History

Contents

General

Approaches to Popular Music
DBM 1463
Part of the series The History of Music in the Western World, 1100–1980.

Background to Music
DBM 1502
This BBC series features short lectures about various composers and music styles throughout history.

Banjos, Bones, and Blackface
DBM 0847
History of traveling musicians from biblical times through the 1800s. Modern minstrels perform “April Showers” and “Mammy,” and George Burns sings “The Grizzly Bear.”

Classical Dances
DBM 181
Traces the formal development of the dance from the earliest written music to the modern symphonic repertoire.

The Dance in Music
DBM 470
Traces the history of the dance.

The Evolution of Modern Music
DBM 169
In a conversation with Carolyn Watt, Scott Huston traces the history of music through the development of scales.

Good Vibrations
DBM 204
An anthropologist examines the evolution of music and musical instruments. The discussion ranges from Bach to Moog synthesizers and Muzak.

The History of Classical Music
Richard Fawkes
DBM 2881
From Gregorian chant to Henryk Gorecki, here is the fascinating story of over a thousand years of Western classical music and composers.

How to Understand and Listen to Great Music
DBM 1532
Robert Greenberg presents a course on understanding music from the ancient world to the modern era. 48 lectures.

The Origins of Orchestration
DBM 8
Discusses orchestration in the eighteenth and nineteenth centuries.

Pioneers of Czech Music
DBM 34
Erich Leinsdorf conducts selections from The Bartered Bride by Friedrick Smetana, Symphony No. 2 in D Minor by Antonín Dvořák, Concerto for Violin and Orchestra by Bohuslav Martinů, and “Schwanda the Bagpiper” by Jaromir Weinberger.

Psalms
DBM 199
Discussion concerning the importance of the Psalms in the history of Western music. Examples include choral music by Palestrina, Handel, Gluck, Franck, and Liszt.

Russian Music
DBM 9
Outlines the history of Russian music from Glinka to Shostakovich.

Understanding the Language of Music
DBM 1304
Using examples from classical and popular music, Daniel Abrams discusses modes, scales, chords, and the instruments of the orchestra. For the person who would like to acquire a rudimentary knowledge of music history and theory.

Medieval and Renaissance

Augsburg
DBM 381
Works of composers supported by the Fuggers, an influential Augsburg banking family of the sixteenth century. Includes a madrigal by Andrea and Giovanni Gabrieli, canzonettes by Hans Leo Hassler.

Dresden
DBM 384
Lecture on Heinrich Schütz, stressing his importance in applying Italian polychoral style and dramatic monody to German church music.

Gregorian Chant
DBM 1511
The origins, forms, and practices of Gregorian chant by Katherine Le Mée. Questions about how chant is written and sung and its beneficial therapeutic qualities on the body, mind, and heart are discussed.

Leipzig: Collegia Musica and the Thomas Cantorate in the Seventeenth Century
DBM 386
Discussion of the importance of the Collegia Musica to the musical life of seventeenth-century Leipzig, with selections from the works of the composers who preceded Johann Sebastian Bach as cantors of Thomaskirche.

Munich: Bavarian Court and Chapel under Orlando di Lasso
DBM 379
Includes details of Orlando di Lasso’s life and examples of his music, such as the echo songs.

Music in the Middle Ages
DBM 317
Musicologist Sidney Wilck reviews musical developments of the Middle Ages, beginning with the plainsong of Pope Gregory I and concluding with the estampie, a fourteenth-century dance.

Music in the Renaissance
DBM 38
Musicologist Sidney Wilck reviews music history between 1450 and 1600.

Musick’s Feaste
DBM 1457
Anthony Rooley discusses music of the Renaissance, 1480–1600.

New Arts for Old
DBM 1456
Christopher Page discusses Medieval music, 1100–1480.

Baroque

Bach and the High Baroque
DBM 1542
Lectures delivered by Professor Robert Greenberg.

Bach and Ornamentation
DBM 45
Concert artist and Bach specialist Rosalyn Tureck explains how Bach’s ornamentation is “written right into the music.”

Bach and Twentieth-Century Composers
DBM 277
Rosalyn Tureck performs a composition by Bach based on a twelve-tone motive, the B Minor Fugue; Lukas Foss analyzes other works by the baroque composer; and Arthur Berger discusses the powerful influence of the Bachian signature. Includes discussion led by Rosalyn Tureck with composers Benjamin Lees, Eric Salzman, Lukas Foss, and Arthur Berger on Bach’s influence on contemporary composers.

Hamburg: Music in the City under the Direction of George Philipp Telemann
DBM 388
Works by composer Georg Philipp Telemann, who served as musical director of five principal churches in Hamburg from 1721 until his death in 1767.

Lübeck, the Abendmusiken Concerts Established by Dietrich Buxtehude
DBM 389
Discussion of Buxtehude’s fame as an organist, influence as a composer, and role in establishing the Abendmusiken, a series of concerts held on the five Sundays preceding Christmas.

The Music of Bach
DBM 43
Works illustrating Bach’s genius as a composer. Includes Brandenburg Concerto No. 1, Concerto for Harpsichord and Strings in D Minor, and Organ Concerto in A Minor.

