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The Open University Songtexte
Katajjait on “hamma” and its variants: Baffin Land / Hudson Bay / Baffin Land

A224 Inside Music (Compilation)

Songtexte von The Open University - A224 Inside Music

Units 15 & 16

  1. L’Arlésienne, Suite no. 1: IV. Carillon (extract) (von London Symphony Orchestra, Claudio Abbado)
  2. Down Under (von Men at Work) Deutsche Übersetzung von Men at Work - Down Under
  3. Down Under (extract) (von Men at Work)
  4. You Really Got Me (von The Kinks) Deutsche Übersetzung von The Kinks - You Really Got Me
  5. Dido and Aeneas, Act 2: ‘Oft she visits this lone mountain’ (von Taverner Players, Andrew Parrott)
  6. An Eye for Optical Theory (von Michael Nyman Band)
  7. An Eye for Optical Theory (extract) (von Michael Nyman Band)
  8. Suite No. 3 in C minor: I. (extract) (von Trevor Pinnock)
  9. Yesnaby Ground
  10. Barren Grounds: I. (extract)
  11. Barren Grounds: I.
  12. Under African Skies (von Paul Simon)
  13. The Four Seasons, Autumn: III. (von Nigel Kennedy, English Chamber Orchestra)
  14. Violin Concerto in A minor, BWV 1041: I. (von Elizabeth Wallfisch, Orchestra of the Age of Enlightenment)
  15. Keyboard Sonata in E-flat major, op. 5 no. 4: Rondo (von Harald Hoeren)
  16. Till Eulenspiegel (von The Cleveland Orchestra, George Szell)
  17. Wiegenlied D. 498, op. 98 no. 2
  18. Back For Good (extract) (von Take That)
  19. Bad Day (extract) (von Daniel Powter)
  20. ‘Ellens Dritter Gesang’, D. 839, op. 52, no. 6: "Ave Maria" (extract) (von Elly Ameling, Dalton Baldwin)
  21. Wiegenlied, D. 867, op. 105 no. 2 (extract)
  22. Ständchen, D. 957, no. 4 (extract) (von Ian Bostridge, Antonio Pappano)
  23. Upside Down (extract) (von Diana Ross)
  24. My Baby Just Cares For Me (extract) (von Nina Simone)

