 Lecture 6.8 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
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53 Lecture 6.9 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
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54 Lecture 7.1 - Introduction To The Baroque
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55 Lecture 7.2 - Introduction To The Baroque
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56 Lecture 7.3 - Introduction To The Baroque
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57 Lecture 7.4 - Introduction To The Baroque
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58 Lecture 7.5 - Introduction To The Baroque
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59 Lecture 7.6 - Introduction To The Baroque
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60 Lecture 7.7 - Introduction To The Baroque
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61 Lecture 7.8 - Introduction To The Baroque
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62 Lecture 7.9 - Introduction To The Baroque
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63 Lecture 8.1 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
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64 Lecture 8.2 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
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65 Lecture 8.3 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
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66 Lecture 8.4 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
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67 Lecture 8.5 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
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68 Lecture 8.6 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
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69 Lecture 8.7 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
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70 Lecture 8.8 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
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71 Lecture 8.9 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
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72 Lecture 9.1 - The Rise of German Nationalism in Music
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73 Lecture 9.2 - The Rise of German Nationalism in Music
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74 Lecture 9.3 - The Rise of German Nationalism in Music
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75 Lecture 9.4 - The Rise of German Nationalism in Music
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76 Lecture 9.5 - The Rise of German Nationalism in Music
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77 Lecture 9.6 - The Rise of German Nationalism in Music
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78 Lecture 9.7 - The Rise of German Nationalism in Music
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79 Lecture 9.8 - The Rise of German Nationalism in Music
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80 Lecture 9.9 - The Rise of German Nationalism in Music
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81 Lecture 9.10 - The Rise of German Nationalism in Music
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82 Lecture 10.1 - Fugue
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83 Lecture 10.2 - Fugue
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84 Lecture 10.3 - Fugue
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85 Lecture 10.4 - Fugue
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86 Lecture 10.5 - Fugue
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87 Lecture 10.6 - Fugue
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88 Lecture 10.7 - Fugue
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89 Lecture 10.8 - Fugue
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90 Lecture 10.9 - Fugue
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91 Lecture 11.1 - Baroque Opera, Part 1
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92 Lecture 11.2 - Baroque Opera, Part 1
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93 Lecture 11.3 - Baroque Opera, Part 1
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94 Lecture 11.4 - Baroque Opera, Part 1
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95 Lecture 11.5 - Baroque Opera, Part 1
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96 Lecture 11.6 - Baroque Opera, Part 1
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97 Lecture 11.7 - Baroque Opera, Part 1
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98 Lecture 11.8 - Baroque Opera, Part 1
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99 Lecture 11.9 - Baroque Opera, Part 1
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100 Lecture 12.1 - Baroque Opera, Part 2
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101 Lecture 12.2 - Baroque Opera, Part 2
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102 Lecture 12.3 - Baroque Opera, Part 2
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103 Lecture 12.4 - Baroque Opera, Part 2
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104 Lecture 12.5 - Baroque Opera, Part 2
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105 Lecture 12.6 - Baroque Opera, Part 2
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106 Lecture 12.7 - Baroque Opera, Part 2
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107 Lecture 12.8 - Baroque Opera, Part 2
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108 Lecture 12.9 - Baroque Opera, Part 2
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109 Lecture 13.1- Baroque Sacred Music, Part 1 - The Oratorio
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110 Lecture 13.2- Baroque Sacred Music, Part 1 - The Oratorio
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111 Lecture 13.3- Baroque Sacred Music, Part 1 - The Oratorio
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112 Lecture 13.4- Baroque Sacred Music, Part 1 - The Oratorio
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113 Lecture 13.5- Baroque Sacred Music, Part 1 - The Oratorio
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114 Lecture 13.6- Baroque Sacred Music, Part 1 - The Oratorio
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115 Lecture 13.7- Baroque Sacred Music, Part 1 - The Oratorio
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116 Lecture 13.8- Baroque Sacred Music, Part 1 - The Oratorio
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117 Lecture 13.9- Baroque Sacred Music, Part 1 - The Oratorio
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118 Lecture 14.1 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
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119 Lecture 14.2 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
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120 Lecture 14.3 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
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121 Lecture 14.4 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
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122 Lecture 14.5 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
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123 Lecture 14.6 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
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124 Lecture 14.7 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
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125 Lecture 14.8 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
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126 Lecture 14.9 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
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127 Lecture 15.1 - Baroque Instrumental Forms, Part 1--Passacaglia
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128 Lecture 15.2 - Baroque Instrumental Forms, Part 1--Passacaglia
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129 Lecture 15.3 - Baroque Instrumental Forms, Part 1--Passacaglia
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130 Lecture 15.4 - Baroque Instrumental Forms, Part 1--Passacaglia
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131 Lecture 15.5 - Baroque Instrumental Forms, Part 1--Passacaglia
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132 Lecture 15.6 - Baroque Instrumental Forms, Part 1--Passacaglia
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133 Lecture 15.7 - Baroque Instrumental Forms, Part 1--Passacaglia
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134 Lecture 15.8 - Baroque Instrumental Forms, Part 1--Passacaglia
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135 Lecture 15.9 - Baroque Instrumental Forms, Part 1--Passacaglia
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136 Lecture 16.1: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
