Symphony No. 40 in G Minor, K. 550: I. Allegro molto

1 Vol. III - Musical Semantics: But That's Not the Main Event
2 Vol. I - Musical Phonology: First of All
3 Vol. III - Musical Semantics: Are We Feeling What Beethoven Supposedly Felt
4 Vol. I - Musical Phonology: Perhaps the Principal Thing
5 Vol. III - Musical Semantics: We Will Never Know
6 Vol. I - Musical Phonology: Let Me Start
7 Vol. III - Musical Semantics: Now, If We Accept This General Idea
8 Vol. I - Musical Phonology: This is Not Just a Sentimental Anecdote
9 Vol. III - Musical Semantics: In Our Last Lecture
10 Vol. I - Musical Phonology: From this Time
11 Vol. III - Musical Semantics: We All Recognize Antithesis
12 Vol. I - Musical Phonology: But How do we Investigate
13 Vol. III - Musical Semantics: It Can and It Does
14 Vol. I - Musical Phonology: Now You Can See
15 Vol. III - Musical Semantics: And Again, as in the Poem
16 Vol. I - Musical Phonology: Universality is a Big Word
17 Vol. III - Musical Semantics: In Fact, it Has Been Authoritatively Suggested
18 Vol. I - Musical Phonology: Other Linguists
19 Vol. III - Musical Semantics: We Can Expand the Idea
20 Vol. I - Musical Phonology: I Began by Imagining Myself
21 Vol. III - Musical Semantics: What Do You Suppose
22 Vol. I - Musical Phonology: Well, Then I Thought
23 Vol. III - Musical Semantics: What' Seriously Striking
24 Vol. I - Musical Phonology: Let's Make a Simple Analogy
25 Vol. III - Musical Semantics: So Why the Pastorale on this Lecture
26 Vol. I - Musical Phonology: Maybe Even a Divine One
27 Vol. III - Musical Semantics: Let's Begin at the Beginning
28 Vol. I - Musical Phonology: But Where do these Notes Come from?
29 Vol. III - Musical Semantics: But What of the More Obvious Melodic Material
30 Vol. I - Musical Phonology: This Acoustical Phenomenon
31 Vol. III - Musical Semantics: But to Develop How
32 Vol. I - Musical Phonology: All These Upper Notes
33 Vol. III - Musical Semantics: Now We Have an Insight
34 Vol. I - Musical Phonology: The First Overtone
35 Vol. III - Musical Semantics: But Wait
36 Vol. I - Musical Phonology: But More of that Later
37 Vol. III - Musical Semantics: But Why Were Just Those Two Notes Added
38 Vol. I - Musical Phonology: But Let's Not Make the Mistake
39 Vol. III - Musical Semantics: The Metaphor Arises
40 Vol. I - Musical Phonology: And that's how the Tempered Clavichord
41 Vol. III - Musical Semantics: But in the Ensuing Four Bars
42 Vol. I - Musical Phonology: Now this is a Substantive Universal
43 Vol. I - Musical Phonology: But Let's be Careful
44 Vol. III - Musical Semantics: Well, That's the Beginning
45 Vol. III - Musical Semantics: That's One of the Questions
46 Vol. I - Musical Phonology: And there is Always that Blue Note
47 Vol. I - Musical Phonology: But Even these Twelve Tones
48 Vol. III - Musical Semantics: This Interference of the Two Frequencies
49 Vol. I - Musical Phonology: I Trust You Realize
50 Vol. III - Musical Semantics: But What Are We to Say
51 Vol. I - Musical Phonology: And Again Comes a Great Leap
52 Vol. III - Musical Semantics: It Is To Be Found
53 Vol. I - Musical Phonology: Now this Means
54 Vol. III - Musical Semantics: Now That's One Way of Looking
55 Vol. I - Musical Phonology: This Is Not to Say that There Were No Drastic Changes
56 Vol. III - Musical Semantics: At This Point
57 Vol. I - Musical Phonology: But Meanwhile we are Still in the Golden Age
58 Vol. III - Musical Semantics: Even if You Can Succeed
59 Vol. I - Musical Phonology: So, we're in the Midst of a Chromatic Adventure
60 Symphony No. 6 in F Major, Op. 68 "Pastoral": II. Scene am Bach. Andante molto moto
61 Vol. I - Musical Phonology: And All by Those Progressions
62 Symphony No. 6 in F Major, Op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute. Allegro
63 Vol. I - Musical Phonology: Now, I Must Point Out
64 Symphony No. 6 in F Major, Op. 68 "Pastoral": IV. Gewitter. Sturm. Allegro
65 Vol. I - Musical Phonology: Do you Realize
66 Symphony No. 40 in G Minor, K. 550: I. Allegro molto
67 Symphony No. 6 in F Major, Op. 68 "Pastoral": V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto
68 Symphony No. 40 in G Minor, K. 550: II. Andante
69 Vol. IV - The Delights and Dangers of Ambiguity: When I First Wrote Down the Title
70 Symphony No. 40 in G Minor, K. 550: III. Menuetto, Allegretto
71 Vol. IV - The Delights and Dangers of Ambiguity: Part of the Danger
