Leonard Bernstein - The Harvard Lectures

Leonard Bernstein - The Harvard Lectures

Leonard Bernstein

2018-08-24 · 西洋/說唱/有聲書

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Vol. I - Musical Phonology: First of All

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Vol. I - Musical Phonology: Perhaps the Principal Thing

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Vol. I - Musical Phonology: Let Me Start

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Vol. I - Musical Phonology: This is Not Just a Sentimental Anecdote

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Vol. I - Musical Phonology: From this Time

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Vol. I - Musical Phonology: But How do we Investigate

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Vol. I - Musical Phonology: Now You Can See

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Vol. I - Musical Phonology: Universality is a Big Word

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Vol. I - Musical Phonology: Other Linguists

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Vol. I - Musical Phonology: I Began by Imagining Myself

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Vol. I - Musical Phonology: Well, Then I Thought

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Vol. I - Musical Phonology: Let's Make a Simple Analogy

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Vol. I - Musical Phonology: Maybe Even a Divine One

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Vol. I - Musical Phonology: But Where do these Notes Come from?

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Vol. I - Musical Phonology: This Acoustical Phenomenon

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Vol. I - Musical Phonology: All These Upper Notes

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Vol. I - Musical Phonology: The First Overtone

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Vol. I - Musical Phonology: But More of that Later

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Vol. I - Musical Phonology: But Let's Not Make the Mistake

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Vol. I - Musical Phonology: And that's how the Tempered Clavichord

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Vol. I - Musical Phonology: Now this is a Substantive Universal

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Vol. I - Musical Phonology: But Let's be Careful

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Vol. I - Musical Phonology: And there is Always that Blue Note

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Vol. I - Musical Phonology: But Even these Twelve Tones

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Vol. I - Musical Phonology: I Trust You Realize

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Vol. I - Musical Phonology: And Again Comes a Great Leap

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Vol. I - Musical Phonology: Now this Means

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Vol. I - Musical Phonology: This Is Not to Say that There Were No Drastic Changes

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Vol. I - Musical Phonology: But Meanwhile we are Still in the Golden Age

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Vol. I - Musical Phonology: So, we're in the Midst of a Chromatic Adventure

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Vol. I - Musical Phonology: And All by Those Progressions

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Vol. I - Musical Phonology: Now, I Must Point Out

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Vol. I - Musical Phonology: Do you Realize

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

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Symphony No. 40 in G Minor, K. 550: II. Andante

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Symphony No. 40 in G Minor, K. 550: III. Menuetto, Allegretto

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Symphony No. 40 in G Minor, K. 550: IV. Finale. Allegro assai

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Vol. II - Musical Syntax: Every Once in a While

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Vol. II - Musical Syntax: Last Week

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Vol. II - Musical Syntax: Amen, says Noam Chomsky

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Vol. II - Musical Syntax: I Suppose What Chomsky is Really After

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Vol. II - Musical Syntax: So, Let's Pull Up Our Socks

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Vol. II - Musical Syntax: All Right, Let's Try Another One

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Vol. II - Musical Syntax: Why Am I Taking Your Time

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Vol. II - Musical Syntax: Well Then

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Vol. II - Musical Syntax: I Think it Follows

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Vol. II - Musical Syntax: But First, What are These Principles

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Vol. II - Musical Syntax: Tranformational Grammar

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Vol. II - Musical Syntax: But Now Just Think of that Sentence

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Vol. II - Musical Syntax: Since this is not a Linguistics Class

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Vol. II - Musical Syntax: Take the Passive Transformation

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Vol. II - Musical Syntax: Well, it hasn't Brought us There

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Vol. II - Musical Syntax: Good - Now Just as Three Notes are Linked Together

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Vol. II - Musical Syntax: Now let's Go Back

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Vol. II - Musical Syntax: Now We Are Ready

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Vol. II - Musical Syntax: Now I Wanna Take You

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Vol. II - Musical Syntax: Well, Transformation, Deletion, Embedding, Pronominalization

