| 曲名 |
BPM |
| Vol. II - Musical Syntax: Every Once in a While |
94.4 |
| Vol. V - The Twentieth Century Crisis: Now Let's Jump Ahead |
89.6 |
| Vol. II - Musical Syntax: Let's Take one Such Utterance |
45.1 |
| Vol. III - Musical Semantics: The Other Day |
142.9 |
| Vol. VI - The Poetry of Earth: Why Have I Digressed |
58.8 |
| Vol. III - Musical Semantics: The Metaphor Arises |
92.8 |
| Vol. I - Musical Phonology: But Let's be Careful |
128.3 |
| Vol. V - The Twentieth Century Crisis: Our Lecture Tonight |
84.7 |
| Vol. IV - The Delights and Dangers of Ambiguity: When I First Wrote Down the Title |
59.3 |
| Vol. IV - The Delights and Dangers of Ambiguity: Every Diminished Seventh Chord |
166.9 |
| Vol. VI - The Poetry of Earth: I Know What Your Are Thinking |
68.5 |
| Stravinsky: Oedipus Rex: Prologue: "Your Are About to Hear a Latin Version of Oedipus the King |
136.5 |
| Vol. I - Musical Phonology: First of All |
136.5 |
| Vol. I - Musical Phonology: And there is Always that Blue Note |
133.7 |
| Vol. III - Musical Semantics: The First Would Show Us One Meaning |
148.2 |
| Vol. II - Musical Syntax: Now Imagine |
175.1 |
| Vol. I - Musical Phonology: Perhaps the Principal Thing |
88.7 |
| Vol. V - The Twentieth Century Crisis: Rhapsodie espagnole, M. 54: IV. Feria |
92.0 |
| Vol. V - The Twentieth Century Crisis: Let's Put it Another Way |
41.2 |
| Vol. IV - The Delights and Dangers of Ambiguity: Part of the Danger |
169.3 |
| Vol. II - Musical Syntax: Last Week |
102.8 |
| Vol. III - Musical Semantics: But in the Ensuing Four Bars |
105.8 |
| Vol. VI - The Poetry of Earth: Now Can You Understand |
94.6 |
| Vol. IV - The Delights and Dangers of Ambiguity: Now the Remarkable Thing Is |
142.0 |
| Vol. VI - The Poetry of Earth: What About This |
61.0 |
| Stravinsky: Oedipus Rex: Act I: "Caedit nos pestis" |
67.5 |
| Vol. V - The Twentieth Century Crisis: First of All, Berg Chose a Tone Row |
140.7 |
| Vol. VI - The Poetry of Earth: I Am Plaguing You With this Question |
128.6 |
| Vol. IV - The Delights and Dangers of Ambiguity: And This Is What Gives Tristan |
111.3 |
| Vol. I - Musical Phonology: But Even these Twelve Tones |
99.7 |
| Vol. II - Musical Syntax: Amen, says Noam Chomsky |
174.4 |
| Vol. III - Musical Semantics: But That's Not the Main Event |
67.9 |
| Vol. I - Musical Phonology: Let Me Start |
61.7 |
| Vol. IV - The Delights and Dangers of Ambiguity: The Idea of Ambiguity |
102.4 |
| Vol. V - The Twentieth Century Crisis: What a Way to Enter the Twentieth Century |
117.4 |
| Stravinsky: Oedipus Rex: Act I: "Liberi vos liberabo" |
86.1 |
| Vol. II - Musical Syntax: Now Let's See |
114.4 |
| Vol. III - Musical Semantics: Think of this Famous Passage |
89.5 |
| Vol. VI - The Poetry of Earth: Untermeyer Called This |
191.0 |
| Vol. V - The Twentieth Century Crisis: But 1908, if the Truth to be Told |
104.0 |
| Vol. III - Musical Semantics: A Linguist Would Say |
54.6 |
| Vol. IV - The Delights and Dangers of Ambiguity: Similarly, in Our Second Lecture |
73.3 |
| Vol. III - Musical Semantics: Well, That's the Beginning |
87.0 |
| Vol. II - Musical Syntax: Mozart's G Minor Symphony |
133.1 |
| Vol. V - The Twentieth Century Crisis: So, All in All |
82.7 |
| Stravinsky: Oedipus Rex: Act I: "This is Creon, Brother-In-Law of Oedipus |
