| 01. |
First of All
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| 02. |
Perhaps the Principal Thing
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| 03. |
Let Me Start
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| 04. |
This is Not Just a Sentimental Anecdote
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| 05. |
From this Time
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| 06. |
But How do we Investigate
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| 07. |
Now You Can See
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| 08. |
Universality is a Big Word
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| 09. |
Other Linguists
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| 10. |
I Began by Imagining Myself
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| 11. |
Well, Then I Thought
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| 12. |
Let's Make a Simple Analogy
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| 13. |
Maybe Even a Divine One
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| 14. |
But Where do these Notes Come from?
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| 15. |
This Acoustical Phenomenon
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| 16. |
All These Upper Notes
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| 17. |
The First Overtone
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| 18. |
But More of that Later
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| 19. |
But Let's Not Make the Mistake
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| 20. |
And that's how the Tempered Clavichord
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| 21. |
Now this is a Substantive Universal
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| 22. |
But Let's be Careful
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| 23. |
And there is Always that Blue Note
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| 24. |
But Even these Twelve Tones
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| 25. |
I Trust You Realize
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| 26. |
And Again Comes a Great Leap
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| 27. |
Now this Means
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| 28. |
This Is Not to Say that There Were No Drastic Changes
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| 29. |
But Meanwhile we are Still in the Golden Age
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| 30. |
So, we're in the Midst of a Chromatic Adventure
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| 31. |
And All by Those Progressions
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| 32. |
Now, I Must Point Out
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| 33. |
Do you Realize
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| 34. |
I. Allegro molto
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| 35. |
II. Andante
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| 36. |
III. Menuetto, Allegretto
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| 37. |
IV. Finale. Allegro assai
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| 38. |
Every Once in a While
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| 39. |
Last Week
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| 40. |
Amen, says Noam Chomsky
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| 41. |
I Suppose What Chomsky is Really After
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| 42. |
So, Let's Pull Up Our Socks
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| 43. |
All Right, Let's Try Another One
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| 44. |
Why Am I Taking Your Time
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| 45. |
Well Then
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| 46. |
I Think it Follows
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| 47. |
But First, What are These Principles
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| 48. |
Tranformational Grammar
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| 49. |
But Now Just Think of that Sentence
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| 50. |
Since this is not a Linguistics Class
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| 51. |
Take the Passive Transformation
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| 52. |
Well, it hasn't Brought us There
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| 53. |
Good - Now Just as Three Notes are Linked Together
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| 54. |
Now let's Go Back
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| 55. |
Now We Are Ready
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| 56. |
Now I Wanna Take You
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| 57. |
Well, Transformation, Deletion, Embedding, Pronominalization
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| 58. |
I Am Sure I Don't Have to Trouble
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| 59. |
Here I Go
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| 60. |
I Have Asked Myself
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| 61. |
I Became so Fascinated
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| 62. |
Let's Take one Such Utterance
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| 63. |
Now Imagine
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| 64. |
Now Let's See
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| 65. |
Mozart's G Minor Symphony
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| 66. |
Now Our Job is
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| 67. |
That Introductory Accompaniment
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| 68. |
What Does this Three-Note Design Mean
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| 69. |
The Reason I Pick Symmetry
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| 70. |
Now From Here On
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| 71. |
And Once Again, We Are Back
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| 72. |
By Far the Chief Transformational Principle
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| 73. |
You See, One of the Great Failings
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| 74. |
Most People Hearing Mozart's Opening
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| 75. |
So What Your Ask
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| 76. |
And if You are Still not Convinced
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| 77. |
These Ambiguities
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| 78. |
For Instance, in this Same First Movement
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| 79. |
So All these Syntactic Transformations of the Same Material
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| 80. |
He Talks About this Sonnet
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| 81. |
Because Now it's Time
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| 82. |
But Now Let's Listen to
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| 83. |
Listen to the Whole Exposition
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| 84. |
Development Coming Up
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| 85. |
The Circle of Fifths Again
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| 86. |
And That Was all One Single Sentence
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| 87. |
The Other Day
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| 88. |
The First Would Show Us One Meaning
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| 89. |
Think of this Famous Passage
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| 90. |
A Linguist Would Say
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| 91. |
Well, I Replied, Chomsky Would Say
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| 92. |
Of Course, That Last Metaphorical Leap
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| 93. |
Terrific, Said My Blonde Inquisitor
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| 94. |
In Fact, When You Think of the Number
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| 95. |
All Right, First Let's Look Briefly
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| 96. |
Playing, That's the Word
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| 97. |
But Does This Stravinskian Game Concept
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| 98. |
There Are Three Specific Ways
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| 99. |
Now, Having Defined My Usages of Metaphor
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| 100. |
And Here We Are in Trouble
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| 101. |