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Vol. II - Musical Syntax: I Am Sure I Don't Have to Trouble

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Vol. II - Musical Syntax: Here I Go

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Vol. II - Musical Syntax: I Have Asked Myself

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Vol. II - Musical Syntax: I Became so Fascinated

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Vol. II - Musical Syntax: Let's Take one Such Utterance

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Vol. II - Musical Syntax: Now Imagine

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Vol. II - Musical Syntax: Now Let's See

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Vol. II - Musical Syntax: Mozart's G Minor Symphony

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Vol. II - Musical Syntax: Now Our Job is

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Vol. II - Musical Syntax: That Introductory Accompaniment

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Vol. II - Musical Syntax: What Does this Three-Note Design Mean

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Vol. II - Musical Syntax: The Reason I Pick Symmetry

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Vol. II - Musical Syntax: Now From Here On

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Vol. II - Musical Syntax: And Once Again, We Are Back

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Vol. II - Musical Syntax: By Far the Chief Transformational Principle

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Vol. II - Musical Syntax: You See, One of the Great Failings

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Vol. II - Musical Syntax: Most People Hearing Mozart's Opening

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Vol. II - Musical Syntax: So What Your Ask

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Vol. II - Musical Syntax: And if You are Still not Convinced

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Vol. II - Musical Syntax: These Ambiguities

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Vol. II - Musical Syntax: For Instance, in this Same First Movement

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Vol. II - Musical Syntax: So All these Syntactic Transformations of the Same Material

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Vol. II - Musical Syntax: He Talks About this Sonnet

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Vol. II - Musical Syntax: Because Now it's Time

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Vol. II - Musical Syntax: But Now Let's Listen to

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Vol. II - Musical Syntax: Listen to the Whole Exposition

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Vol. II - Musical Syntax: Development Coming Up

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Vol. II - Musical Syntax: The Circle of Fifths Again

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Vol. II - Musical Syntax: And That Was all One Single Sentence

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Vol. III - Musical Semantics: The Other Day

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Vol. III - Musical Semantics: The First Would Show Us One Meaning

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Vol. III - Musical Semantics: Think of this Famous Passage

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Vol. III - Musical Semantics: A Linguist Would Say

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Vol. III - Musical Semantics: Well, I Replied, Chomsky Would Say

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Vol. III - Musical Semantics: Of Course, That Last Metaphorical Leap

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Vol. III - Musical Semantics: Terrific, Said My Blonde Inquisitor

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Vol. III - Musical Semantics: In Fact, When You Think of the Number

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Vol. III - Musical Semantics: All Right, First Let's Look Briefly

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Vol. III - Musical Semantics: Playing, That's the Word

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Vol. III - Musical Semantics: But Does This Stravinskian Game Concept

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Vol. III - Musical Semantics: There Are Three Specific Ways

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Vol. III - Musical Semantics: Now, Having Defined My Usages of Metaphor

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Vol. III - Musical Semantics: And Here We Are in Trouble

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Vol. III - Musical Semantics: Are We Feeling What Beethoven Supposedly Felt

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Vol. III - Musical Semantics: We Will Never Know

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Vol. III - Musical Semantics: Now, If We Accept This General Idea

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Vol. III - Musical Semantics: In Our Last Lecture

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Vol. III - Musical Semantics: We All Recognize Antithesis

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Vol. III - Musical Semantics: It Can And It Does

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Vol. III - Musical Semantics: And Again, as in the Poem

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Vol. III - Musical Semantics: In Fact, it Has Been Authoritatively Suggested

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Vol. III - Musical Semantics: We Can Expand the Idea

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Vol. III - Musical Semantics: What Do You Suppose

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Vol. III - Musical Semantics: What' Seriously Striking

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Vol. III - Musical Semantics: So Why the Pastorale on this Lecture

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Vol. III - Musical Semantics: Let's Begin at the Beginning

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Vol. III - Musical Semantics: But What of the More Obvious Melodic Material

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Vol. III - Musical Semantics: But to Develop How