118.4 |
| Vol. II - Musical Syntax: I Suppose What Chomsky is Really After |
87.5 |
| Vol. I - Musical Phonology: I Trust You Realize |
105.2 |
| Vol. VI - The Poetry of Earth: Of Course, With the Waste Land |
97.2 |
| Vol. I - Musical Phonology: This is Not Just a Sentimental Anecdote |
88.4 |
| Vol. IV - The Delights and Dangers of Ambiguity: Prelude and Love-Death (From "Tristan and Isolde") |
87.0 |
| Vol. VI - The Poetry of Earth: Of Course What he is Really Talking About |
82.4 |
| Vol. IV - The Delights and Dangers of Ambiguity: That May be the Slowest Performance |
122.7 |
| Vol. V - The Twentieth Century Crisis: Berg: Violin Concerto (Excerpt) |
80.5 |
| Vol. III - Musical Semantics: Well, I Replied, Chomsky Would Say |
91.7 |
| Vol. II - Musical Syntax: Now Our Job is |
75.9 |
| Stravinsky: Oedipus Rex: Act I: "Respondit Deus" |
63.8 |
| Vol. III - Musical Semantics: That's One of the Questions |
99.1 |
| Vol. II - Musical Syntax: So, Let's Pull Up Our Socks |
69.8 |
| Vol. V - The Twentieth Century Crisis: These Troubling Presentiments |
79.6 |
| Vol. I - Musical Phonology: From this Time |
117.0 |
| Vol. VI - The Poetry of Earth: But the Thing of It All Is |
125.9 |
| Vol. I - Musical Phonology: And Again Comes a Great Leap |
94.2 |
| Vol. IV - The Delights and Dangers of Ambiguity: Then What's the Magic Secret |
129.1 |
| Vol. VI - The Poetry of Earth: But It Was Precisely |
81.7 |
| Vol. I - Musical Phonology: But How do we Investigate |
112.3 |
| Vol. III - Musical Semantics: This Interference of the Two Frequencies |
88.1 |
| Vol. VI - The Poetry of Earth: Now I Have Just Used Two Words |
130.4 |
| Vol. II - Musical Syntax: That Introductory Accompaniment |
107.7 |
| Vol. IV - The Delights and Dangers of Ambiguity: Enough of Ambiguity |
119.2 |
| Vol. I - Musical Phonology: Now this Means |
78.3 |
| Vol. IV - The Delights and Dangers of Ambiguity: But Ultimately |
81.1 |
| Vol. V - The Twentieth Century Crisis: Fantastic |
45.6 |
| Vol. III - Musical Semantics: Of Course, That Last Metaphorical Leap |
127.8 |
| Vol. VI - The Poetry of Earth: We Are Going to Hear |
128.5 |
| Vol. V - The Twentieth Century Crisis: So, now in 1908 |
96.8 |
| Vol. II - Musical Syntax: All Right, Let's Try Another One |
172.1 |
| Stravinsky: Oedipus Rex: Act I:" Oedipus Questions the Fountain of Truth |
140.7 |
| Vol. IV - The Delights and Dangers of Ambiguity: Poetry Has Begun to Show |
138.5 |
| Vol. I - Musical Phonology: Now You Can See |
110.7 |
| Vol. V - The Twentieth Century Crisis: This Is Atonality |
130.4 |
| Vol. II - Musical Syntax: What Does this Three-Note Design Mean |
87.5 |
| Vol. VI - The Poetry of Earth: One Has Only Learnt to Get |
110.6 |
| Vol. I - Musical Phonology: This Is Not to Say that There Were No Drastic Changes |
66.4 |
| Vol. III - Musical Semantics: But What Are We to Say |
96.7 |
| Vol. VI - The Poetry of Earth: In Fact, It Was Satie, Picasso, and Cocteau |
78.6 |
| Vol. II - Musical Syntax: Why Am I Taking Your Time |
82.4 |
| Vol. IV - The Delights and Dangers of Ambiguity: The Irony of All This |
58.8 |
| Vol. III - Musical Semantics: Terrific, Said My Blonde Inquisitor |
77.1 |
| Stravinsky: Oedipus Rex: Act I: "Dicere non possum" |
66.5 |
| Vol. V - The Twentieth Century Crisis: It Comes at a Point |