72 Symphony No. 40 in G Minor, K. 550: IV. Finale. Allegro assai
73 Vol. IV - The Delights and Dangers of Ambiguity: The Idea of Ambiguity
74 Vol. II - Musical Syntax: Every Once in a While
75 Vol. IV - The Delights and Dangers of Ambiguity: Similarly, in Our Second Lecture
76 Vol. II - Musical Syntax: Last Week
77 Vol. IV - The Delights and Dangers of Ambiguity: Then What's the Magic Secret
78 Vol. II - Musical Syntax: Amen, says Noam Chomsky
79 Vol. IV - The Delights and Dangers of Ambiguity: Enough of Ambiguity
80 Vol. II - Musical Syntax: I Suppose What Chomsky is Really After
81 Vol. IV - The Delights and Dangers of Ambiguity: The Irony of All This
82 Vol. II - Musical Syntax: So, Let's Pull Up Our Socks
83 Vol. IV - The Delights and Dangers of Ambiguity: But, Mind You
84 Vol. II - Musical Syntax: All Right, Let's Try Another One
85 Vol. IV - The Delights and Dangers of Ambiguity: Where Music Was Concerned
86 Vol. II - Musical Syntax: Why Am I Taking Your Time
87 Vol. IV - The Delights and Dangers of Ambiguity: Only Think Of
88 Vol. II - Musical Syntax: Well Then
89 Vol. IV - The Delights and Dangers of Ambiguity: And Chopin Well We Can't Ignore Chopin
90 Vol. II - Musical Syntax: I Think it Follows
91 Vol. IV - The Delights and Dangers of Ambiguity: And Then, in the Same Little Mazurka
92 Vol. II - Musical Syntax: But First, What are These Principles
93 Vol. IV - The Delights and Dangers of Ambiguity: Foolish Questions
94 Vol. II - Musical Syntax: Tranformational Grammar
95 Vol. IV - The Delights and Dangers of Ambiguity: Let Me Try to Read You
96 Vol. II - Musical Syntax: But Now Just Think of that Sentence
97 Vol. IV - The Delights and Dangers of Ambiguity: Listen To This
98 Vol. II - Musical Syntax: Since this is not a Linguistics Class
99 Vol. IV - The Delights and Dangers of Ambiguity: They Began to Intermingle
100 Vol. II - Musical Syntax: Take the Passive Transformation
101 Vol. IV - The Delights and Dangers of Ambiguity: The Pivotal Point
102 Vol. II - Musical Syntax: Well, it hasn't Brought us There
103 Vol. IV - The Delights and Dangers of Ambiguity: So There Is a Dramatic Change
104 Vol. II - Musical Syntax: Good - Now Just as Three Notes are Linked Together
105 Vol. IV - The Delights and Dangers of Ambiguity: So it is After All Not So Surprising
106 Vol. II - Musical Syntax: Now let's Go Back
107 Vol. IV - The Delights and Dangers of Ambiguity: Now If You Noticed
108 Vol. II - Musical Syntax: Now We Are Ready
109 Vol. IV - The Delights and Dangers of Ambiguity: You See, The Music Is Trying Hard
110 Vol. II - Musical Syntax: Now I Wanna Take You
111 Vol. IV - The Delights and Dangers of Ambiguity: So That Instant in Musical Time
112 Vol. II - Musical Syntax: Well, Transformation, Deletion, Embedding, Pronominalization
113 Vol. IV - The Delights and Dangers of Ambiguity: Now Romeo Is All Stirred Up
114 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
115 Vol. II - Musical Syntax: I Am Sure I Don't Have to Trouble
116 Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - Larghetto espressivo - (Instrumental)
117 Vol. II - Musical Syntax: Here I Go
118 Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - (Instrumental)
119 Vol. II - Musical Syntax: I Have Asked Myself
120 Roméo and Juliet, A Dramatic Symphony, Op. 17: Réunion des duex Themes, du Larghetto et de l'Allegro (Instrumental)
121 Vol. II - Musical Syntax: I Became so Fascinated
122 Vol. II - Musical Syntax: Let's Take one Such Utterance
123 Vol. IV - The Delights and Dangers of Ambiguity: What a Piece
124 Vol. II - Musical Syntax: Now Imagine
125 Vol. IV - The Delights and Dangers of Ambiguity: Quite Unconsciously Borrowed
126 Vol. II - Musical Syntax: Now Let's See
127 Vol. IV - The Delights and Dangers of Ambiguity: My Purpose In All This
128 Vol. II - Musical Syntax: Mozart's G Minor Symphony
129 Vol. IV - The Delights and Dangers of Ambiguity: Is It, Says Wagner
130 Vol. II - Musical Syntax: Now Our Job is
131 Vol. IV - The Delights and Dangers of Ambiguity: Every Diminished Seventh Chord
132 Vol. II - Musical Syntax: That Introductory Accompaniment
133 Vol. IV - The Delights and Dangers of Ambiguity: Now the Remarkable Thing Is
134 Vol. II - Musical Syntax: What Does this Three-Note Design Mean
135 Vol. IV - The Delights and Dangers of Ambiguity: And This Is What Gives Tristan