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Vol. III - Musical Semantics: Now We Have an Insight

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Vol. III - Musical Semantics: But Wait

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Vol. III - Musical Semantics: But Why Were Just Those Two Notes Added

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Vol. III - Musical Semantics: The Metaphor Arises

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Vol. III - Musical Semantics: But in the Ensuing Four Bars

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Vol. III - Musical Semantics: But That's Not the Main Event

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Vol. III - Musical Semantics: Well, That's the Beginning

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Vol. III - Musical Semantics: That's One of the Questions

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Vol. III - Musical Semantics: This Interference of the Two Frequencies

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Vol. III - Musical Semantics: But What Are We to Say

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Vol. III - Musical Semantics: It Is To Be Found

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Vol. III - Musical Semantics: Now That's One Way of Looking

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Vol. III - Musical Semantics: At This Point

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Vol. III - Musical Semantics: Even if You Can Succeed

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Symphony No. 6 in F Major, Op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo

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Symphony No. 6 in F Major, Op. 68 "Pastoral": II. Scene am Bach. Andante molto moto

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Symphony No. 6 in F Major, Op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute. Allegro

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Symphony No. 6 in F Major, Op. 68 "Pastoral": IV. Gewitter. Sturm. Allegro

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Symphony No. 6 in F Major, Op. 68 "Pastoral": V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto

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Vol. IV - The Delights and Dangers of Ambiguity: When I First Wrote Down the Title

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Vol. IV - The Delights and Dangers of Ambiguity: Part of the Danger

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Vol. IV - The Delights and Dangers of Ambiguity: The Idea of Ambiguity

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Vol. IV - The Delights and Dangers of Ambiguity: Similarly, in Our Second Lecture

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Vol. IV - The Delights and Dangers of Ambiguity: Then What's the Magic Secret

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Vol. IV - The Delights and Dangers of Ambiguity: Enough of Ambiguity

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Vol. IV - The Delights and Dangers of Ambiguity: The Irony of All This

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Vol. IV - The Delights and Dangers of Ambiguity: But, Mind You

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Vol. IV - The Delights and Dangers of Ambiguity: Where Music Was Concerned

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Vol. IV - The Delights and Dangers of Ambiguity: Only Think Of

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Vol. IV - The Delights and Dangers of Ambiguity: And Chopin Well We Can't Ignore Chopin

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Vol. IV - The Delights and Dangers of Ambiguity: And Then, in The Same Little Mazurka

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Vol. IV - The Delights and Dangers of Ambiguity: Foolish Questions

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Vol. IV - The Delights and Dangers of Ambiguity: Let Me Try to Read You

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Vol. IV - The Delights and Dangers of Ambiguity: Listen To This

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Vol. IV - The Delights and Dangers of Ambiguity: They Began to Intermingle

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Vol. IV - The Delights and Dangers of Ambiguity: The Pivotal Point

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Vol. IV - The Delights and Dangers of Ambiguity: So There Is a Dramatic Change

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Vol. IV - The Delights and Dangers of Ambiguity: So it is After All Not So Surprising

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Vol. IV - The Delights and Dangers of Ambiguity: Now If You Noticed

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Vol. IV - The Delights and Dangers of Ambiguity: You See, the Music Is Trying Hard

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Vol. IV - The Delights and Dangers of Ambiguity: So That Instant in Musical Time

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Vol. IV - The Delights and Dangers of Ambiguity: Now Romeo Is All Stirred Up

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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

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Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - Larghetto espressivo - (Instrumental)

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Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - (Instrumental)

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Roméo and Juliet, A Dramatic Symphony, Op. 17: Réunion des duex Themes, du Larghetto et de l'Allegro (Instrumental)

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Vol. IV - The Delights and Dangers of Ambiguity: What a Piece

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Vol. IV - The Delights and Dangers of Ambiguity: Quite Unconsciously Borrowed

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Vol. IV - The Delights and Dangers of Ambiguity: My Purpose In All This

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Vol. IV - The Delights and Dangers of Ambiguity: Is It, Says Wagner