88.4 |
| Vol. I - Musical Phonology: Universality is a Big Word |
101.8 |
| Vol. V - The Twentieth Century Crisis: A Charming Idea |
124.3 |
| Vol. II - Musical Syntax: The Reason I Pick Symmetry |
114.8 |
| Vol. II - Musical Syntax: Well Then |
70.1 |
| Vol. VI - The Poetry of Earth: Now I propose Only Because |
77.0 |
| Vol. VI - The Poetry of Earth: But Our Scene |
69.5 |
| Vol. I - Musical Phonology: But Meanwhile we are Still in the Golden Age |
115.8 |
| Vol. IV - The Delights and Dangers of Ambiguity: But, Mind You |
62.7 |
| Vol. V - The Twentieth Century Crisis: Berg: Violin Concerto: II. Allegro, ma sempre rubato - |
94.6 |
| Vol. III - Musical Semantics: In Fact, When You Think of the Number |
112.9 |
| Stravinsky: Oedipus Rex: Act I: "Gloria!" |
70.5 |
| Vol. IV - The Delights and Dangers of Ambiguity: And When Debussy |
91.7 |
| Vol. III - Musical Semantics: It Is To Be Found |
139.4 |
| Vol. V - The Twentieth Century Crisis: The Unanswered Question |
86.8 |
| Vol. IV - The Delights and Dangers of Ambiguity: Where Music Was Concerned |
84.3 |
| Vol. II - Musical Syntax: Now From Here On |
93.9 |
| Vol. III - Musical Semantics: All Right, First Let's Look Briefly |
85.1 |
| Stravinsky: Oedipus Rex: Act II: The Dispute of the Princess Attracts the Attention of Jocasta |
125.2 |
| Vol. I - Musical Phonology: Other Linguists |
171.1 |
| Vol. VI - The Poetry of Earth: Even in the Most |
88.2 |
| Vol. IV - The Delights and Dangers of Ambiguity: It's Lovely, This Dreaming |
74.0 |
| Vol. VI - The Poetry of Earth: This Union Is Possible Only Because |
82.2 |
| Vol. I - Musical Phonology: So, we're in the Midst of a Chromatic Adventure |
78.3 |
| Vol. V - The Twentieth Century Crisis: If This Particularly Demanding Lecture |
81.9 |
| Vol. II - Musical Syntax: I Think it Follows |
98.9 |
| Vol. III - Musical Semantics: Now That's One Way of Looking |
82.5 |
| Vol. IV - The Delights and Dangers of Ambiguity: For Example, Do You Remember |
111.1 |
| Vol. III - Musical Semantics: Playing, That's the Word |
107.0 |
| Vol. VI - The Poetry of Earth: But What Has All This to Do With Stravinsky |
90.8 |
| Vol. II - Musical Syntax: And Once Again, We Are Back |
124.1 |
| Vol. II - Musical Syntax: But First, What are These Principles |
76.5 |
| Vol. I - Musical Phonology: And All by Those Progressions |
193.5 |
| Vol. V - The Twentieth Century Crisis: I that Luminous Final Triad |
83.0 |
| Vol. IV - The Delights and Dangers of Ambiguity: Only Think Of |
78.4 |
| Stravinsky: Oedipus Rex: Act II: "Nonn'erubescite, reges" |
78.9 |
| Vol. V - The Twentieth Century Crisis: If You Really Have Been Thinking |
63.9 |
| Vol. III - Musical Semantics: At This Point |
89.3 |
| Vol. VI - The Poetry of Earth: For Our Purposes |
90.4 |
| Vol. I - Musical Phonology: I Began by Imagining Myself |
78.9 |
| Vol. II - Musical Syntax: Tranformational Grammar |
140.2 |
| Vol. III - Musical Semantics: But Does This Stravinskian Game Concept |
63.7 |
| Vol. IV - The Delights and Dangers of Ambiguity: In Fact, the Ending of this Piece |
83.3 |
| Vol. VI - The Poetry of Earth: And This Is the Essence |
99.5 |
| Vol. I - Musical Phonology: Well, Then I Thought |
82.5 |
| Vol. I - Musical Phonology: Now, I Must Point Out |
90.1 |
