2018-08-24 · 西洋/說唱/有聲書
Vol. I - Musical Phonology: First of All
Vol. I - Musical Phonology: Perhaps the Principal Thing
Vol. I - Musical Phonology: Let Me Start
Vol. I - Musical Phonology: This is Not Just a Sentimental Anecdote
Vol. I - Musical Phonology: From this Time
Vol. I - Musical Phonology: But How do we Investigate
Vol. I - Musical Phonology: Now You Can See
Vol. I - Musical Phonology: Universality is a Big Word
Vol. I - Musical Phonology: Other Linguists
Vol. I - Musical Phonology: I Began by Imagining Myself
Vol. I - Musical Phonology: Well, Then I Thought
Vol. I - Musical Phonology: Let's Make a Simple Analogy
Vol. I - Musical Phonology: Maybe Even a Divine One
Vol. I - Musical Phonology: But Where do these Notes Come from?
Vol. I - Musical Phonology: This Acoustical Phenomenon
Vol. I - Musical Phonology: All These Upper Notes
Vol. I - Musical Phonology: The First Overtone
Vol. I - Musical Phonology: But More of that Later
Vol. I - Musical Phonology: But Let's Not Make the Mistake
Vol. I - Musical Phonology: And that's how the Tempered Clavichord
Vol. I - Musical Phonology: Now this is a Substantive Universal
Vol. I - Musical Phonology: But Let's be Careful
Vol. I - Musical Phonology: And there is Always that Blue Note
Vol. I - Musical Phonology: But Even these Twelve Tones
Vol. I - Musical Phonology: I Trust You Realize
Vol. I - Musical Phonology: And Again Comes a Great Leap
Vol. I - Musical Phonology: Now this Means
Vol. I - Musical Phonology: This Is Not to Say that There Were No Drastic Changes
Vol. I - Musical Phonology: But Meanwhile we are Still in the Golden Age
Vol. I - Musical Phonology: So, we're in the Midst of a Chromatic Adventure
Vol. I - Musical Phonology: And All by Those Progressions
Vol. I - Musical Phonology: Now, I Must Point Out
Vol. I - Musical Phonology: Do you Realize
Symphony No. 40 in G Minor, K. 550: I. Allegro molto
Symphony No. 40 in G Minor, K. 550: II. Andante
Symphony No. 40 in G Minor, K. 550: III. Menuetto, Allegretto
Symphony No. 40 in G Minor, K. 550: IV. Finale. Allegro assai
Vol. II - Musical Syntax: Every Once in a While
Vol. II - Musical Syntax: Last Week
Vol. II - Musical Syntax: Amen, says Noam Chomsky
Vol. II - Musical Syntax: I Suppose What Chomsky is Really After
Vol. II - Musical Syntax: So, Let's Pull Up Our Socks
Vol. II - Musical Syntax: All Right, Let's Try Another One
Vol. II - Musical Syntax: Why Am I Taking Your Time
Vol. II - Musical Syntax: Well Then
Vol. II - Musical Syntax: I Think it Follows
Vol. II - Musical Syntax: But First, What are These Principles
Vol. II - Musical Syntax: Tranformational Grammar
Vol. II - Musical Syntax: But Now Just Think of that Sentence
Vol. II - Musical Syntax: Since this is not a Linguistics Class
Vol. II - Musical Syntax: Take the Passive Transformation
Vol. II - Musical Syntax: Well, it hasn't Brought us There
Vol. II - Musical Syntax: Good - Now Just as Three Notes are Linked Together
Vol. II - Musical Syntax: Now let's Go Back
Vol. II - Musical Syntax: Now We Are Ready
Vol. II - Musical Syntax: Now I Wanna Take You
Vol. II - Musical Syntax: Well, Transformation, Deletion, Embedding, Pronominalization
Vol. II - Musical Syntax: I Am Sure I Don't Have to Trouble
Vol. II - Musical Syntax: Here I Go
