TTC Video – Concert Masterworks

Have you ever wondered what goes through a composer’s mind during those weeks and months when a musical composition is being notated on paper? Is it possible to imagine the creative process that goes into geniuses like Mozart, Beethoven, Dvork, and others? Or within a composer? Hide the full description.

Is it pure inspiration? Does a composer pick up a pen before hearing the music? Does the music start on that blank sheet of paper?

Can untrained people like us be taught how to listen to music? Listen to great music.

Can we learn to listen better, so that we can enjoy great music even more?

The answer to that last question is yes, according to Dr. Robert Greenberg.

The winner of threeNicola De Lorenzo Prizes in Composition, whose music courses in several classical genres are among our most popular, has set out to prove his point again.

He has created a course that will give you a new level of sophistication as a music listener, using as his teaching tools some of the most memorable works in all of music. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it Gain a new level of listening.

The skills you learn in this course will help you understand the structure and narrative content of any piece of music.

This course is not intimidating because it has a deeper look into musical structure than the untrained listener will have experienced.

Professor Greenberg places each composition and its composer in the social and musical fabric of its time so that you can understand the music in its proper societal and artistic context.

His descriptions evoke dramatic images.

The precocities of Mozart. Beethoven’s progress toward his Heroic style, as his inner tendencies exaggerated by the turbulent times he lived in. The choice of what to publish was influenced by the profound sense of caution ingrained in him by his middle-class background.

Professor Greenberg gives a lot of information about the musical world in which each composer worked.

Get it immediately. The Concert Masterworks is a video.

Beethoven has an advantage over His Predecessors.

You learn.

Beethoven had an advantage over his predecessors because of how the piano developed. The rise of virtuoso superstars such as the legendary Italian violin virtuoso Niccolo Paganini, who pioneered the art of violin playing, was the result of the 19th-century cult of the individual artist as hero. The folk elements used by nationalist composers became part of the common language of concert music, so Dvork could feel comfortable using American elements in his symphony.

The core of the course is its structural examination of eight of the most brilliant pieces of music ever written, with Professor Greenberg grouping the composers and their compositions into four pairs, each designed to clarify different aspects of music for you.

The Classical Piano Concerto is part I.

Mozart has a piano concert in C Major. Beethoven wrote a piano duet in E-flat Major. The Emperor Concerto was written in the 18th century.

The musical substance of the concerti is the focus of these lectures.

Nationalism and expressionism in the late 19th century features.

There is a symphony in E Minor. The New World Symphony was composed in 1893. Death and Transfiguration was written by Richard Strauss.

Professor Greenberg focuses on Dvork’s use of conflicting keys to reflect conflicting themes, and on the theme of through-composed piece in which the motives and themes grow out of material that has preceded them.

Part III: Great 19th-century Violin Concerti.

The Violin Concerto in D Major was written by Beethoven. 61 was done in the 18th century. The Violin Concerto in D Major was written by Johannes Brahms. 77 was recorded in1878.

Professor Greenberg shows how the work of Beethoven, trained in the structures and techniques of 18th-century Classicism, and Brahms, the 19th-century Romantic, so clearly reflect characteristics of the 19th-century violin concerto repertory.

The Early Romantic-Era Program Music features.

Felix Mendelssohn wroteIncidental Music. The Overture to A Midsummer Night’s Dream was written in the 18th century. There were 21 deaths in 18th century. The opera Totentanz was written by Franz Liszt.

Professor Greenberg compares Mendelssohn’s interpretation of Shakespeare’s comedy with the example of the Romantic era’s fascination with the Gothic and the macabre in his work based on the 14th-century Black Death. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it Deep structural understanding can be experienced.

Get it immediately. The Concert Masterworks is a video.

If you study musical composition in this way, you can get a better idea of the structure of the piece.

Professor Greenberg believes that the experience is related to understanding great works of architecture. Unless we are taught to see and comprehend them in our minds, our eyes will be blind to their richest glories.

Their work. Their blend of purpose and technique is ingenious. Their force.

You can dramatically change your listening experience by learning to perceive most of the aesthetic, structural, and narrative information a composer builds into a piece of music.

The result? When you listen to music, it becomes more vivid, life enhancing, exciting, and compelling. It’s not like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it’s like it There are new ways to play Plumb Music.

Even if you haven’t taken music appreciation or learned to play an instrument at a basic level, these lectures give you the tools of vocabulary and structural Fundamentals, no matter how much you love music.

If you gain a knowledge of the structural conventions original audiences took for granted, you will be able to share the musical experiences those audiences had when they were surprised or challenged by a composer’s departure from those conventions.

To ensure you get the most from the lectures, the explorations of each of the masterpieces analyzed are made up of three components.

The life, times, personality, and musical styles of the composer are being studied. An extensive examination of the work under study, analyzing its form, themes, and relationships. Even if you can’t read a note of music, you can follow the musical narrative with the WordScore Guide.

You can understand a composer’s surrender to the status quo or his defiance of it with the tools provided by this course. You will be able to experience the full impact of the music, as those first audiences did.