Are We Feeling What Beethoven Supposedly Felt
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| 102. |
We Will Never Know
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| 103. |
Now, If We Accept This General Idea
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| 104. |
In Our Last Lecture
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| 105. |
We All Recognize Antithesis
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| 106. |
It Can And It Does
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| 107. |
And Again, as in the Poem
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| 108. |
In Fact, it Has Been Authoritatively Suggested
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| 109. |
We Can Expand the Idea
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| 110. |
What Do You Suppose
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| 111. |
What' Seriously Striking
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| 112. |
So Why the Pastorale on this Lecture
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| 113. |
Let's Begin at the Beginning
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| 114. |
But What of the More Obvious Melodic Material
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| 115. |
But to Develop How
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| 116. |
Now We Have an Insight
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| 117. |
But Wait
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| 118. |
But Why Were Just Those Two Notes Added
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| 119. |
The Metaphor Arises
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| 120. |
But in the Ensuing Four Bars
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| 121. |
But That's Not the Main Event
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| 122. |
Well, That's the Beginning
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| 123. |
That's One of the Questions
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| 124. |
This Interference of the Two Frequencies
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| 125. |
But What Are We to Say
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| 126. |
It Is To Be Found
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| 127. |
Now That's One Way of Looking
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| 128. |
At This Point
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| 129. |
Even if You Can Succeed
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| 130. |
I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
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| 131. |
II. Scene am Bach. Andante molto moto
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| 132. |
III. Lustiges Zusammensein der Landleute. Allegro
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| 133. |
IV. Gewitter. Sturm. Allegro
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| 134. |
V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto
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| 135. |
When I First Wrote Down the Title
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| 136. |
Part of the Danger
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| 137. |
The Idea of Ambiguity
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| 138. |
Similarly, in Our Second Lecture
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| 139. |
Then What's the Magic Secret
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| 140. |
Enough of Ambiguity
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| 141. |
The Irony of All This
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| 142. |
But, Mind You
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| 143. |
Where Music Was Concerned
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| 144. |
Only Think Of
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| 145. |
And Chopin Well We Can't Ignore Chopin
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| 146. |
And Then, in The Same Little Mazurka
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| 147. |
Foolish Questions
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| 148. |
Let Me Try to Read You
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| 149. |
Listen To This
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| 150. |
They Began to Intermingle
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| 151. |
The Pivotal Point
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| 152. |
So There Is a Dramatic Change
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| 153. |
So it is After All Not So Surprising
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| 154. |
Now If You Noticed
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| 155. |
You See, the Music Is Trying Hard
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| 156. |
So That Instant in Musical Time
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| 157. |
Now Romeo Is All Stirred Up
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| 158. |
1. Roméo Seul: Tristesse - Bruits de Concerts et de Bal - Grand Fête chez Capulet: Andante malinconico e sostenuto
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| 159. |
Allegro - Larghetto espressivo - (Instrumental)
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| 160. |
Allegro - (Instrumental)
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| 161. |
Réunion des duex Themes, du Larghetto et de l'Allegro (Instrumental)
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| 162. |
What a Piece
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| 163. |
Quite Unconsciously Borrowed
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| 164. |
My Purpose In All This
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| 165. |
Is It, Says Wagner
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2min 15s |
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| 166. |
Every Diminished Seventh Chord
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| 167. |
Now the Remarkable Thing Is
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| 168. |
And This Is What Gives Tristan
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| 169. |
Prelude and Love-Death (From "Tristan and Isolde")
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19min 4s |
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| 170. |
That May be the Slowest Performance
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| 171. |
But Ultimately
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1min 37s |
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| 172. |
Poetry Has Begun to Show
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| 173. |
And When Debussy
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| 174. |
It's Lovely, This Dreaming
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| 175. |
For Example, Do You Remember
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| 176. |
In Fact, the Ending of this Piece
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| 177. |
Let Me Show You Briefly
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| 178. |
This New Episode that Proceeds
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| 179. |
For Instance, Hardly Have We Had Time
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| 180. |
Because the Scale
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| 181. |
It's Almost Exactly What Happens
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| 182. |
Literally Translated
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| 183. |
But Notice, Too, that the Example
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| 184. |
Both Works Have Definitive Beginnings
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| 185. |
Listen As I Play
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| 186. |
Some Crazy Modern Music
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| 187. |
Prélude à l'après-midi d'un faune, L. 86
(Remastered)
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| 188. |
Our Lecture Tonight
|
0min 18s |
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| 189. |
Rhapsodie espagnole, M. 54: IV. Feria
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6min 33s |
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| 190. |
What a Way to Enter the Twentieth Century
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| 191. |
But 1908, if the Truth to be Told
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1min 27s |
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| 192. |
These Troubling Presentiments
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2min 18s |
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| 193. |
So, now in 1908