Vol. II - Musical Syntax: I Have Asked Myself
Vol. II - Musical Syntax: I Became so Fascinated
Vol. II - Musical Syntax: Let's Take one Such Utterance
Vol. II - Musical Syntax: Now Imagine
Vol. II - Musical Syntax: Now Let's See
Vol. II - Musical Syntax: Mozart's G Minor Symphony
Vol. II - Musical Syntax: Now Our Job is
Vol. II - Musical Syntax: That Introductory Accompaniment
Vol. II - Musical Syntax: What Does this Three-Note Design Mean
Vol. II - Musical Syntax: The Reason I Pick Symmetry
Vol. II - Musical Syntax: Now From Here On
Vol. II - Musical Syntax: And Once Again, We Are Back
Vol. II - Musical Syntax: By Far the Chief Transformational Principle
Vol. II - Musical Syntax: You See, One of the Great Failings
Vol. II - Musical Syntax: Most People Hearing Mozart's Opening
Vol. II - Musical Syntax: So What Your Ask
Vol. II - Musical Syntax: And if You are Still not Convinced
Vol. II - Musical Syntax: These Ambiguities
Vol. II - Musical Syntax: For Instance, in this Same First Movement
Vol. II - Musical Syntax: So All these Syntactic Transformations of the Same Material
Vol. II - Musical Syntax: He Talks About this Sonnet
Vol. II - Musical Syntax: Because Now it's Time
Vol. II - Musical Syntax: But Now Let's Listen to
Vol. II - Musical Syntax: Listen to the Whole Exposition
Vol. II - Musical Syntax: Development Coming Up
Vol. II - Musical Syntax: The Circle of Fifths Again
Vol. II - Musical Syntax: And That Was all One Single Sentence
Vol. III - Musical Semantics: The Other Day
Vol. III - Musical Semantics: The First Would Show Us One Meaning
Vol. III - Musical Semantics: Think of this Famous Passage
Vol. III - Musical Semantics: A Linguist Would Say
Vol. III - Musical Semantics: Well, I Replied, Chomsky Would Say
Vol. III - Musical Semantics: Of Course, That Last Metaphorical Leap
Vol. III - Musical Semantics: Terrific, Said My Blonde Inquisitor
Vol. III - Musical Semantics: In Fact, When You Think of the Number
Vol. III - Musical Semantics: All Right, First Let's Look Briefly
Vol. III - Musical Semantics: Playing, That's the Word
Vol. III - Musical Semantics: But Does This Stravinskian Game Concept
Vol. III - Musical Semantics: There Are Three Specific Ways
Vol. III - Musical Semantics: Now, Having Defined My Usages of Metaphor
Vol. III - Musical Semantics: And Here We Are in Trouble
Vol. III - Musical Semantics: Are We Feeling What Beethoven Supposedly Felt
Vol. III - Musical Semantics: We Will Never Know
Vol. III - Musical Semantics: Now, If We Accept This General Idea
Vol. III - Musical Semantics: In Our Last Lecture
Vol. III - Musical Semantics: We All Recognize Antithesis
Vol. III - Musical Semantics: It Can And It Does
Vol. III - Musical Semantics: And Again, as in the Poem
Vol. III - Musical Semantics: In Fact, it Has Been Authoritatively Suggested
Vol. III - Musical Semantics: We Can Expand the Idea
Vol. III - Musical Semantics: What Do You Suppose
Vol. III - Musical Semantics: What' Seriously Striking
Vol. III - Musical Semantics: So Why the Pastorale on this Lecture
Vol. III - Musical Semantics: Let's Begin at the Beginning
Vol. III - Musical Semantics: But What of the More Obvious Melodic Material
Vol. III - Musical Semantics: But to Develop How