Units 17 & 18

  1. Album für die Jugend: ‘Armes Waisenkind’ (extract) (von Rico Gulda)
  2. Die schöne Müllerin, D. 795: ‘Der Müller und der Bach’ (extract) (von Fritz Wunderlich, Hubert Giesen)
  3. Piano Sonata in B-flat, D. 960: I. (extract) (von Claudio Arrau)
  4. Sonata for Piano and Violin, K. 379: I. Allegro (extract) (von Szymon Goldberg, Radu Lupu)
  5. Symphony no. 3, in F major, op. 90: I. (extract) (von Berliner Philharmoniker, Herbert von Karajan)
  6. Piano Sonata in E-flat, op. 31 no. 3 (extract) (von Artur Schnabel)
  7. Tristan und Isolde: Prelude (extract)
  8. Piano Sonata, K. 333 in B-flat major: I. (extract) (von Ronald Brautigam)
  9. Piano Concerto in C minor, K. 491: I. (extract) (von Murray Perahia, English Chamber Orchestra)
  10. Prelude and Fugue for Organ in D major, BWV 532 (extract) (von Kevin Bowyer)
  11. Concerto Grosso op. 6 no. 7: IV. Andante largo (von The English Concert, Trevor Pinnock)
  12. Wind Serenade, K. 361: VI. Theme
  13. Wind Serenade, K. 361: VI. Variation 1
  14. Wind Serenade, K. 361: VI. Variation 2
  15. Wind Serenade, K. 361: VI. Variation 3
  16. Wind Serenade, K. 361: VI. Variation 4
  17. Wind Serenade, K. 361: VI. Variation 5
  18. Wind Serenade, K. 361: VI. Variation 6
  19. Octet: II. Theme (von Nederlands Blazers Ensemble)
  20. Octet: II. Variation A (von Nederlands Blazers Ensemble)
  21. Octet: II. Variation B (von Nederlands Blazers Ensemble)
  22. Octet: II. Variation A (von Nederlands Blazers Ensemble)
  23. Octet: II. Variation C (von Nederlands Blazers Ensemble)
  24. Octet: II. Variation D (von Nederlands Blazers Ensemble)
  25. Octet: II. Variation A (von Nederlands Blazers Ensemble)
  26. Octet: II. Variation E (von Nederlands Blazers Ensemble)
  27. Octet: II. Coda; Finale (von Nederlands Blazers Ensemble)
  28. Variations on an Original Theme, op. 36 ‘Enigma’: Theme (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  29. Variations on an Original Theme, op. 36 ‘Enigma’: I. C. A. E. (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  30. Variations on an Original Theme, op. 36 ‘Enigma’: II. H. D. S. - P. (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  31. Variations on an Original Theme, op. 36 ‘Enigma’: III. R. B. T. (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  32. Variations on an Original Theme, op. 36 ‘Enigma’: IV. W. M. B. (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  33. Variations on an Original Theme, op. 36 ‘Enigma’: V. R. P. A. (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  34. Variations on an Original Theme, op. 36 ‘Enigma’: VI. Ysobel (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  35. Variations on an Original Theme, op. 36 ‘Enigma’: VII. Troyte (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  36. Variations on an Original Theme, op. 36 ‘Enigma’: VIII. W. N. (von City of Birmingham Symphony Orchestra, Simon Rattle)
  37. Variations on an Original Theme, op. 36 ‘Enigma’: IX. Nimrod (von City of Birmingham Symphony Orchestra, Simon Rattle)
  38. Variations on an Original Theme, op. 36 ‘Enigma’: X. Dorabella (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  39. Variations on an Original Theme, op. 36 ‘Enigma’: XI. G. R. S. (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  40. Variations on an Original Theme, op. 36 ‘Enigma’: XII. B. D. N. (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  41. Variations on an Original Theme, op. 36 ‘Enigma’: XIII. (***) (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)
  42. Variations on an Original Theme, op. 36 ‘Enigma’: Finale: E. D. U. (von City of Birmingham Symphony Orchestra, Sir Simon Rattle)

Units 19 & 20

  1. Heidenroslein, D. 257 (von Felicity Lott, Graham Johnson)
  2. I Will Survive (von Gloria Gaynor) Deutsche Übersetzung von Gloria Gaynor - I Will Survive
  3. Rinaldo overture (extract)
  4. Minuet in F for keyboard, HWV 516
  5. Erste Walzer, D365, no. 33 Waltz in F major (von Michel Dalberto)
  6. Smoke Gets In Your Eyes
  7. Heaven Help Us All (von Stevie Wonder)
  8. Faust: Je voudrais bien savoir (extract)
  9. The Man With the Child in His Eyes (von Kate Bush) Deutsche Übersetzung von Kate Bush - The Man With the Child in His Eyes
  10. Aufenthalt, D. 957, no. 5 (von Andreas Schmidt, Rudolf Jansen)
  11. Cats: Memory (von Elaine Paige)
  12. The Luckiest (von Ben Folds) Deutsche Übersetzung von Ben Folds - The Luckiest
  13. Trouble (von Coldplay) Deutsche Übersetzung von Coldplay - Trouble
  14. The Mermaid's Song, Hob. XXVIa:25
  15. Misty (von Erroll Garner)
  16. Ständchen, D. 957, no. 4 (extract) (von Ian Bostridge, Antonio Pappano)
  17. Songs of Travel: Whither Must I Wander
  18. Pleasing Pain, Hob. XXVIa:29
  19. You Raise Me Up (von Westlife) Deutsche Übersetzung von Westlife - You Raise Me Up
  20. Songs of Travel: The Vagabond (extract) (von Ralph Vaughan Williams)
  21. Cotton Tail (von Duke Ellington and His Orchestra)