136 Vol. IV - The Delights and Dangers of Ambiguity: Prelude and Love-Death (From "Tristan and Isolde")
137 Vol. II - Musical Syntax: The Reason I Pick Symmetry
138 Vol. II - Musical Syntax: Now From Here On
139 Vol. IV - The Delights and Dangers of Ambiguity: That May be the Slowest Performance
140 Vol. II - Musical Syntax: And Once Again, We Are Back
141 Vol. IV - The Delights and Dangers of Ambiguity: But Ultimately
142 Vol. II - Musical Syntax: By Far the Chief Transformational Principle
143 Vol. IV - The Delights and Dangers of Ambiguity: Poetry Has Begun to Show
144 Vol. II - Musical Syntax: You See, One of the Great Failings
145 Vol. IV - The Delights and Dangers of Ambiguity: And When Debussy
146 Vol. II - Musical Syntax: Most People Hearing Mozart's Opening
147 Vol. IV - The Delights and Dangers of Ambiguity: It's Lovely, This Dreaming
148 Vol. II - Musical Syntax: So What Your Ask
149 Vol. IV - The Delights and Dangers of Ambiguity: For Example, Do You Remember
150 Vol. II - Musical Syntax: And if You are Still not Convinced
151 Vol. IV - The Delights and Dangers of Ambiguity: In Fact, The Ending of this Piece
152 Vol. II - Musical Syntax: These Ambiguities
153 Vol. IV - The Delights and Dangers of Ambiguity: Let Me Show You Briefly
154 Vol. II - Musical Syntax: For Instance, in this Same First Movement
155 Vol. IV - The Delights and Dangers of Ambiguity: This New Episode that Proceeds
156 Vol. II - Musical Syntax: So All these Syntactic Transformations of the Same Material
157 Vol. IV - The Delights and Dangers of Ambiguity: For Instance, Hardly Have We Had Time
158 Vol. II - Musical Syntax: He Talks About this Sonnet
159 Vol. IV - The Delights and Dangers of Ambiguity: Because the Scale
160 Vol. II - Musical Syntax: Because Now it's Time
161 Vol. IV - The Delights and Dangers of Ambiguity: It's Almost Exactly What Happens
162 Vol. II - Musical Syntax: But Now Let's Listen to
163 Vol. IV - The Delights and Dangers of Ambiguity: Literally Translated
164 Vol. II - Musical Syntax: Listen to the Whole Exposition
165 Vol. IV - The Delights and Dangers of Ambiguity: But Notice, Too, that the Example
166 Vol. II - Musical Syntax: Development Coming Up
167 Vol. IV - The Delights and Dangers of Ambiguity: Both Works Have Definitive Beginnings
168 Vol. II - Musical Syntax: The Circle of Fifths Again
169 Vol. IV - The Delights and Dangers of Ambiguity: Listen As I Play
170 Vol. II - Musical Syntax: And That Was all One Single Sentence
171 Vol. III - Musical Semantics: The Other Day
172 Vol. IV - The Delights and Dangers of Ambiguity: Some Crazy Modern Music
173 Vol. III - Musical Semantics: The First Would Show Us One Meaning
174 Vol. V - The Twentieth Century Crisis: Our Lecture Tonight
175 Vol. V - The Twentieth Century Crisis: Rhapsodie espagnole, M. 54: IV. Feria
176 Vol. III - Musical Semantics: Think of this Famous Passage
177 Vol. III - Musical Semantics: A Linguist Would Say
178 Vol. V - The Twentieth Century Crisis: What a Way to Enter the Twentieth Century
179 Vol. III - Musical Semantics: Well, I Replied, Chomsky Would Say
180 Vol. V - The Twentieth Century Crisis: But 1908, if the Truth to be Told
181 Vol. III - Musical Semantics: Of Course, That Last Metaphorical Leap
182 Vol. V - The Twentieth Century Crisis: These Troubling Presentiments
183 Vol. III - Musical Semantics: Terrific, Said My Blonde Inquisitor
184 Vol. V - The Twentieth Century Crisis: So, now in 1908
185 Vol. III - Musical Semantics: In Fact, When You Think of the Number
186 Vol. V - The Twentieth Century Crisis: This Is Atonality
187 Vol. III - Musical Semantics: All Right, First Let's Look Briefly
188 Vol. V - The Twentieth Century Crisis: A Charming Idea
189 Vol. III - Musical Semantics: Playing, That's the Word
190 Vol. V - The Twentieth Century Crisis: The Unanswered Question
191 Vol. III - Musical Semantics: But Does This Stravinskian Game Concept
192 Vol. V - The Twentieth Century Crisis: I that Luminous Final Triad
193 Vol. III - Musical Semantics: There Are Three Specific Ways
194 Vol. V - The Twentieth Century Crisis: I Have Recently Been Reading
195 Vol. III - Musical Semantics: Now, Having Defined My Usages of Metaphor
196 Vol. V - The Twentieth Century Crisis: We Have Already Referred to Some of Those
197 Vol. III - Musical Semantics: And Here We Are in Trouble
198 Vol. V - The Twentieth Century Crisis: In Any Case