Vol. III - Musical Semantics: Now We Have an Insight
Vol. III - Musical Semantics: But Wait
Vol. III - Musical Semantics: But Why Were Just Those Two Notes Added
Vol. III - Musical Semantics: The Metaphor Arises
Vol. III - Musical Semantics: But in the Ensuing Four Bars
Vol. III - Musical Semantics: But That's Not the Main Event
Vol. III - Musical Semantics: Well, That's the Beginning
Vol. III - Musical Semantics: That's One of the Questions
Vol. III - Musical Semantics: This Interference of the Two Frequencies
Vol. III - Musical Semantics: But What Are We to Say
Vol. III - Musical Semantics: It Is To Be Found
Vol. III - Musical Semantics: Now That's One Way of Looking
Vol. III - Musical Semantics: At This Point
Vol. III - Musical Semantics: Even if You Can Succeed
Symphony No. 6 in F Major, Op. 68 "Pastoral": I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
Symphony No. 6 in F Major, Op. 68 "Pastoral": II. Scene am Bach. Andante molto moto
Symphony No. 6 in F Major, Op. 68 "Pastoral": III. Lustiges Zusammensein der Landleute. Allegro
Symphony No. 6 in F Major, Op. 68 "Pastoral": IV. Gewitter. Sturm. Allegro
Symphony No. 6 in F Major, Op. 68 "Pastoral": V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto
Vol. IV - The Delights and Dangers of Ambiguity: When I First Wrote Down the Title
Vol. IV - The Delights and Dangers of Ambiguity: Part of the Danger
Vol. IV - The Delights and Dangers of Ambiguity: The Idea of Ambiguity
Vol. IV - The Delights and Dangers of Ambiguity: Similarly, in Our Second Lecture
Vol. IV - The Delights and Dangers of Ambiguity: Then What's the Magic Secret
Vol. IV - The Delights and Dangers of Ambiguity: Enough of Ambiguity
Vol. IV - The Delights and Dangers of Ambiguity: The Irony of All This
Vol. IV - The Delights and Dangers of Ambiguity: But, Mind You
Vol. IV - The Delights and Dangers of Ambiguity: Where Music Was Concerned
Vol. IV - The Delights and Dangers of Ambiguity: Only Think Of
Vol. IV - The Delights and Dangers of Ambiguity: And Chopin Well We Can't Ignore Chopin
Vol. IV - The Delights and Dangers of Ambiguity: And Then, in The Same Little Mazurka
Vol. IV - The Delights and Dangers of Ambiguity: Foolish Questions
Vol. IV - The Delights and Dangers of Ambiguity: Let Me Try to Read You
Vol. IV - The Delights and Dangers of Ambiguity: Listen To This
Vol. IV - The Delights and Dangers of Ambiguity: They Began to Intermingle
Vol. IV - The Delights and Dangers of Ambiguity: The Pivotal Point
Vol. IV - The Delights and Dangers of Ambiguity: So There Is a Dramatic Change
Vol. IV - The Delights and Dangers of Ambiguity: So it is After All Not So Surprising
Vol. IV - The Delights and Dangers of Ambiguity: Now If You Noticed
Vol. IV - The Delights and Dangers of Ambiguity: You See, the Music Is Trying Hard
Vol. IV - The Delights and Dangers of Ambiguity: So That Instant in Musical Time
Vol. IV - The Delights and Dangers of Ambiguity: Now Romeo Is All Stirred Up
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
Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - Larghetto espressivo - (Instrumental)
Roméo and Juliet, A Dramatic Symphony, Op. 17: Allegro - (Instrumental)
Roméo and Juliet, A Dramatic Symphony, Op. 17: Réunion des duex Themes, du Larghetto et de l'Allegro (Instrumental)