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137 Lecture 16.2: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
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138 Lecture 16.3: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
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139 Lecture 16.4: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
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140 Lecture 16.5: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
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141 Lecture 16.6: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
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142 Lecture 16.7: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
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143 Lecture 16.8: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
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144 Lecture 16.9: Baroque Instrumental Forms, Part 2--Ritornello Form & The Baroque Concerto
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145 Lecture 17.1 - The Enlightenment and the Introduction to the Classical Era
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146 Lecture 17.2 - The Enlightenment and the Introduction to the Classical Era
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147 Lecture 17.3 - The Enlightenment and the Introduction to the Classical Era
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148 Lecture 17.4 - The Enlightenment and the Introduction to the Classical Era
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149 Lecture 17.5 - The Enlightenment and the Introduction to the Classical Era
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150 Lecture 17.6 - The Enlightenment and the Introduction to the Classical Era
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151 Lecture 17.7 - The Enlightenment and the Introduction to the Classical Era
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152 Lecture 17.8 - The Enlightenment and the Introduction to the Classical Era
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153 Lecture 17.9 - The Enlightenment and the Introduction to the Classical Era
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154 Lecture 18.1 - The Viennese Classical Style, Homophony, and the Cadence
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155 Lecture 18.2 - The Viennese Classical Style, Homophony, and the Cadence
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156 Lecture 18.3 - The Viennese Classical Style, Homophony, and the Cadence
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157 Lecture 18.4 - The Viennese Classical Style, Homophony, and the Cadence
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158 Lecture 18.5 - The Viennese Classical Style, Homophony, and the Cadence
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159 Lecture 18.6 - The Viennese Classical Style, Homophony, and the Cadence
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160 Lecture 18.7 - The Viennese Classical Style, Homophony, and the Cadence
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161 Lecture 18.8 - The Viennese Classical Style, Homophony, and the Cadence
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162 Lecture 18.9 - The Viennese Classical Style, Homophony, and the Cadence
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163 Lecture 19.1 - Classical-Era Form - Theme and Variations
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164 Lecture 19.2 - Classical-Era Form - Theme and Variations
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165 Lecture 19.3 - Classical-Era Form - Theme and Variations
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166 Lecture 19.4 - Classical-Era Form - Theme and Variations
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167 Lecture 19.5 - Classical-Era Form - Theme and Variations
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168 Lecture 19.6 - Classical-Era Form - Theme and Variations
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169 Lecture 19.7 - Classical-Era Form - Theme and Variations
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170 Lecture 19.8 - Classical-Era Form - Theme and Variations
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171 Lecture 19.9 - Classical-Era Form - Theme and Variations
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172 Lecture 20.1 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
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173 Lecture 20.2 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
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174 Lecture 20.3 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
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175 Lecture 20.4 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
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176 Lecture 20.5 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
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177 Lecture 20.6 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
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178 Lecture 20.7 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
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179 Lecture 20.8 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
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180 Lecture 20.9 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
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181 Lecture 21.1 - Classical-Era Form - Minuet and Trio II
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182 Lecture 21.2 - Classical-Era Form - Minuet and Trio II
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183 Lecture 21.3 - Classical-Era Form - Minuet and Trio II
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184 Lecture 21.4 - Classical-Era Form - Minuet and Trio II
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185 Lecture 21.5 - Classical-Era Form - Minuet and Trio II
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186 Lecture 21.6 - Classical-Era Form - Minuet and Trio II
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187 Lecture 21.7 - Classical-Era Form - Minuet and Trio II
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188 Lecture 21.8 - Classical-Era Form - Minuet and Trio II
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189 Lecture 21.9 - Classical-Era Form - Minuet and Trio II
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190 Lecture 22.1 - Classical-Era Form - Rondo
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191 Lecture 22.2 - Classical-Era Form - Rondo
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192 Lecture 22.3 - Classical-Era Form - Rondo
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193 Lecture 22.4 - Classical-Era Form - Rondo
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194 Lecture 22.5 - Classical-Era Form - Rondo
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195 Lecture 22.6 - Classical-Era Form - Rondo
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196 Lecture 22.7 - Classical-Era Form - Rondo
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197 Lecture 22.8 - Classical-Era Form - Rondo
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198 Lecture 22.9 - Classical-Era Form - Rondo
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199 Lecture 23.1 - Classical-Era Form - Sonata-Allegro Form I, Part 1
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200 Lecture 23.2 - Classical-Era Form - Sonata-Allegro Form I, Part 1
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About This Artist

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Robert Greenberg

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Robert Greenberg, Ph.D., is music historian-in-residence with San Francisco Performances. A graduate of Princeton University, Professor Greenberg holds a Ph.D. in music composition from the University of California, Berkeley, and has seen his compositions—which include more than 45 works for a wide variety of instrumental and vocal ensembles—performed all over the world, including New York, San Francisco, Chicago, Los Angeles, England, Ireland, Greece, Italy, and the Netherlands. He has served on the faculties of the University of California at Berkeley, California State University … read more
Robert Greenberg, Ph.D., is music historian-in-residence with San Francisco Performances. A graduate of Princeton University, Professor Greenberg holds a Ph.D. in music composition from the… read more
Robert Greenberg, Ph.D., is music historian-in-residence with San Francisco Performances. A graduate of Princeton University, Professor Greenberg holds a Ph.D. in music composition from the University of California, Berkeley, and has s… read more

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