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Robert Greenberg

About the artist

Robert Greenberg, Ph.D., is music historian-in-residence with San Francisco Performances. A graduate of Princeton University, Professor Greenberg holds a Ph.D. in music composition from the University of California, Berkeley, and has seen his compositions—which include more than 45 works for a wide variety of instrumental and vocal ensembles—performed all over the world, including New York, San Francisco, Chicago, Los Angeles, England, Ireland, Greece, Italy, and the Netherlands.

Top songs

  1. Introduction
  2. Introduction to the Renaissance
  3. The Middle Ages
  4. Sources
  5. 01. Introduction and Words and Music, I
  6. Introduction to the Baroque
  7. Fugue
  8. The Language of Music
  9. Baroque Opera, Part 1
  10. Baroque Opera, Part 2
Show all 100 songs
  1. The Renaissance Mass
  2. The Rise of German Nationalism in Music
  3. 01-1 Introduction
  4. 02. Introduction and Words and Music, II
  5. Style Features of Baroque Music
  6. Secular Music in the Late Renaissance
  7. 02-4 Christmas, 1722
  8. Leopold and the Grand Tour
  9. Paris
  10. Timbre, Continued
  11. 03. A Brief History of Vocal Expression in Music, I
  12. 02-5 Christmas, 1722
  13. The Last Years
  14. 04-1 Fugue
  15. 02-6 Christmas, 1722
  16. 05. Invention of Opera and Monteverdi's Orfeo, I
  17. 01. Let's Take It From the Top!
  18. 02-1 Christmas, 1722
  19. 02-7 Christmas, 1722
  20. Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  21. 01. Introduction and Words and
  22. 01-2 Introduction
  23. 02-9 Christmas, 1722
  24. 01-3 Introduction
  25. Baroque Instrumental Forms, Part 2
  26. Baroque Sacred Music, Part 1
  27. 04. A Brief History of Vocal Expression in Music, II
  28. Flight from Salzburg and Arrival in Vienna
  29. 03-1 Introduction to the Baroque Aesthetic
  30. 02-8 Christmas, 1722
  31. Classical-Era Form - Theme and Variations
  32. Russian Nationalism
  33. 06. Invention of Opera and Monteverdi's Orfeo, II
  34. 05-1 Historical Overview
  35. 03-8 Introduction to the Baroque Aesthetic
  36. Operas in Vienna
  37. The Viennese Classical Style
  38. Timbre, Part 3
  39. Beat and Tempo
  40. Classical-Era Form - Sonata-Allegro Form I, Part 2
  41. Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  42. Early Twentieth-Century Modernism
  43. The Enlightenment
  44. 01-4 Introduction
  45. 03-2 Introduction to the Baroque Aesthetic
  46. Baroque Instrumental Forms, Part 1
  47. 01-6 Introduction
  48. Classical-Era Form - Sonata-Allegro Form I, Part 1
  49. The French Revolution and an Introduction to Beethoven
  50. 01. The Escape from Riga
  51. 01-5 Introduction
  52. 03-3 Introduction to the Baroque Aesthetic
  53. Introduction and Words and Music, I
  54. 04-4 Fugue
  55. 04-6 Fugue
  56. 04-2 Fugue
  57. The Concert Overture, Part 2
  58. 03-6 Introduction to the Baroque Aesthetic
  59. Meter, Part 1
  60. 03-7 Introduction to the Baroque Aesthetic
  61. 01-7 Introduction
  62. Classical-Era Orchestral Genres - The Symphony
  63. Baroque Sacred Music, Part 2
  64. The Concert Overture, Part 1
  65. Introduction to Romanticism
  66. 19. Verdi and Otello, I
  67. 03-4 Introduction to the Baroque Aesthetic
  68. 10. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, II
  69. 01-9 Introduction
  70. 01-8 Introduction
  71. 02-2 Christmas, 1722
  72. Classical-Era Orchestral Genres - The Concerto
  73. Classical-Era Form - Sonata-Allegro Form II
  74. Classical-Era Form - Rondo
  75. Nineteenth-Century German Opera - Richard Wagner
  76. 02. London, Paris, and Rienzi
  77. 09. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, I
  78. Introduction and Words and Music, II
  79. 02-3 Christmas, 1722
  80. 03-5 Introduction to the Baroque Aesthetic
  81. 04-5 Fugue
  82. Meter, Part 2
  83. 04-3 Fugue
  84. Classical-Era Form - Minuet and Trio II
  85. 07. Invention of Opera and Monteverdi's Orfeo, III
  86. 03. What to Do about Germany?
  87. 03-9 Introduction to the Baroque Aesthetic
  88. 04-7 Fugue
  89. Tonality, Key Signature, and the Circle of Fifths
  90. 04. The Rise of German Opera

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