Vol. IV - The Delights and Dangers of Ambiguity: What a Piece
Vol. IV - The Delights and Dangers of Ambiguity: Quite Unconsciously Borrowed
Vol. IV - The Delights and Dangers of Ambiguity: My Purpose In All This
Vol. IV - The Delights and Dangers of Ambiguity: Is It, Says Wagner
Vol. IV - The Delights and Dangers of Ambiguity: Every Diminished Seventh Chord
Vol. IV - The Delights and Dangers of Ambiguity: Now the Remarkable Thing Is
Vol. IV - The Delights and Dangers of Ambiguity: And This Is What Gives Tristan
Vol. IV - The Delights and Dangers of Ambiguity: Prelude and Love-Death (From "Tristan and Isolde")
Vol. IV - The Delights and Dangers of Ambiguity: That May be the Slowest Performance
Vol. IV - The Delights and Dangers of Ambiguity: But Ultimately
Vol. IV - The Delights and Dangers of Ambiguity: Poetry Has Begun to Show
Vol. IV - The Delights and Dangers of Ambiguity: And When Debussy
Vol. IV - The Delights and Dangers of Ambiguity: It's Lovely, This Dreaming
Vol. IV - The Delights and Dangers of Ambiguity: For Example, Do You Remember
Vol. IV - The Delights and Dangers of Ambiguity: In Fact, the Ending of this Piece
Vol. IV - The Delights and Dangers of Ambiguity: Let Me Show You Briefly
Vol. IV - The Delights and Dangers of Ambiguity: This New Episode that Proceeds
Vol. IV - The Delights and Dangers of Ambiguity: For Instance, Hardly Have We Had Time
Vol. IV - The Delights and Dangers of Ambiguity: Because the Scale
Vol. IV - The Delights and Dangers of Ambiguity: It's Almost Exactly What Happens
Vol. IV - The Delights and Dangers of Ambiguity: Literally Translated
Vol. IV - The Delights and Dangers of Ambiguity: But Notice, Too, that the Example
Vol. IV - The Delights and Dangers of Ambiguity: Both Works Have Definitive Beginnings
Vol. IV - The Delights and Dangers of Ambiguity: Listen As I Play
Vol. IV - The Delights and Dangers of Ambiguity: Some Crazy Modern Music
Prélude à l'après-midi d'un faune, L. 86 (Remastered)
Vol. V - The Twentieth Century Crisis: Our Lecture Tonight
Vol. V - The Twentieth Century Crisis: Rhapsodie espagnole, M. 54: IV. Feria
Vol. V - The Twentieth Century Crisis: What a Way to Enter the Twentieth Century
Vol. V - The Twentieth Century Crisis: But 1908, if the Truth to be Told
Vol. V - The Twentieth Century Crisis: These Troubling Presentiments
Vol. V - The Twentieth Century Crisis: So, now in 1908
Vol. V - The Twentieth Century Crisis: This Is Atonality
Vol. V - The Twentieth Century Crisis: A Charming Idea
Vol. V - The Twentieth Century Crisis: The Unanswered Question
Vol. V - The Twentieth Century Crisis: I that Luminous Final Triad
Vol. V - The Twentieth Century Crisis: I Have Recently Been Reading
Vol. V - The Twentieth Century Crisis: We Have Already Referred to Some of Those
Vol. V - The Twentieth Century Crisis: In Any Case
Vol. V - The Twentieth Century Crisis: But For All These Reasons
Vol. V - The Twentieth Century Crisis: Son of Tristan
Vol. V - The Twentieth Century Crisis: Now You Look at Those First Two Bars
Vol. V - The Twentieth Century Crisis: Of Course, There Are Lots
Vol. V - The Twentieth Century Crisis: It's as Though a New Covenant
Vol. V - The Twentieth Century Crisis: Trouble is, That the New Musical Rules