| Vol. V - The Twentieth Century Crisis: But While Restudying this Work |
106.8 |
| Vol. III - Musical Semantics: Even if You Can Succeed |
83.5 |
| Vol. II - Musical Syntax: By Far the Chief Transformational Principle |
79.0 |
| Vol. VI - The Poetry of Earth: Musicologists Are Always Pointing |
134.0 |
| Vol. IV - The Delights and Dangers of Ambiguity: And Chopin Well We Can't Ignore Chopin |
120.8 |
| Stravinsky: Oedipus Rex: Act II: "Ne Probentur Oracula" |
67.4 |
| Vol. V - The Twentieth Century Crisis: I Have Recently Been Reading |
95.4 |
| Vol. VI - The Poetry of Earth: Look: Here Is a Joke |
88.0 |
| Vol. IV - The Delights and Dangers of Ambiguity: Let Me Show You Briefly |
130.0 |
| Vol. V - The Twentieth Century Crisis: The Twentieth Century |
116.9 |
| Vol. IV - The Delights and Dangers of Ambiguity: And Then, in The Same Little Mazurka |
100.6 |
| Stravinsky: Oedipus Rex: Act II: "Ego senem cecici" |
78.0 |
| Vol. III - Musical Semantics: There Are Three Specific Ways |
144.9 |
| Vol. I - Musical Phonology: Do you Realize |
78.2 |
| Vol. II - Musical Syntax: But Now Just Think of that Sentence |
143.3 |
| Symphony No. 6 in F Major, Op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo |
123.7 |
| Vol. II - Musical Syntax: You See, One of the Great Failings |
62.3 |
| Vol. V - The Twentieth Century Crisis: We Have Already Referred to Some of Those |
106.1 |
| Vol. I - Musical Phonology: Let's Make a Simple Analogy |
93.1 |
| Vol. VI - The Poetry of Earth: But Bitonality Does Not Only Serve |
94.1 |
| Symphony No. 40 in G Minor, K. 550: I. Allegro molto |
99.4 |
| Vol. IV - The Delights and Dangers of Ambiguity: This New Episode that Proceeds |
82.4 |
| Vol. II - Musical Syntax: Most People Hearing Mozart's Opening |
176.2 |
| Vol. V - The Twentieth Century Crisis: In Any Case |
117.4 |
| Vol. II - Musical Syntax: Since this is not a Linguistics Class |
85.0 |
| Vol. V - The Twentieth Century Crisis: What Do You Do If You Know All This |
92.2 |
| Vol. IV - The Delights and Dangers of Ambiguity: Foolish Questions |
81.8 |
| Stravinsky: Oedipus Rex: Act II: The Witness to the Murder Comes Out of the Shadow |
118.7 |
| Vol. III - Musical Semantics: Now, Having Defined My Usages of Metaphor |
88.7 |
| Vol. I - Musical Phonology: Maybe Even a Divine One |
86.1 |
| Vol. VI - The Poetry of Earth: Of Course, Polytonality Can And Does |
108.9 |
| Symphony No. 6 in F Major, Op. 68 "Pastoral": II. Scene am Bach. Andante molto moto |
95.2 |
| Vol. VI - The Poetry of Earth: Chilling, Shattering, Neoclassic |
99.5 |
| Vol. II - Musical Syntax: Take the Passive Transformation |
110.6 |
| Vol. IV - The Delights and Dangers of Ambiguity: For Instance, Hardly Have We Had Time |
104.8 |
| Vol. III - Musical Semantics: And Here We Are in Trouble |
96.3 |
| Vol. VI - The Poetry of Earth: Stravinsky's Own Aesthetic Pronouncements |
83.3 |
| Vol. V - The Twentieth Century Crisis: It's Very Strange, How the Pieces |
65.9 |
| Vol. IV - The Delights and Dangers of Ambiguity: Let Me Try to Read You |
79.8 |
| Vol. I - Musical Phonology: But Where do these Notes Come from? |
85.2 |
| Vol. II - Musical Syntax: So What Your Ask |
76.9 |
| Stravinsky: Oedipus Rex: Act II "Adest omniscius pastor" |
95.5 |
| Symphony No. 6 in F Major, Op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute. Allegro |
