Watch How to Listen to and Understand Great Music, 3rd Edition

2023
1 Season

Professor Robert Greenberg takes you inside magnificent compositions by Bach, Handel, Haydn, Mozart, Beethoven, Chopin, Verdi, Wagner, Brahms, Tchaikovsky, Stravinsky, and more. After this course, you will never listen to music the same way again.

How to Listen to and Understand Great Music, 3rd Edition is a series that ran for 1 seasons (46 episodes) between November 1, 2023 and on The Great Courses

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47. Early 20th-Century Modernism—Igor Stravinsky

November 1, 2023

We continue our exploration of early 20th-century modernism with a discussion of Igor Stravinsky. He gained almost instant fame in Paris with The Firebird in 1910, which displays aspects of tradition and innovation, the latter marked by Stravinsky's idiosyncratic use of rhythm. Stravinsky's early experiments reach a pinnacle in Le Sacre du Printemps (The Rite of Spring) (1912).

46. Early 20th-Century Modernism

November 1, 2023

This lecture explores early 20th-century modernism with an examination of the life and music of Claude Debussy. We discuss the increasing French cultivation of the French language in the arts, both visual and musical. We observe and analyze the music of Claude Debussy, a French-language-inspired music that represented an extraordinary break with the past in compositional and expressive content.

45. An Introduction to Early 20th-Century Modernism

November 1, 2023

Survey musical and expressive trends from the Baroque era through the late 19th century. With an expressive language pressed to the breaking point, with a new scientific and technological world at hand, and the thrill of a new century about them, will the best young composers be content to work within the same melodic and harmonic language as their great-great-grandfathers?

44. Russian Nationalism

November 1, 2023

Russia's entry into the greater European community as a result of the defeat of Napoleon and the Decembrist Revolution of 1825 are discussed, as is the growing conviction that the language and native music of Russia were capable of the highest artistic expression. The music and ideas of the Russian Five are discussed, with special emphasis on Rimsky-Korsakov and his Russian Easter Overture.

43. Romantic-era Musical Nationalism

November 1, 2023

This lecture examines the trend of folkloric musical nationalism during the second half of the 19th century with a brief history, followed by a discussion of musical exoticism. Ultimately, the lecture turns to Franz Liszt, perhaps the most representative instrumental virtuoso/composer of the 19th century, and his composition Totentanz.

42. The Concert Overture, Part 2

November 1, 2023

In this lecture we continue to discuss major genres of 19th-century orchestral program music. We discuss Shakespeare's importance to 19th-century music. We introduce the life and personality of Peter Ilyich Tchaikovsky and conclude with an in-depth examination of his Overture-Fantasy to Romeo and Juliet.

41. The Concert Overture, Part 1

November 1, 2023

We return to the realm of instrumental music, specifically late 19th-century orchestral program music. We will define and discuss major genres of 19th-century orchestral program music and Shakespeare's importance to 19th-century music. We introduce the life and personality of Peter Ilyich Tchaikovsky and conclude with an in-depth examination of his Overture-Fantasy to Romeo and Juliet.

40. 19th-Century German Opera

November 1, 2023

Richard Wagner was a revolutionary who sought to radically reinterpret the function and substance of music drama in the mid-19th century. This lecture explores his early life and his paternity, then turns to the overture and Act I of Wagner's Tristan und Isolde as an example of Wagner's use of the orchestra, leitmotif, and the impact of the ideas of philosopher Arthur Schopenhauer.

39. 19th-Century German Opera—Nationalism and Experimentation

November 1, 2023

In this lecture we examine early 19th-century German opera, which developed rather late compared to Italian and French opera. Genuine German opera evolved from native German roots, not by imitating and adapting Italian operatic plots and singing style. The lecture discusses the rise of German literature and musical theater in the late 18th century in the works of Goethe and Mozart.

38. 19th-Century Italian Opera—Giuseppe Verdi

November 1, 2023

Verdi was not an innovator or reformer; his operatic style evolved as he sought ever-greater refinement of dramatic line, singing technique, and literary truth. He elevated the role of the orchestra and favored characterization and dramatic truth over the vocal prettiness of the bel canto style. The final scene from Verdi's opera Aida is heard and discussed.

37. 19th-Century Italian Opera

November 1, 2023

In this lecture, early 19th-century Italian opera is examined as a popular art, the product of a highly profitable media industry. The style of this opera is called bel canto; its essential composers were Gaetano Donizetti, Vincenzo Bellini, and Gioacchino Rossini. Rossini's opera Il Barbieri de Siviglia (The Barber of Seville), is used as an example of the bel canto style.

36. The Program Symphony—Berlioz's Symphonie fantastique, Part 2

November 1, 2023

Hector Berlioz's Symphony Fantastique combines his four great loves: the drama of Shakespeare, the musical storytelling of opera, the symphonic genre of Beethoven, and himself. We examine the gestation of the symphony, the fixed melodic idea that is heard in each movement and that represents the "beloved image," and the final two movements.

