How to Listen to and Understand Great Music

“Hector Berlioz starts writing the Symphonie fantastique 1829 and He completes it in 1830.

How to Listen to and Understand Great Music

How to learn to Enjoy the beauty and genius that are unmatched and The power of concert music can enrich your life for the rest of your life. What is the secret to this? As an award-winning composer and Professor Robert Greenberg explains, “MusicThe most abstract and The most beautiful of all arts, it is capable of transmitting an incredible amount of historical, expressive information. and Even philosophical information to We will, provided our antennas remain up and They will direct you in the right direction. Education is a great way to start your journey. to vitalizing and Many feel that it is impossible to make a particular piece of music relevant.
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“Why is it important to understand concert music? Here are a few reasons I think it is worthwhile to understand concert music:

“The skills one brings to listening to music—imagination; abstract, nonconcrete thinking; intuition; and Intutive response and trusting those instincts—have gone uncultivated in our educational system and Culture can be too lengthy

“MusicWe can use the universal, nonverbal language of, to communicate. to Tap into the cultural, social, and economic resources available to you. and The aesthetic traditions of various cultures and The historical eras. We are more aware of our common humanity and The wisdom and Vision for others

“Music We are here to help to Overcome our own limitations and Enjoy completely different realities

“Last, but certainly not least, good music is fun to Listen to, relatively inexpensive—we can do it by ourselves or with others—and There are many options. to Expand our knowledge and The art is worth appreciation.”

The Tools, The Times and the Composers and They Music

Grammar: Professor Greenberg provides a great grasp of musical forms and techniques. and terms—the grammatical elements that make you fluent in the language of music. These are not boring concepts. Professor Greenberg warns us to They are essential:

“Music, like any pseudoscience, requires an adjectival palette by which we can isolate events that without proper terms we might not even be able to notice. It’s an interesting question to what degree language allows us to perceive things that are not language-associated. I’m a strong believer that if you’ve got the right word to identify something, you can perceive it. I think my favorite pseudoscience when it comes to this kind of thing is wine-tasting, where one has to come up with an adjectival palette that is almost a cartoon unto itself. But silly as these phrases may be—’Oh, this has a hint of young tobacco, and old oak fragrant with raspberries’—silly as these terms are, they allow us to draw distinctions without which we may not be able to draw at all. So we will create a useful vocabulary.”

Rich Context. Professor Greenberg talks about the influence of social contexts on musical creation. James Collins, bestselling author and contributing writer to Inc. magazine, explains it all: “The Greenberg series combines a history of Western civilization with a history of great music from ancient Greece to the 20th century. Greenberg’s 48 lectures come alive with passion and knowledge. The course illustrates the interplay between societal change and innovation and offers a unique perspective on the acceleration of change wrought by the 20th century.”

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Professor Greenberg’s lectures illustrate how musical creativity has served as a means of expression for grand spiritual and intellectual, political, and social achievements throughout human history. and Economic forces

It could be the profound influence of Lutheran spirituality upon Bach, or the French Revolution’s effect on Beethovento These forces are evident in the lives of musicians, just to name two. and Listeners from different historical periods. You will also learn how these forces have influenced the creation of music masterpieces that transcendentally art. and These compositions are deeply rooted within their respective eras and tell us something central about each person.

The Composers: This course examines nearly all major composers’ contributions. Professor Greenberg’s goal is to Make their music easily accessible andWe must also accept that each one of them is human. and no more. (He points out that Giuseppe Verdi’s English translation would be just “Joe Green.”) You will remember their music, and The composers you have heard are a part of your life forever. to Lectures are a way to live your life. Think about Professor Greenberg’s introduction to Berlioz:

“Hector Berlioz starts writing the Symphonie fantastique 1829 and He finishes it in 1830, the year he graduates the conservatory. So he is only 27 years old. and Still learning his trade.

“The Symphonie fantastique is an experimental artwork if there ever was one. It is an absolutely avant-garde piece of music. It attempts to unite the four great loves of Berlioz’s life, as he felt them then and as they continued to be throughout his life. Those four great loves, in no particular order, are: first, Shakespeare’s plays and Shakespeare’s sense of drama; second: Beethoven’s symphonies, which Berlioz worshipped; third: opera, which Berlioz lived for; and we must not forget the fourth great love of Berlioz’s life: himself. It’s a very autobiographical work. Again, we have to understand that autobiography is very typical of the self-involvement and expressive self-indulgence of the 19th- and indeed, the 20th-century artist.”

The Music: Use digitally recorded musical passages to Professor Greenberg will show you the most beautiful compositions of Bach, Handel and Haydn, Beethoven, Chopins, Chopins, Beethoven, Chopins, Verdi. and more. You’ve listened. to many of the illustrative pieces all your life—you will never hear them the same way again after Professor Greenberg has opened them up. Take a look at the title of this course’s lectures to You’ll be amazed at how much you can learn.