141.0 |
| Vol. V - The Twentieth Century Crisis: But For All These Reasons |
108.9 |
| Vol. VI - The Poetry of Earth: Now What's Going On |
120.0 |
| Symphony No. 40 in G Minor, K. 550: II. Andante |
91.4 |
| Vol. II - Musical Syntax: And if You are Still not Convinced |
83.5 |
| Vol. II - Musical Syntax: Well, it hasn't Brought us There |
111.6 |
| Vol. IV - The Delights and Dangers of Ambiguity: Because the Scale |
100.8 |
| Vol. V - The Twentieth Century Crisis: Son of Tristan |
60.7 |
| Stravinsky: Oedipus Rex: Act II: "Nonne monstru rescituri" |
78.3 |
| Symphony No. 6 in F Major, Op. 68 "Pastoral": IV. Gewitter. Sturm. Allegro |
85.1 |
| Vol. VI - The Poetry of Earth: But Of Course He Was Forced |
124.8 |
| Vol. I - Musical Phonology: This Acoustical Phenomenon |
44.8 |
| Vol. IV - The Delights and Dangers of Ambiguity: Listen To This |
98.4 |
| Vol. V - The Twentieth Century Crisis: What Exactly Was This News |
96.9 |
| Vol. III - Musical Semantics: Are We Feeling What Beethoven Supposedly Felt |
112.0 |
| Symphony No. 40 in G Minor, K. 550: III. Menuetto, Allegretto |
72.2 |
| Vol. VI - The Poetry of Earth: And While You Are in That Record Shop |
59.4 |
| Vol. I - Musical Phonology: All These Upper Notes |
128.0 |
| Symphony No. 40 in G Minor, K. 550: IV. Finale. Allegro assai |
146.0 |
| Vol. V - The Twentieth Century Crisis: We Emerge From a Cinema |
82.4 |
| Stravinsky: Oedipus Rex: Act II: And Now You Are Going to Hear That Famous Monolog |
113.6 |
| Vol. II - Musical Syntax: Good - Now Just as Three Notes are Linked Together |
94.0 |
| Vol. V - The Twentieth Century Crisis: Now You Look at Those First Two Bars |
75.3 |
| Vol. VI - The Poetry of Earth: And Now We Are Finally Ready |
104.5 |
| Vol. IV - The Delights and Dangers of Ambiguity: They Began to Intermingle |
122.9 |
| Vol. II - Musical Syntax: These Ambiguities |
133.1 |
| Vol. IV - The Delights and Dangers of Ambiguity: It's Almost Exactly What Happens |
82.1 |
| Vol. III - Musical Semantics: We Will Never Know |
80.4 |
| Symphony No. 6 in F Major, Op. 68 "Pastoral": V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto |
174.5 |
| Vol. VI - The Poetry of Earth: Of Course, These Asymmetries |
127.4 |
| Vol. IV - The Delights and Dangers of Ambiguity: The Pivotal Point |
77.9 |
| Vol. IV - The Delights and Dangers of Ambiguity: Literally Translated |
166.2 |
| Vol. V - The Twentieth Century Crisis: Of Course, There Are Lots |
112.5 |
| Stravinsky: Oedipus Rex: Act II: "Divum locastae caput mortuum!" |
63.9 |
| Vol. II - Musical Syntax: Now let's Go Back |
116.6 |
| Vol. I - Musical Phonology: The First Overtone |
95.7 |
| Vol. III - Musical Semantics: Now, If We Accept This General Idea |
100.2 |
| Vol. V - The Twentieth Century Crisis: As You Listen to This Finale |
59.8 |
| Vol. VI - The Poetry of Earth: Brutal It May Be |
124.3 |
| Vol. II - Musical Syntax: For Instance, in this Same First Movement |
82.1 |
| Vol. VI - The Poetry of Earth: And Then Mozart Appears |
108.1 |
| Stravinsky: Oedipus Rex: Act II: "Ecce! Regem Oedipoda" |
175.3 |
| Vol. II - Musical Syntax: So All these Syntactic Transformations of the Same Material |
92.5 |
| Vol. I - Musical Phonology: But More of that Later |
36.6 |
| Vol. II - Musical Syntax: Now We Are Ready |