35. The Program Symphony

November 1, 2023

34. Formal Challenges and Solutions in Early Romantic Music

November 1, 2023

This lecture explores a paradox encountered by many early Romantic composers: the spontaneity and creative freedom of the composer being at odds with the preordained musical form. This lecture discusses the formal solutions embraced by composers who chose to abandon Classical form, and focuses on two miniatures. Works by Franz Schubert and Fr

33. Introduction to Romanticism

November 1, 2023

This lecture introduces the Romantic era and examines the legacy of Beethoven's vision of music as self-expression. Finally, we introduce and examine four Romantic trends that will be studied in detail over the next few lectures.

32. Beethoven's Symphony no. 5 in C Minor, op. 67, Part 2

November 1, 2023

Lecture 32 continues describing Beethoven's mature compositional innovations and artistic beliefs through the example of his Symphony No. 5 in C Minor, Op. 67 (1808). We rapidly but vigorously examine his Symphony No. 5, paying special attention to his idiosyncratic use of Classical musical form and his remarkable motivic development.

30. The French Revolution and an Introduction to Beethoven

November 1, 2023

In comparing Haydn's Symphony No. 88 and Beethoven's Symphony No. 5, we emphasize the fact that Beethoven's symphony does not reflect a period style but is, rather, a self-referential art work. We explore Beethoven's early life and progressive hearing disability to understand the sources of his rage, alienation, and independence.

29. Classical-era Opera, Part 2

November 1, 2023

We discuss the operas of Mozart with special attention to Don Giovanni. We then discuss the nature and content of an opera buffa finale. As an example of Mozart's unparalleled ability to sustain a musical-dramatic line, this lecture features a hearing and discussion of Act I, Scene 1, of Don Giovanni, and the Act II finale.

28. Classical-era Opera

November 1, 2023

Explore the development of Classical opera buffa: the ideal operatic genre for the Classical era's more realistic plots, more "natural" music, and more common characters, over the Baroque era's formulaic nature in opera seria and the domination of these operas by singers and virtuosic singing. Finally, we will sample Giovanni Battista Pergolesi's opera La Serva Padrona.

27. The Solo Concerto

November 1, 2023

We discuss the perfection of the violin family and the invention of the piano during the Baroque era, primary instruments for the concerto repertoire during the Classical era. We discuss the invention of the piano and compare the sound of an early piano to a harpsichord. The first movement of Mozart's Piano Concerto No. 17 in G Major is examined.

26. The Symphony

November 1, 2023

This lecture explores the Classical symphony as both an orchestral genre and a social phenomena. The Baroque antecedents of symphony are described and discussed; a Baroque, Italian-style overture by Handel is compared directly to an early Classical symphony by Johann Stamitz. We then examine the tremendous influence of opera on the genre of symphony.

25. Classical-era Form—Sonata Form, Part 3

November 1, 2023

Two additional sonata-allegro form movements are analyzed and discussed: the first movement of Haydn's Symphony No. 88 in G Major, and the overture to Mozart's opera Don Giovanni. Regarding the overture, we examine the long, tragic introduction that precedes the brilliant and comic sonata-allegro form and question its meaning here at the onset of the opera.

24. Classical-era Form—Sonata Form, Part 2

November 1, 2023

In Lectures 23 and 24 we examine sonata-allegro form, but first, we observe the life and personality of the extraordinary Wolfgang Mozart. We discuss the many meanings and uses of the word "sonata." The fourth movement of Mozart's Symphony in G Minor, K. 550, is analyzed and discussed in depth as an example.

23. Classical-era Form—Sonata Form, Part 1

November 1, 2023

22. Classical-era Form

November 1, 2023

We discuss the antecedents of rondo form

21. Classical-era Form—Minuet and Trio Form

November 1, 2023

Late 18th-century composers extended the formal structure and the expressive content of minuet and trio to create movements appropriate for the multimovement instrumental genres of the Classical era. With minuet and trio movements by Mozart and Haydn as examples, we examine the highly stylized minuet and trios of the Classical era.

20. Classical-era Form—Minuet and Trio: Baroque Antecedents

November 1, 2023

This lecture continues the examination of Classical instrumental musical form with an investigation of Baroque minuet and trio form, the antecedent of Classical minuet and trio form. The importance of courtly dance in 17th-century France is discussed, as is the development of stylized dances.

19. Classical-era Form—Theme and Variations

November 1, 2023

This lecture initiates a discussion of Classical instrumental musical form that will continue through Lecture 25. We examine the theme and variations form, an adaptation of Baroque variations to the expressive and musical needs of the Classical era. The Classical theme and variations form uses a tune as its theme rather than a bass line or harmonic progression.

18. The Viennese Classical Style, Homophony, and the Cadence

November 1, 2023

This lecture seeks to further build listening skills and vocabulary regarding cadence, or musical punctuation. The four cadence types are defined, demonstrated, and discussed. We examine the geographical and social importance of the city of Vienna for the origin of the Classical style.