Music of the Baroque Era
DBM 3635
Clive Unger-Hamilton describes how the grandiose and glamorous Baroque music, written to glorify the finest courts of Europe, stands alone.

Nuremberg: The Brass Makers and Composers of the Seventeenth Century
DBM 383
Discussion of Nuremberg’s role as the center for production of fine brass instruments.

The Oratorio
DBM 179
History of the oratorio, from its beginnings in the sixteenth century to its present-day form.

A Pearl Distorted
DBM 1458
Christopher Hogwood discusses the Baroque period, 1600–1750.

Classical

The Classical Era in Music
DBM 24
Sidney Wilck characterizes the classical period as one of refinement and standardization.

Concert Masterworks
DBM 1538
Robert Greenberg examines eighteenth- and nineteenth-century music through the examples of works by Mozart and Beethoven.

Concert Masterworks
DBM 1540
Robert Greenberg examines nineteenth-century music through the examples of works by Beethoven and Brahms.

Music of Williamsburg
DBM 312
Williamsburg was founded in the 1700s to be the capital of Virginia. Included in this lecture is music by American and European composers that may have been heard in Williamsburg.

Sonata and the Creative Ideal
DBM 1459
Alan Hacker discusses the Classical period, 1750–1830

Romantic

American Music Comes of Age
DBM 324
Discusses music by late nineteenth-century American composers. Includes works by John Knowles Paine, Edward MacDowell, and Horatio William Parker.

Concert Masterworks
DBM 1539
Robert Greenberg examines nineteenth-century music through the examples of works by Antonín Dvořák and Richard Strauss.

Concert Masterworks
DBM 1541
Robert Greenberg examines nineteenth-century music through the examples of works by Felix Mendelssohn and Franz Liszt.

Expression and Extravagance
DBM 1460
Norman Del Mar discusses the Romantic period, 1830–1900.

Music of the Romantic Era
DBM 3634
Beethoven, Brahms, Chopin, and Tchaikovsky are some of the familiar names whose music was shaped by the events of the period. This lecture charts the course of music through these turbulent but exhilarating times.

Musical Pioneers of Italy
DBM 410
Discusses mid-nineteenth-century Italian composers of the symphony.

Pioneers of Impressionism
DBM 63
The Indianapolis Symphony Orchestra, under the direction of Fabians Sevitsky, plays selected works by Debussy, Delius, Griffes, and Ravel.

Modern

The Arrival of Atonal Music
DBM 207
Scott Huston discusses the roles of Anton Webern, Arnold Schoenberg, and Alban Berg in the development of atonality.

The Avant-Garde Today
DBM 208
Scott Huston looks at the work of the “anti-music” composers and at musical composition, past and future.

Chance and Randomness in the Arts
DBM 305
Composer Murray Schafer describes the process by which aleatoric or chance music is composed.

The Concert Overture
DBM 636
Independent orchestral compositions for the concert hall. Examples offered are Berlioz’s “Corsaire,” Dvořák’s “Carnival Overture,” and Van Vactor’s “Overture to a Comedy No. 2.”

Contemporary Music
DBM 1462
Hugh Wood discusses the many different directions twentieth-century music has taken since 1945.

Elements of Jazz
DBM 1546
Bill Messenger gives an overview of jazz, its elements, and the times from which it was born.

Elliott Carter and Leon Kirchner
DBM 275
Using excerpts from their compositions, Elliott Carter and Leon Kirchner show how contemporary music has developed from older forms.

Evergreens from Bud
DBM 550
Reminiscences by Bud Green, with discussion about Sibelius’s “Finlandia” and Sousa’s “Stars and Stripes Forever,” two pieces sealed in a time capsule at the New York World’s Fair of 1939.

Frankie and Johnny
DBM 177
This lecture explores the origins of the Frankie and Johnny story and song.

George Gershwin’s Rhapsody in Blue
DBM 891
The story behind writing this composition and performing it with Paul Whiteman in New York. Gershwin cut the piano roll used for this performance.

Gershwin
DBM 709
Description of life and musical style of Gershwin, accompanied by several excerpts of his major works and numerous popular songs.

Islands in the Sun
DBM 1465
Felix Cross discusses the story of reggae and calypso music.

Jazz Joins the Classics
DBM 133
Dave Brubeck explains how composer Darius Milhaud used jazz for the first time in classical compositions.

Modern Music
DBM 32
Discussion by Clifton Fadiman, critic, Goddard Lieberson, music record executive, Henry Pleasants, music writer, and Jacques Barzun, historian.

Pioneers of Twentieth-Century Music
DBM 50
Howard Hanson conducts his “Cherubic Hymn,” Daniel Gregory Mason’s “Festival Overture,” Roy Harris’s Symphony No. 3, Samuel Barber’s “Adagio for Strings,” and Louis Mennini’s “Allegro Energico.”

Ravel and Sibelius
DBM 307
Identifies the folk influences in Maurice Ravel’s “Bolero” and Jean Sibelius’s “Swan of Tuonela.”

Reaction and Revolution
DBM 1461
Wilfrid Howard Mellers discusses the modern period: 1900–1945.

Story of American Classical Music
DBM 3636
Laurence Barrymore Scherer outlines how from colonial times to our time, America’s concert legacy also contains riches unfamiliar even to sophisticated music lovers.

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