Vol. V - The Twentieth Century Crisis: The Kind of Tonal Feeling
Vol. V - The Twentieth Century Crisis: Of Course, There Are Those Who Say
Vol. V - The Twentieth Century Crisis: It Seems Somehow Inevitable
Vol. V - The Twentieth Century Crisis: Is There Possibly the Beginning
Vol. V - The Twentieth Century Crisis: And What About Beethoven's Nineth
Vol. V - The Twentieth Century Crisis: These Are Some of the Problems
Vol. V - The Twentieth Century Crisis: Now Let's Jump Ahead
Vol. V - The Twentieth Century Crisis: Let's Put it Another Way
Vol. V - The Twentieth Century Crisis: First of All, Berg Chose a Tone Row
Vol. V - The Twentieth Century Crisis: So, All in All
Vol. V - The Twentieth Century Crisis: Berg: Violin Concerto (Excerpt)
Vol. V - The Twentieth Century Crisis: Fantastic
Vol. V - The Twentieth Century Crisis: It Comes at a Point
Vol. V - The Twentieth Century Crisis: Berg: Violin Concerto: II. Allegro, ma sempre rubato -
Vol. V - The Twentieth Century Crisis: If This Particularly Demanding Lecture
Vol. V - The Twentieth Century Crisis: If You Really Have Been Thinking
Vol. V - The Twentieth Century Crisis: But While Restudying this Work
Vol. V - The Twentieth Century Crisis: The Twentieth Century
Vol. V - The Twentieth Century Crisis: What Do You Do If You Know All This
Vol. V - The Twentieth Century Crisis: It's Very Strange, How the Pieces
Vol. V - The Twentieth Century Crisis: What Exactly Was This News
Vol. V - The Twentieth Century Crisis: We Emerge From a Cinema
Vol. V - The Twentieth Century Crisis: As You Listen to This Finale
Vol. V - The Twentieth Century Crisis: This is Mahler
Symphony No. 9 in D Major: IV. Adagio. Sehr langsam und noch zurückhaltend
Vol. VI - The Poetry of Earth: I Know What Your Are Thinking
Vol. VI - The Poetry of Earth: What About This
Vol. VI - The Poetry of Earth: I Am Plaguing You With this Question
Vol. VI - The Poetry of Earth: Of Course What he is Really Talking About
Vol. VI - The Poetry of Earth: But It Was Precisely
Vol. VI - The Poetry of Earth: Now I Have Just Used Two Words
Vol. VI - The Poetry of Earth: In Fact, It Was Satie, Picasso, and Cocteau
Vol. VI - The Poetry of Earth: But Our Scene
Vol. VI - The Poetry of Earth: Even in the Most
Vol. VI - The Poetry of Earth: For Our Purposes
Vol. VI - The Poetry of Earth: Musicologists Are Always Pointing
Vol. VI - The Poetry of Earth: But Bitonality Does Not Only Serve
Vol. VI - The Poetry of Earth: Of Course, Polytonality Can And Does
Vol. VI - The Poetry of Earth: Now What's Going On
Vol. VI - The Poetry of Earth: And While You Are in That Record Shop
Vol. VI - The Poetry of Earth: Of Course, These Asymmetries
Vol. VI - The Poetry of Earth: Brutal It May Be
Vol. VI - The Poetry of Earth: Now, Remember
Vol. VI - The Poetry of Earth: These Are Two Sets
Vol. VI - The Poetry of Earth: Just Cast An Eye
Vol. VI - The Poetry of Earth: Now That Page of Music
Vol. VI - The Poetry of Earth: But the Most Striking Semantic Effect
Vol. VI - The Poetry of Earth: This New Aesthetic Relaxation
Vol. VI - The Poetry of Earth: Even Some Germans
Vol. VI - The Poetry of Earth: You Can See How the Transformation
Vol. VI - The Poetry of Earth: Chomsky Himself Gives a Classic Example
