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The Great Works of Sacred Music
Western classical music is one of humanity's most sublime artistic traditions. This musical language - encompassing genres from symphonic and instrumental music to choral works and opera - was created through the meeting of art and faith.
The lineage of sacred works produced some of the greatest masterpieces in Western art and created the foundation of the Western musical canon. This phenomenal tradition includes works of genius such
Josquin des Prez's Ave Maria, gratia plena, an exquisite polyphonic motet Monteverdi's Vespro della Beata Virgini, whose vocal pyrotechnics evoke the immensity of heaven Mozart's Requiem, the final composition of the classical master
Beginning with medieval chant, discover how its single musical line evolved into polyphony (music with multiple simultaneous melodies). You'll also learn how the religious reformations of the 16th century compelled composers to create new musical genres and to make religious texts more intelligible. Additionally, observe how 17th-century composers blended sacred styles with genres such as opera, producing music of dramatic and unforgettable beauty.
As a fascinating counterpoint to the music itself, you'll explore the sociological background of its writing and performance. Sacred works were often commissioned by important clerical and aristocratic patrons, and composers were challenged to write music that was not only religiously edifying but also entertaining and publically successful. Over time, sacred music moved beyond church walls to become appreciated in secular venues as autonomous works of art.
You'll hear stunning musical excerpts covering over 1,200 years of music, from medieval chant to the massive sacred works of the late 19th and early 20th centuries.
The lineage of sacred works produced some of the greatest masterpieces in Western art and created the foundation of the Western musical canon. This phenomenal tradition includes works of genius such
Josquin des Prez's Ave Maria, gratia plena, an exquisite polyphonic motet Monteverdi's Vespro della Beata Virgini, whose vocal pyrotechnics evoke the immensity of heaven Mozart's Requiem, the final composition of the classical master
Beginning with medieval chant, discover how its single musical line evolved into polyphony (music with multiple simultaneous melodies). You'll also learn how the religious reformations of the 16th century compelled composers to create new musical genres and to make religious texts more intelligible. Additionally, observe how 17th-century composers blended sacred styles with genres such as opera, producing music of dramatic and unforgettable beauty.
As a fascinating counterpoint to the music itself, you'll explore the sociological background of its writing and performance. Sacred works were often commissioned by important clerical and aristocratic patrons, and composers were challenged to write music that was not only religiously edifying but also entertaining and publically successful. Over time, sacred music moved beyond church walls to become appreciated in secular venues as autonomous works of art.
You'll hear stunning musical excerpts covering over 1,200 years of music, from medieval chant to the massive sacred works of the late 19th and early 20th centuries.
Audio CD
Published January 1, 2015
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Displaying 1 - 13 of 13 reviews
December 14, 2022
At first it felt sacrilegious to listen to a Great Course on music not narrated by Professor Greenberg. Also, why am I listening to a course on sacred music? Shouldn't I be reading the complete works of Nietzsche? But fear not. Even if you are Richard Dawkins himself, this course is delightful. Just know that the focus is on Christianity and the Western musical tradition. If you're cool with that, these lectures provide context to some truly great works (plus, the lecturer has a nice singing voice).
May 21, 2024
While the later lectures focus on particular pieces, McGuire refers throughout to musical, religious, and social trends.
February 27, 2019
I watched this course online; and, as a result, I did not have access to the guidebook. It was a good course but it contained musical terms that I really could have understood better if I could have reviewed them in the guidebook. Nevertheless, I found the course had a good deal of helpful information that I can use to follow up on to learn more about sacred music.
July 13, 2024
A tad repetitive at times (and the audio was sometimes not the greatest), but if I were reviewing for a music history exam, I would have found this course very helpful in its review and reinforcement of musical terms and periods. I also appreciated learning about works I (mostly) already knew of have performed in more depth.
October 28, 2021
This course combines history and theory. The theory is generally beyond me and well beyond my ear. The instructor is good, I can understand what it is I am not grasping so technical portions of music theory are not lost.
July 28, 2024
The title is misleading: the focus is entirely on the music of Western Christianity and only up to the start of the 20th century. I was hoping for something more comprehensive. I did enjoy what there was of it, just disappointed by the limitations.
January 2, 2023
Good overview and history of Western Christian sacred music
December 8, 2024
Highly enjoyed this on Audible. Speaker clear, covered technical terms in a relatable way and had a great singing and chanting voice in multiple languages.
March 23, 2020
Overall, it's a very good course with a good presenter. (Even if I do wish someone would show the poor guy how to properly wear a tie clip because I kept wanting to reach through the screen and fix that for him. It's a little thing, but after eight hours of so of seeing it, it becomes a fixation.) As Professor McGuire has performed much of the music discussed, he brings both a music historian and performers POV to the topic. It would probably be helpful if the reader/viewer has a basic understanding of music theory since the lecturer uses vocabulary specific to that quite a bit. (Or, do as I did, and have a music dictionary open in the background. A good and easy-to-use one is at OnMusic.org.
It would be nice if GC would make a companion course to this, one that includes the REST of the world and its sacred music rather than only western Europe/Christianity. It also would have been nice if that Christian-only focus had been made clear in the title. Many libraries that offer this GC material don't include details on lecture titles or synopsis, so sometimes the title is all you have to go on.
It would be nice if GC would make a companion course to this, one that includes the REST of the world and its sacred music rather than only western Europe/Christianity. It also would have been nice if that Christian-only focus had been made clear in the title. Many libraries that offer this GC material don't include details on lecture titles or synopsis, so sometimes the title is all you have to go on.
February 14, 2016
Overall a good book that offered a lot of new knowledge for me. Very dense material. While I am very familiar with classical music to include opera, I found this book to be at times a to get very technical. The guide book that comes with the audio book is essential if you hope to keep up with all of the terms that the author uses. There is a significant amount of German, Latin, French and technical music terms that the author uses - he may define them once or twice and then assume you know the term later in the book. I generally followed it but did get lost sometimes if I wasn't paying very close attention. A glossary of terms in the guidebook would have been very helpful. If you are not familiar with classical music or opera, I'd recommend starting with another book first - perhaps Professor Robert Greenberg - who is a bit easier to follow and someone more entertaining and light.
February 2, 2016
I learned something, but it wasn't quite what I was looking for and I was often a bit bored. I think I wasn't sufficiently knowledgable about music coming into this to take away as much as I might have otherwise. The structure of the lectures was pretty opaque to me and seemed to jump around a lot among the historical context, biographical information about the composer, and musicological discussion of the works in question with no clear organizing concept.
Displaying 1 - 13 of 13 reviews