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| 194. |
This Is Atonality
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2min 30s |
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| 195. |
A Charming Idea
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0min 27s |
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| 196. |
The Unanswered Question
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5min 23s |
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| 197. |
I that Luminous Final Triad
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2min 16s |
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| 198. |
I Have Recently Been Reading
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1min 59s |
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| 199. |
We Have Already Referred to Some of Those
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3min 1s |
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| 200. |
In Any Case
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1min 57s |
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| 201. |
But For All These Reasons
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2min 46s |
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| 202. |
Son of Tristan
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| 203. |
Now You Look at Those First Two Bars
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| 204. |
Of Course, There Are Lots
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1min 56s |
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| 205. |
It's as Though a New Covenant
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1min 39s |
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| 206. |
Trouble is, That the New Musical Rules
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2min 22s |
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| 207. |
The Kind of Tonal Feeling
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2min 53s |
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| 208. |
Of Course, There Are Those Who Say
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1min 39s |
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| 209. |
It Seems Somehow Inevitable
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2min 17s |
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| 210. |
Is There Possibly the Beginning
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| 211. |
And What About Beethoven's Nineth
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| 212. |
These Are Some of the Problems
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2min 39s |
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| 213. |
Now Let's Jump Ahead
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2min 22s |
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| 214. |
Let's Put it Another Way
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2min 9s |
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| 215. |
First of All, Berg Chose a Tone Row
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1min 54s |
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| 216. |
So, All in All
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0min 52s |
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| 217. |
Berg: Violin Concerto (Excerpt)
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| 218. |
Fantastic
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2min 49s |
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| 219. |
It Comes at a Point
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| 220. |
Berg: Violin Concerto: II. Allegro, ma sempre rubato -
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2min 53s |
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| 221. |
If This Particularly Demanding Lecture
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1min 20s |
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| 222. |
If You Really Have Been Thinking
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2min 13s |
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| 223. |
But While Restudying this Work
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2min 20s |
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| 224. |
The Twentieth Century
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| 225. |
What Do You Do If You Know All This
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2min 34s |
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| 226. |
It's Very Strange, How the Pieces
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2min 11s |
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| 227. |
What Exactly Was This News
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1min 59s |
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| 228. |
We Emerge From a Cinema
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1min 55s |
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| 229. |
As You Listen to This Finale
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2min 34s |
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| 230. |
This is Mahler
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2min 41s |
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| 231. |
IV. Adagio. Sehr langsam und noch zurückhaltend
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23min 0s |
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| 232. |
I Know What Your Are Thinking
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1min 52s |
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| 233. |
What About This
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1min 27s |
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| 234. |
I Am Plaguing You With this Question
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1min 45s |
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| 235. |
Of Course What he is Really Talking About
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2min 5s |
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| 236. |
But It Was Precisely
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1min 57s |
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| 237. |
Now I Have Just Used Two Words
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1min 54s |
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| 238. |
In Fact, It Was Satie, Picasso, and Cocteau
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2min 20s |
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| 239. |
But Our Scene
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1min 53s |
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| 240. |
Even in the Most
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2min 2s |
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| 241. |
For Our Purposes
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2min 11s |
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| 242. |
Musicologists Are Always Pointing
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1min 56s |
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| 243. |
But Bitonality Does Not Only Serve
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2min 20s |
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| 244. |
Of Course, Polytonality Can And Does
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2min 9s |
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| 245. |
Now What's Going On
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2min 20s |
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| 246. |
And While You Are in That Record Shop
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2min 15s |
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| 247. |
Of Course, These Asymmetries
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1min 53s |
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| 248. |
Brutal It May Be
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1min 31s |
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| 249. |
Now, Remember
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1min 59s |
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| 250. |
These Are Two Sets
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1min 59s |
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| 251. |
Just Cast An Eye
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2min 44s |
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| 252. |
Now That Page of Music
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2min 58s |
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| 253. |
But the Most Striking Semantic Effect
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1min 39s |
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| 254. |
This New Aesthetic Relaxation
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2min 10s |