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Vol. IV - The Delights and Dangers of Ambiguity: Every Diminished Seventh Chord

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Vol. IV - The Delights and Dangers of Ambiguity: Now the Remarkable Thing Is

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Vol. IV - The Delights and Dangers of Ambiguity: And This Is What Gives Tristan

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Vol. IV - The Delights and Dangers of Ambiguity: Prelude and Love-Death (From "Tristan and Isolde")

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Vol. IV - The Delights and Dangers of Ambiguity: That May be the Slowest Performance

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Vol. IV - The Delights and Dangers of Ambiguity: But Ultimately

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Vol. IV - The Delights and Dangers of Ambiguity: Poetry Has Begun to Show

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Vol. IV - The Delights and Dangers of Ambiguity: And When Debussy

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Vol. IV - The Delights and Dangers of Ambiguity: It's Lovely, This Dreaming

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Vol. IV - The Delights and Dangers of Ambiguity: For Example, Do You Remember

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Vol. IV - The Delights and Dangers of Ambiguity: In Fact, the Ending of this Piece

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Vol. IV - The Delights and Dangers of Ambiguity: Let Me Show You Briefly

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Vol. IV - The Delights and Dangers of Ambiguity: This New Episode that Proceeds

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Vol. IV - The Delights and Dangers of Ambiguity: For Instance, Hardly Have We Had Time

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Vol. IV - The Delights and Dangers of Ambiguity: Because the Scale

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Vol. IV - The Delights and Dangers of Ambiguity: It's Almost Exactly What Happens

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Vol. IV - The Delights and Dangers of Ambiguity: Literally Translated

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Vol. IV - The Delights and Dangers of Ambiguity: But Notice, Too, that the Example

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Vol. IV - The Delights and Dangers of Ambiguity: Both Works Have Definitive Beginnings

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Vol. IV - The Delights and Dangers of Ambiguity: Listen As I Play

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Vol. IV - The Delights and Dangers of Ambiguity: Some Crazy Modern Music

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Prélude à l'après-midi d'un faune, L. 86 (Remastered)

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Vol. V - The Twentieth Century Crisis: Our Lecture Tonight

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Vol. V - The Twentieth Century Crisis: Rhapsodie espagnole, M. 54: IV. Feria

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Vol. V - The Twentieth Century Crisis: What a Way to Enter the Twentieth Century

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Vol. V - The Twentieth Century Crisis: But 1908, if the Truth to be Told

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Vol. V - The Twentieth Century Crisis: These Troubling Presentiments

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Vol. V - The Twentieth Century Crisis: So, now in 1908

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Vol. V - The Twentieth Century Crisis: This Is Atonality

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Vol. V - The Twentieth Century Crisis: A Charming Idea

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Vol. V - The Twentieth Century Crisis: The Unanswered Question

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Vol. V - The Twentieth Century Crisis: I that Luminous Final Triad

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Vol. V - The Twentieth Century Crisis: I Have Recently Been Reading

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Vol. V - The Twentieth Century Crisis: We Have Already Referred to Some of Those

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Vol. V - The Twentieth Century Crisis: In Any Case

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Vol. V - The Twentieth Century Crisis: But For All These Reasons

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Vol. V - The Twentieth Century Crisis: Son of Tristan

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Vol. V - The Twentieth Century Crisis: Now You Look at Those First Two Bars

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Vol. V - The Twentieth Century Crisis: Of Course, There Are Lots

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Vol. V - The Twentieth Century Crisis: It's as Though a New Covenant

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Vol. V - The Twentieth Century Crisis: Trouble is, That the New Musical Rules

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Vol. V - The Twentieth Century Crisis: The Kind of Tonal Feeling

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Vol. V - The Twentieth Century Crisis: Of Course, There Are Those Who Say

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Vol. V - The Twentieth Century Crisis: It Seems Somehow Inevitable

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Vol. V - The Twentieth Century Crisis: Is There Possibly the Beginning

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Vol. V - The Twentieth Century Crisis: And What About Beethoven's Nineth