75.5 |
| Vol. III - Musical Semantics: In Our Last Lecture |
132.2 |
| Vol. IV - The Delights and Dangers of Ambiguity: But Notice, Too, that the Example |
67.0 |
| Vol. VI - The Poetry of Earth: Now, Remember |
90.4 |
| Vol. V - The Twentieth Century Crisis: This is Mahler |
79.3 |
| Vol. IV - The Delights and Dangers of Ambiguity: So There Is a Dramatic Change |
130.0 |
| Vol. V - The Twentieth Century Crisis: It's as Though a New Covenant |
137.2 |
| Vol. VI - The Poetry of Earth: But This Eclecticism Knows No Bounds |
93.0 |
| Vol. II - Musical Syntax: Now I Wanna Take You |
127.1 |
| Vol. I - Musical Phonology: But Let's Not Make the Mistake |
61.1 |
| Vol. VI - The Poetry of Earth: Now All This I Had Planned to Tell You |
65.5 |
| Stravinsky: Oedipus Rex: Va-le-di-co |
86.7 |
| Vol. IV - The Delights and Dangers of Ambiguity: So it is After All Not So Surprising |
99.6 |
| Vol. III - Musical Semantics: We All Recognize Antithesis |
86.0 |
| IV. Adagio. Sehr langsam und noch zurückhaltend |
74.5 |
| Vol. IV - The Delights and Dangers of Ambiguity: Both Works Have Definitive Beginnings |
68.3 |
| Vol. II - Musical Syntax: He Talks About this Sonnet |
77.3 |
| Vol. V - The Twentieth Century Crisis: Trouble is, That the New Musical Rules |
57.2 |
| Vol. VI - The Poetry of Earth: These Are Two Sets |
75.0 |
| Vol. IV - The Delights and Dangers of Ambiguity: Now If You Noticed |
121.2 |
| Vol. VI - The Poetry of Earth: Just Cast An Eye |
121.4 |
| Vol. V - The Twentieth Century Crisis: The Kind of Tonal Feeling |
85.6 |
| Vol. VI - The Poetry of Earth: You Think That's Funny |
111.2 |
| Vol. II - Musical Syntax: Because Now it's Time |
95.0 |
| Vol. IV - The Delights and Dangers of Ambiguity: Listen As I Play |
95.1 |
| Vol. III - Musical Semantics: It Can And It Does |
52.4 |
| Vol. II - Musical Syntax: Well, Transformation, Deletion, Embedding, Pronominalization |
98.3 |
| Vol. I - Musical Phonology: And that's how the Tempered Clavichord |
111.2 |
| Stravinsky: Oedipus Rex: During that Decade |
131.4 |
| Vol. II - Musical Syntax: But Now Let's Listen to |
101.3 |
| Vol. V - The Twentieth Century Crisis: Of Course, There Are Those Who Say |
168.8 |
| Prélude à l'après-midi d'un faune, L. 86 - Remastered |
78.9 |
| Vol. IV - The Delights and Dangers of Ambiguity: You See, the Music Is Trying Hard |
87.1 |
| Vol. VI - The Poetry of Earth: How About That |
88.0 |
| Vol. II - Musical Syntax: I Am Sure I Don't Have to Trouble |
62.6 |
| Vol. I - Musical Phonology: Now this is a Substantive Universal |
143.1 |
| Vol. III - Musical Semantics: And Again, as in the Poem |
169.3 |
| Stravinsky: Oedipus Rex: It Was At This Point That I Wrote |
121.8 |
| Vol. VI - The Poetry of Earth: Now That Page of Music |
88.9 |
| Vol. V - The Twentieth Century Crisis: It Seems Somehow Inevitable |
80.2 |
| Vol. IV - The Delights and Dangers of Ambiguity: Some Crazy Modern Music |
78.7 |
| Vol. IV - The Delights and Dangers of Ambiguity: So That Instant in Musical Time |
119.4 |
| Vol. VI - The Poetry of Earth: Then Came the Answer |
92.0 |
| Vol. II - Musical Syntax: Listen to the Whole Exposition |
100.0 |
| Stravinsky: Oedipus Rex: What Interests Me About It |
122.7 |
| Vol. II - Musical Syntax: Here I Go |
118.9 |