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| 255. |
Even Some Germans
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2min 5s |
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| 256. |
You Can See How the Transformation
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1min 55s |
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| 257. |
Chomsky Himself Gives a Classic Example
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2min 8s |
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| 258. |
Very Important, the Ironic Element
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2min 38s |
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| 259. |
So, It Would Seem
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2min 17s |
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| 260. |
But This Neoclassic Approach
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1min 10s |
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| 261. |
I Think This Is Again a Moment
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2min 6s |
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| 262. |
It's the Essence
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2min 34s |
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| 263. |
If This Poem Were Rewritten
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1min 19s |
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| 264. |
Why Have I Digressed
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1min 45s |
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| 265. |
Now Can You Understand
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1min 37s |
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| 266. |
Untermeyer Called This
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1min 41s |
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| 267. |
Of Course, With the Waste Land
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1min 16s |
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| 268. |
But the Thing of It All Is
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1min 31s |
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| 269. |
We Are Going to Hear
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1min 35s |
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| 270. |
One Has Only Learnt to Get
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2min 45s |
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| 271. |
Now I propose Only Because
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2min 22s |
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| 272. |
This Union Is Possible Only Because
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2min 57s |
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| 273. |
But What Has All This to Do With Stravinsky
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2min 21s |
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| 274. |
And This Is the Essence
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2min 13s |
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| 275. |
Look: Here Is a Joke
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2min 1s |
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| 276. |
Chilling, Shattering, Neoclassic
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1min 45s |
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| 277. |
Stravinsky's Own Aesthetic Pronouncements
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2min 3s |
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| 278. |
But Of Course He Was Forced
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1min 31s |
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| 279. |
And Now We Are Finally Ready
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| 280. |
And Then Mozart Appears
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| 281. |
But This Eclecticism Knows No Bounds
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1min 45s |
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| 282. |
Now All This I Had Planned to Tell You
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1min 33s |
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| 283. |
You Think That's Funny
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2min 42s |
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| 284. |
How About That
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2min 55s |
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| 285. |
Then Came the Answer
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2min 40s |
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| 286. |
But Why This Particular Misalliance
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1min 22s |
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| 287. |
My Words Are Poor
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1min 57s |
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| 288. |
Prologue: "Your Are About to Hear a Latin Version of Oedipus the King
[Michael Wagner]
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0min 58s |
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| 289. |
Act I: "Caedit nos pestis"
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4min 5s |
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| 290. |
Act I: "Liberi vos liberabo"
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3min 29s |
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| 291. |
Act I: "This is Creon, Brother-In-Law of Oedipus
[Michael Wagner]
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0min 26s |
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| 292. |
Act I: "Respondit Deus"
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6min 38s |
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| 293. |
Act I:" Oedipus Questions the Fountain of Truth
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2min 44s |
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| 294. |
Act I: "Dicere non possum"
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5min 22s |
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| 295. |
Act I: "Gloria!"
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1min 11s |
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| 296. |
Act II: The Dispute of the Princess Attracts the Attention of Jocasta
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2min 10s |
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| 297. |
Act II: "Nonn'erubescite, reges"
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4min 25s |
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| 298. |
Act II: "Ne Probentur Oracula"
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3min 20s |
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| 299. |
Act II: "Ego senem cecici"
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2min 7s |
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| 300. |
Act II: The Witness to the Murder Comes Out of the Shadow
[Michael Wagner]
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0min 44s |
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| 301. |
Act II "Adest omniscius pastor"
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4min 32s |
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| 302. |
Act II: "Nonne monstru rescituri"
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3min 24s |
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| 303. |
Act II: And Now You Are Going to Hear That Famous Monolog
[Michael Wagner]
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1min 38s |
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| 304. |
Act II: "Divum locastae caput mortuum!"
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3min 9s |
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| 305. |
Act II: "Ecce! Regem Oedipoda"
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2min 46s |
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| 306. |
Va-le-di-co
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2min 6s |
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| 307. |
During that Decade
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| 308. |
It Was At This Point That I Wrote
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1min 43s |
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| 309. |
What Interests Me About It
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2min 15s |
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| 310. |
Is it Possible
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1min 51s |
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| 311. |
It's As Tough in the Period
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| 312. |
And I Believe
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