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Vol. V - The Twentieth Century Crisis: These Are Some of the Problems

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Vol. V - The Twentieth Century Crisis: Now Let's Jump Ahead

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Vol. V - The Twentieth Century Crisis: Let's Put it Another Way

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Vol. V - The Twentieth Century Crisis: First of All, Berg Chose a Tone Row

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Vol. V - The Twentieth Century Crisis: So, All in All

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Vol. V - The Twentieth Century Crisis: Berg: Violin Concerto (Excerpt)

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Vol. V - The Twentieth Century Crisis: Fantastic

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Vol. V - The Twentieth Century Crisis: It Comes at a Point

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Vol. V - The Twentieth Century Crisis: Berg: Violin Concerto: II. Allegro, ma sempre rubato -

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Vol. V - The Twentieth Century Crisis: If This Particularly Demanding Lecture

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Vol. V - The Twentieth Century Crisis: If You Really Have Been Thinking

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Vol. V - The Twentieth Century Crisis: But While Restudying this Work

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Vol. V - The Twentieth Century Crisis: The Twentieth Century

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Vol. V - The Twentieth Century Crisis: What Do You Do If You Know All This

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Vol. V - The Twentieth Century Crisis: It's Very Strange, How the Pieces

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Vol. V - The Twentieth Century Crisis: What Exactly Was This News

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Vol. V - The Twentieth Century Crisis: We Emerge From a Cinema

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Vol. V - The Twentieth Century Crisis: As You Listen to This Finale

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Vol. V - The Twentieth Century Crisis: This is Mahler

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Symphony No. 9 in D Major: IV. Adagio. Sehr langsam und noch zurückhaltend

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Vol. VI - The Poetry of Earth: I Know What Your Are Thinking

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Vol. VI - The Poetry of Earth: What About This

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Vol. VI - The Poetry of Earth: I Am Plaguing You With this Question

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Vol. VI - The Poetry of Earth: Of Course What he is Really Talking About

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Vol. VI - The Poetry of Earth: But It Was Precisely

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Vol. VI - The Poetry of Earth: Now I Have Just Used Two Words

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Vol. VI - The Poetry of Earth: In Fact, It Was Satie, Picasso, and Cocteau

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Vol. VI - The Poetry of Earth: But Our Scene

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Vol. VI - The Poetry of Earth: Even in the Most

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Vol. VI - The Poetry of Earth: For Our Purposes

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Vol. VI - The Poetry of Earth: Musicologists Are Always Pointing

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Vol. VI - The Poetry of Earth: But Bitonality Does Not Only Serve

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Vol. VI - The Poetry of Earth: Of Course, Polytonality Can And Does

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Vol. VI - The Poetry of Earth: Now What's Going On

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Vol. VI - The Poetry of Earth: And While You Are in That Record Shop

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Vol. VI - The Poetry of Earth: Of Course, These Asymmetries

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Vol. VI - The Poetry of Earth: Brutal It May Be

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Vol. VI - The Poetry of Earth: Now, Remember

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Vol. VI - The Poetry of Earth: These Are Two Sets

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Vol. VI - The Poetry of Earth: Just Cast An Eye

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Vol. VI - The Poetry of Earth: Now That Page of Music

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Vol. VI - The Poetry of Earth: But the Most Striking Semantic Effect

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Vol. VI - The Poetry of Earth: This New Aesthetic Relaxation

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Vol. VI - The Poetry of Earth: Even Some Germans

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Vol. VI - The Poetry of Earth: You Can See How the Transformation

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Vol. VI - The Poetry of Earth: Chomsky Himself Gives a Classic Example

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Vol. VI - The Poetry of Earth: Very Important, the Ironic Element

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Vol. VI - The Poetry of Earth: So, It Would Seem

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Vol. VI - The Poetry of Earth: But This Neoclassic Approach

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Vol. VI - The Poetry of Earth: I Think This Is Again a Moment

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Vol. VI - The Poetry of Earth: It's the Essence