17. The Enlightenment and an Introduction to the Classical Era

November 1, 2023

This lecture introduces the Age of Enlightenment and its impact on musical style. The dramatic difference between the music of the late Baroque and Classical eras is brought into high relief

16. Ritornello Form and the Baroque Concerto

November 1, 2023

Focus now on ritornello form and the Baroque concerto. We first differentiate between chamber and orchestral music. Next, we discuss the degree to which the opera house was responsible for the development of the orchestra, as well as genres such as overture, suite, and concerto. The three types of high Baroque concerti are also defined and discussed.

15. Passacaglia

November 1, 2023

We introduce the concept of instrumental musical form

14. The Lutheran Church Cantata

November 1, 2023

This lecture continues the examination of Baroque sacred music, focusing now on the Lutheran church cantata, which evolved as a musical commentary on a particular Bible reading. We also examine the operatic ideals of the Lutheran librettist Erdman Neumeister, and Johann Sebastian Bach's Cantata No. 140.

13. The Oratorio

November 1, 2023

his lecture introduces the oratorio and Lutheran Church cantata, and briefly discusses and defines the Baroque Mass, Magnificat, Passion, and sacred Motet as well. The oratorio is then examined in detail, from its modest beginnings as a musical setting of some Biblical text through its growing popularity as an operalike entertainment.

12. Baroque Opera, Part 2

November 1, 2023

We continue the evolution of opera from the late Renaissance through the early Baroque. We discuss the transition of Italian opera from courtly to popular entertainment and the development of the aria around 1660.

11. Baroque Opera, Part 1

November 1, 2023

We discuss the evolution of opera from the late Renaissance through the early Baroque. Believing that ancient Greek drama was entirely sung, members of the Florentine Camerata sought to create their own music dramas, and, in doing so, they invented opera around the year 1600. These lectures discuss two early operas and demonstrates their musical content.

10. Fugue

November 1, 2023

Drawing on fugues by Johann Sebastian Bach and George Frederick Handel, this lecture introduces and examines the parts of a fugue: the exposition, subject restatements, and episodes. This lecture also seeks to define and discuss the various tuning systems used up to and during the Baroque era.

9. National Styles

November 1, 2023

This lecture describes the rise of German music during the Baroque. The Protestant Reformation put a new emphasis on the German language in worship, and the music with it followed the idiosyncratic cadences of the German language, as opposed to Latin/Italian. We also explore the Lutheran view of music and composition as a spiritual act, a view that altered the history and nature of German music.

8. Style Features of Baroque-era Music

November 1, 2023

In this lecture, we build listening skills and a descriptive vocabulary and discuss style and features of Baroque music. Essential musical elements as pulse, meter, scales, and harmony are examined in light of the Baroque predilection for scientific investigation, systemic organization and codification.

7. An Introduction to the Baroque Era

November 1, 2023

This lecture introduces the brilliant and exuberant Baroque era. We differentiate between the measured elegance of Renaissance music and the extravagant emotionalism of Baroque music. Special attention is paid to the scientific and investigative spirit of the Baroque and its impact on the arts of the era.

6. The Madrigal

November 1, 2023

This lecture focuses on the madrigal, the most important genre of Italian secular music of the late Renaissance. Examine the heightened poetic content of the madrigal and the Petrarchian revival. Then examine the role played by word-painting in the genre of the madrigal. Three madrigals are examined for the progressive development of the genre.

5. The Renaissance Mass

November 1, 2023

This lecture introduces the mass as the most important compositional genre of the Renaissance. The mass itself is defined and the ceremony is discussed in detail, in particular the nature and content of the Proper and Ordinary. We then examine the Renaissance musical setting of the Ordinary of the mass and the three types of Renaissance masses.

4. Introduction to the Renaissance

November 1, 2023

This lecture examines the impact of the rediscovery of ancient Greek and Roman culture on Europe in the 15th and 16th centuries. Important Renaissance trends are defined and discussed. The ancient Greek ideal of music as a humanistic art powerfully influenced the music of the Renaissance, an influence that is examined both theoretically and musically (through the works of Josquin des Prez).

3. The Middle Ages

November 1, 2023

This lecture focuses on the changing role of music in the medieval world. First we examine the liturgical plainchant and its musical characteristics. The rebirth of Europe during the High Middle Ages and the attendant development of polyphony are examined. Finally, we explore the violent disruptions of the 14th century and their affects on the arts and music of the time.

2. Sources

November 1, 2023

This lecture introduces the ancient world as a 4,000-year period of extraordinary cultural richness and variety. We discuss the cyclical, rather than linear, nature of art and music. Ultimately, this lecture focuses on the role of music in the ancient Greek and Roman worlds and concludes with a brief examination of the role of music in the early Christian Church.

1. Music as a Mirror

November 1, 2023

This opening lecture introduces themes, concepts, and terminology that will be used throughout the series. Important definitions and distinctions are discussed, including: concert music, classical music, popular music, and Western music. Lastly, using Ludwig van Beethoven as an example, the composer is discussed as a person describing some aspect or aspects of his life and world in his music.

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Where to Watch How to Listen to and Understand Great Music, 3rd Edition

How to Listen to and Understand Great Music, 3rd Edition is available for streaming on the The Great Courses website, both individual episodes and full seasons. You can also watch How to Listen to and Understand Great Music, 3rd Edition on demand at Prime Video and Amazon.