Vol. VI - The Poetry of Earth: Very Important, the Ironic Element
Vol. VI - The Poetry of Earth: So, It Would Seem
Vol. VI - The Poetry of Earth: But This Neoclassic Approach
Vol. VI - The Poetry of Earth: I Think This Is Again a Moment
Vol. VI - The Poetry of Earth: It's the Essence
Vol. VI - The Poetry of Earth: If This Poem Were Rewritten
Vol. VI - The Poetry of Earth: Why Have I Digressed
Vol. VI - The Poetry of Earth: Now Can You Understand
Vol. VI - The Poetry of Earth: Untermeyer Called This
Vol. VI - The Poetry of Earth: Of Course, With the Waste Land
Vol. VI - The Poetry of Earth: But the Thing of It All Is
Vol. VI - The Poetry of Earth: We Are Going to Hear
Vol. VI - The Poetry of Earth: One Has Only Learnt to Get
Vol. VI - The Poetry of Earth: Now I propose Only Because
Vol. VI - The Poetry of Earth: This Union Is Possible Only Because
Vol. VI - The Poetry of Earth: But What Has All This to Do With Stravinsky
Vol. VI - The Poetry of Earth: And This Is the Essence
Vol. VI - The Poetry of Earth: Look: Here Is a Joke
Vol. VI - The Poetry of Earth: Chilling, Shattering, Neoclassic
Vol. VI - The Poetry of Earth: Stravinsky's Own Aesthetic Pronouncements
Vol. VI - The Poetry of Earth: But Of Course He Was Forced
Vol. VI - The Poetry of Earth: And Now We Are Finally Ready
Vol. VI - The Poetry of Earth: And Then Mozart Appears
Vol. VI - The Poetry of Earth: But This Eclecticism Knows No Bounds
Vol. VI - The Poetry of Earth: Now All This I Had Planned to Tell You
Vol. VI - The Poetry of Earth: You Think That's Funny
Vol. VI - The Poetry of Earth: How About That
Vol. VI - The Poetry of Earth: Then Came the Answer
Vol. VI - The Poetry of Earth: But Why This Particular Misalliance
Vol. VI - The Poetry of Earth: My Words Are Poor
Stravinsky: Oedipus Rex: Prologue: "Your Are About to Hear a Latin Version of Oedipus the King
Stravinsky: Oedipus Rex: Act I: "Caedit nos pestis"
Stravinsky: Oedipus Rex: Act I: "Liberi vos liberabo"
Stravinsky: Oedipus Rex: Act I: "This is Creon, Brother-In-Law of Oedipus
Stravinsky: Oedipus Rex: Act I: "Respondit Deus"
Stravinsky: Oedipus Rex: Act I:" Oedipus Questions the Fountain of Truth
Stravinsky: Oedipus Rex: Act I: "Dicere non possum"
Stravinsky: Oedipus Rex: Act I: "Gloria!"
Stravinsky: Oedipus Rex: Act II: The Dispute of the Princess Attracts the Attention of Jocasta
Stravinsky: Oedipus Rex: Act II: "Nonn'erubescite, reges"
Stravinsky: Oedipus Rex: Act II: "Ne Probentur Oracula"
Stravinsky: Oedipus Rex: Act II: "Ego senem cecici"
Stravinsky: Oedipus Rex: Act II: The Witness to the Murder Comes Out of the Shadow
Stravinsky: Oedipus Rex: Act II "Adest omniscius pastor"
Stravinsky: Oedipus Rex: Act II: "Nonne monstru rescituri"
Stravinsky: Oedipus Rex: Act II: And Now You Are Going to Hear That Famous Monolog
Stravinsky: Oedipus Rex: Act II: "Divum locastae caput mortuum!"
Stravinsky: Oedipus Rex: Act II: "Ecce! Regem Oedipoda"
Stravinsky: Oedipus Rex: Va-le-di-co
Stravinsky: Oedipus Rex: During that Decade
Stravinsky: Oedipus Rex: It Was At This Point That I Wrote
Stravinsky: Oedipus Rex: What Interests Me About It
Stravinsky: Oedipus Rex: Is it Possible
Stravinsky: Oedipus Rex: It's As Tough in the Period
Stravinsky: Oedipus Rex: And I Believe