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Vol. VI - The Poetry of Earth: If This Poem Were Rewritten

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Vol. VI - The Poetry of Earth: Why Have I Digressed

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Vol. VI - The Poetry of Earth: Now Can You Understand

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Vol. VI - The Poetry of Earth: Untermeyer Called This

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Vol. VI - The Poetry of Earth: Of Course, With the Waste Land

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Vol. VI - The Poetry of Earth: But the Thing of It All Is

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Vol. VI - The Poetry of Earth: We Are Going to Hear

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Vol. VI - The Poetry of Earth: One Has Only Learnt to Get

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Vol. VI - The Poetry of Earth: Now I propose Only Because

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Vol. VI - The Poetry of Earth: This Union Is Possible Only Because

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Vol. VI - The Poetry of Earth: But What Has All This to Do With Stravinsky

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Vol. VI - The Poetry of Earth: And This Is the Essence

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Vol. VI - The Poetry of Earth: Look: Here Is a Joke

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Vol. VI - The Poetry of Earth: Chilling, Shattering, Neoclassic

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Vol. VI - The Poetry of Earth: Stravinsky's Own Aesthetic Pronouncements

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Vol. VI - The Poetry of Earth: But Of Course He Was Forced

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Vol. VI - The Poetry of Earth: And Now We Are Finally Ready

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Vol. VI - The Poetry of Earth: And Then Mozart Appears

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Vol. VI - The Poetry of Earth: But This Eclecticism Knows No Bounds

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Vol. VI - The Poetry of Earth: Now All This I Had Planned to Tell You

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Vol. VI - The Poetry of Earth: You Think That's Funny

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Vol. VI - The Poetry of Earth: How About That

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Vol. VI - The Poetry of Earth: Then Came the Answer

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Vol. VI - The Poetry of Earth: But Why This Particular Misalliance

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Vol. VI - The Poetry of Earth: My Words Are Poor

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Stravinsky: Oedipus Rex: Prologue: "Your Are About to Hear a Latin Version of Oedipus the King

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Stravinsky: Oedipus Rex: Act I: "Caedit nos pestis"

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Stravinsky: Oedipus Rex: Act I: "Liberi vos liberabo"

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Stravinsky: Oedipus Rex: Act I: "This is Creon, Brother-In-Law of Oedipus

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Stravinsky: Oedipus Rex: Act I: "Respondit Deus"

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Stravinsky: Oedipus Rex: Act I:" Oedipus Questions the Fountain of Truth

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Stravinsky: Oedipus Rex: Act I: "Dicere non possum"

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Stravinsky: Oedipus Rex: Act I: "Gloria!"

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Stravinsky: Oedipus Rex: Act II: The Dispute of the Princess Attracts the Attention of Jocasta

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Stravinsky: Oedipus Rex: Act II: "Nonn'erubescite, reges"

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Stravinsky: Oedipus Rex: Act II: "Ne Probentur Oracula"

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Stravinsky: Oedipus Rex: Act II: "Ego senem cecici"

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Stravinsky: Oedipus Rex: Act II: The Witness to the Murder Comes Out of the Shadow

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Stravinsky: Oedipus Rex: Act II "Adest omniscius pastor"

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Stravinsky: Oedipus Rex: Act II: "Nonne monstru rescituri"

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Stravinsky: Oedipus Rex: Act II: And Now You Are Going to Hear That Famous Monolog

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Stravinsky: Oedipus Rex: Act II: "Divum locastae caput mortuum!"

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Stravinsky: Oedipus Rex: Act II: "Ecce! Regem Oedipoda"

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Stravinsky: Oedipus Rex: Va-le-di-co

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Stravinsky: Oedipus Rex: During that Decade

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Stravinsky: Oedipus Rex: It Was At This Point That I Wrote

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Stravinsky: Oedipus Rex: What Interests Me About It

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Stravinsky: Oedipus Rex: Is it Possible

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Stravinsky: Oedipus Rex: It's As Tough in the Period

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Stravinsky: Oedipus Rex: And I Believe

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