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Live Chat with Robert Greenberg
Thank you to everyone who joined The Great Courses live text chat with professor Robert Greenberg on Wednesday, October 30, 2013. Dr. Greenberg has recorded more than 26 courses and 500 lectures on a range of composers and classical music genres for The Great Courses.
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Finding 30 Greatest Orchestral works lovely, but frustrating. Seems we just get started and its over. The long form courses -- Fundamental, and How to Listen, provide a fabulous educational arc, and the in-depth composer courses, like the Symphonies of Beethoven, are fabulous in the level of depth that you are able to build into the entire course. Any advice for listening to 30 Greatest Orchestral works in a more fulfilling way?
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This question is for the TGC Representative: Will you provide digital version of Prof. Greenberg courses that right now are only available as DVD/CD ?
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How important do you think it is to think about music from these different, perhaps less traditional perspectives? Do they enhance, supplement, or detract from a robust understanding of music?
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What are your recommendations for an adult who wants to learn to play the piano regarding musical literature, CDs, teaching DVDs, and finding an instructor who's prepared to teach an adult? I want an emphasis on musicality from the beginning, not just how to get around on the keyboard.
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You never mention which recordings you are using, I presume you arn`t allowed. Would you consider creating a page of your personal favorite performances?
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I have wondered why you don't have a better, more in-tune piano with you as you record your lectures!!
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Mozart and DaPonte: Why so little in the memoirs about their relationship?
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My question concerns a particular chord that he has referenced in more than one course; the I6/4 chord. I understand the concept of adding tones to the basic triad (Maj7, 6th, 13th) or altering a pitch (dom7, sus4, Aug, Dim, b9th). Would a I6/4 be, for example in the key of C, [C E F G A], [C F G A], the suspended 4th of the 6th chord [A D E], or am I totally off the mark in trying to decipher this chord?
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Does Tchaikovsky give any detailed indication as to why he does hate his music? In your professional opinion, can you explain why?
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A critic once described Duke Ellington as "the Delius of jazz". Can you clarify and share your thoughts?
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I have unsuccessfully looked for CDs of music composed by you on Amazon. Where can I find recordings of your compositions?
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How long does it take to prepare and record a course of, say, 24 lectures?
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TGC and Dr. G - I really appreciate the transcript books that come with the courses. On one run-through I record in my book the time stamp for the music selections so I can access these as I wish. I have many run-throughs for all lectures as I hear something I missed the other times. (Note: some transcripts need serious copyediting, but that's another subject for another time.)
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Thanks, just a general comment to note how much I have enjoyed the Haydn course. I look forward to checking out additional courses. Do you have a favorite one of yours? (sorry not sure if someone asked this already)
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Any suggestions on a good beginner's music theory book? Notation is certainly not a problem.
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I have dearly enjoyed all your courses, esp those on Beethoven, and have learned a great deal from you. Thank you! I would love to see a course, even if a short one, focusing on and looking at piano quartets/quintets/trios as a survey. I would love for example to hear your take on the likes of beethovens ghost trio.
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Dr. G, do you have any experience as a composer in using midi, sequencers/digital audio workstations and sound libraries? Thanks.
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Would you consider a short course (perhaps a-la "Great Composers" style) on Handel? I've just discovered his keyboard suites and have fallen in love.
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Was always curious: the 'greatest orchestral works' course--the omiision of Bruckner entirely?--the 7th & 8th symphonies alone being monumental harmonically & historically--but Bruckenr omitted entierly? I so admire and appreciate your insights--I now look forward to long road trips just to hear your courses over the speakers uninterrupted. A heartfelt thank U. Jerry
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I always feel a bit guilty about using "Finale" for composition, although it works so well. I fear that perhaps the "medium" influences the "message".
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It seems a shame that 20th and 21st Century compositions are considered less "accessible" than earlier works. It's the music of our time. Even the Cleveland Orchestra is guilty of ignoring, to a great degree, composers of our time. I understand the economics of it because I have been in the arts all my life but listeners' affinity for the familiar is no excuse. What do think, Bob?
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IT is a pity that these estates are so small minded. I have purchased composers because Bob recommended their music - but if he can't play it then we won't think of doing that. I am not a great fan of 20th century music. So I am looking forward to the chamber music course. Do you have any prelistening recommendations to get us ready for it?
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Did you come up with the idea of "Word Scores" yourself, or has someone else used this or a similar idea. I find them very enlightening, even though I am capable of reading music notation.
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Just reading Leonard Slatkins 'Business of Conducting'--can't recommend enough--don't let the title fool you. Maestro Lenny once commented on Bruckner: "…..I just don't get it…". I'm facsinated how it draws or repels. Have U ever read Arthur Abell's "Talks with Great Composers'? particularly the exchange with Brahms and Joachim? If so--curious of your take. Jerry
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In your treatment of Bach, was there some particular reason you didn't launch into the Mass in b-minor? Isn't it considered to be a sort of Mt. Everest in musical composition...unmatched?
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Anna asks if I will be giving any lecture in the New York area. None are presently scheduled, but I can assure you, if they pay me, I will come (bad grammar, but you get the sentiment). -
What would you say the most important skills, approaches, and personality traits (as well as anything else significant) are for teaching intelligent, interested adults who might not have much of a music background (yet)? Thank you for any thoughts.
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A last praise before the end of the chat, sorry if it makes you unbearable when you go home tonight! What I find amazing with you is that you spoon feed me what I need to know at times; and yet I always feel respected as a student. In the fundamentals of music I love how you explain that you cannot explain things sequentially, that the topic is circular and we students will have to go through the class again in order to hope to understand.
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Thanks to the moderator and also to the Great Courses at large. You have enriched our lives with so many fantastic classes!
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Professor- any suggestions on how to get apprehensive teenagers to start exploring the world of music?
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Hey readers - our web chat with the beloved Robert Greenberg is coming to a close. Please wrap up any comments you may have! -
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Dear TGC....Your many courses have made my free time in retirement a real joy!
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Must check out, but wanted to thank Dr. G. and TGC before departing.
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I want to say thanks as well. Prof. Greenberg was the first professor I bought from TGC web site almost 10 years ago and TGC courses have been my "addiction" since then.
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Many thanks for the countless hours of pure enjoyment your courses have brought to my life- you're simply the best
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Thanks for all your kind words. I would take the opportunity to thank my producers - most notably Tamara Stonebarger and Jaime Aigret - who have made my courses look and sound as good as they do.
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