| Vol. III - Musical Semantics: In Fact, it Has Been Authoritatively Suggested |
48.4 |
| Vol. VI - The Poetry of Earth: But the Most Striking Semantic Effect |
88.2 |
| Vol. II - Musical Syntax: Development Coming Up |
96.7 |
| Vol. II - Musical Syntax: I Have Asked Myself |
117.9 |
| Vol. VI - The Poetry of Earth: This New Aesthetic Relaxation |
99.5 |
| Stravinsky: Oedipus Rex: Is it Possible |
76.6 |
| Vol. V - The Twentieth Century Crisis: Is There Possibly the Beginning |
124.6 |
| Vol. IV - The Delights and Dangers of Ambiguity: Now Romeo Is All Stirred Up |
91.8 |
| Vol. VI - The Poetry of Earth: But Why This Particular Misalliance |
88.9 |
| Vol. III - Musical Semantics: We Can Expand the Idea |
70.1 |
| Roméo and Juliet, A Dramatic Symphony, Op. 17: 1. Roméo Seul: Tristesse - Bruits de Concerts et de Bal - Grand Fête chez Capulet: Andante malinconico e sostenuto |
70.7 |
| Vol. VI - The Poetry of Earth: My Words Are Poor |
83.9 |
| Vol. III - Musical Semantics: What Do You Suppose |
112.3 |
| Vol. II - Musical Syntax: The Circle of Fifths Again |
100.4 |
| Vol. V - The Twentieth Century Crisis: And What About Beethoven's Nineth |
86.2 |
| Vol. VI - The Poetry of Earth: Even Some Germans |
144.2 |
| Vol. II - Musical Syntax: I Became so Fascinated |
100.6 |
| Stravinsky: Oedipus Rex: It's As Tough in the Period |
124.5 |
| Vol. III - Musical Semantics: What' Seriously Striking |
109.5 |
| Vol. II - Musical Syntax: And That Was all One Single Sentence |
126.4 |
| Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - Larghetto espressivo - (Instrumental) |
106.7 |
| Stravinsky: Oedipus Rex: And I Believe |
101.9 |
| Vol. VI - The Poetry of Earth: You Can See How the Transformation |
123.3 |
| Vol. V - The Twentieth Century Crisis: These Are Some of the Problems |
83.4 |
| Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - (Instrumental) |
99.0 |
| Vol. VI - The Poetry of Earth: Chomsky Himself Gives a Classic Example |
96.3 |
| Vol. III - Musical Semantics: So Why the Pastorale on this Lecture |
60.8 |
| Roméo and Juliet, A Dramatic Symphony, Op. 17: Réunion des duex Themes, du Larghetto et de l'Allegro (Instrumental) |
105.9 |
| Vol. III - Musical Semantics: Let's Begin at the Beginning |
91.1 |
| Vol. VI - The Poetry of Earth: Very Important, the Ironic Element |
121.5 |
| Vol. VI - The Poetry of Earth: So, It Would Seem |
122.9 |
| Vol. IV - The Delights and Dangers of Ambiguity: What a Piece |
82.3 |
| Vol. III - Musical Semantics: But What of the More Obvious Melodic Material |
115.3 |
| Vol. IV - The Delights and Dangers of Ambiguity: Quite Unconsciously Borrowed |
89.8 |
| Vol. III - Musical Semantics: But to Develop How |
170.0 |
| Vol. VI - The Poetry of Earth: But This Neoclassic Approach |
135.1 |
| Vol. VI - The Poetry of Earth: I Think This Is Again a Moment |
66.8 |
| Vol. IV - The Delights and Dangers of Ambiguity: My Purpose In All This |
111.7 |
| Vol. III - Musical Semantics: Now We Have an Insight |
107.6 |
| Vol. III - Musical Semantics: But Wait |
193.0 |
| Vol. VI - The Poetry of Earth: It's the Essence |
124.4 |
| Vol. IV - The Delights and Dangers of Ambiguity: Is It, Says Wagner |
43.3 |
| Vol. III - Musical Semantics: But Why Were Just Those Two Notes Added |
87.3 |
| Vol. VI - The Poetry of Earth: If This Poem Were Rewritten |
83.6 |