Unit 21

  1. Palästinalied (von James Bowman, Early Music Consort of London, David Munrow)
  2. Go Down Moses (von Louis Armstrong & His All-Stars with The Sy Oliver Choir)
  3. Sorry Feeling Blues (von Bo Carter)
  4. Jailhouse Rock (von Elvis Presley)
  5. Someone to Watch Over Me (von George & Ira Gershwin)
  6. What's New? (von Billie Holiday)
  7. Autumn Leaves (von Nat King Cole) Deutsche Übersetzung von Nat King Cole - Autumn Leaves
  8. Embraceable You (von Judy Garland)
  9. Shake Rattle and Roll (von Big Joe Turner)
  10. California Girls (von The Beach Boys) Deutsche Übersetzung von The Beach Boys - California Girls
  11. Loving Feeling (von The Righteous Brothers)
  12. An die Musik (von Gundula Janowitz, Charles Spencer)
  13. Jack and Joan (von Thomas Campion)
  14. Liebst du um Schonheit
  15. Vergebliches Standchen (von Elly Ameling, Rudolf Jansen)
  16. Rastlose Liebe, D138 (von John Mark Ainsley, Graham Johnson)
  17. Orfeo, Act 2, ‘Vi ricorda o boschi ombrosi’
  18. Orfeo, Act 2, ‘Tu se morta’
  19. Giulio Cesare, Act 3, Scene 7: Recitative: ‘Voi, che mie fide ancelle’ / Aria: ‘Da tempeste’
  20. Giulio Cesare, Act 2, Scene 8: Recitative: ‘Che sento?’/ Aria: ‘Se pietà’

Mozart

  1. Piano Concerto no. 24 in C minor, K. 491: First movement, bars 1–99, orchestral introduction (first exposition) (von Murray Perahia, English Chamber Orchestra)
  2. Piano Concerto no. 24 in C minor, K. 491: First movement, bar 100, piano entry (second exposition) (von Murray Perahia, English Chamber Orchestra)
  3. Piano Concerto no. 24 in C minor, K. 491: First movement, bar 283, piano entry (development) (von Murray Perahia, English Chamber Orchestra)
  4. Piano Concerto no. 24 in C minor, K. 491: First movement, bar 362 (recapitulation) (von Murray Perahia, English Chamber Orchestra)
  5. Piano Concerto no. 24 in C minor, K. 491: First movement, bar 486 (cadenza) (von Murray Perahia, English Chamber Orchestra)
  6. Piano Concerto no. 24 in C minor, K. 491: Second movement, bars 1–19 (von Murray Perahia, English Chamber Orchestra)
  7. Piano Concerto no. 24 in C minor, K. 491: Second movement, bar 20 (woodwind episode) (von Murray Perahia, English Chamber Orchestra)
  8. Piano Concerto no. 24 in C minor, K. 491: Second movement, end of bar 46 (woodwind episode) (von Murray Perahia, English Chamber Orchestra)
  9. Piano Concerto no. 24 in C minor, K. 491: Second movement, bar 63 (recapitulation) (von Murray Perahia, English Chamber Orchestra)
  10. Piano Concerto no. 24 in C minor, K. 491: Third movement, bars 1–16 (theme) (von Murray Perahia, English Chamber Orchestra)
  11. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 16, second time (Variation 1) (von Murray Perahia, English Chamber Orchestra)
  12. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 32, second time (Variation 2) (von Murray Perahia, English Chamber Orchestra)
  13. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 64 (Variation 3) (von Murray Perahia, English Chamber Orchestra)
  14. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 96 (Variation 4) (von Murray Perahia, English Chamber Orchestra)
  15. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 128 (Variation 5) (von Murray Perahia, English Chamber Orchestra)
  16. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 164 (Variation 6) (von Murray Perahia, English Chamber Orchestra)
  17. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 200 (Variation 7) (von Murray Perahia, English Chamber Orchestra)
  18. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 220 (Variation 8) (von Murray Perahia, English Chamber Orchestra)

A342 Central Questions in the Study of Music (Compilation)

Songtexte von The Open University - A342 Central Questions in the Study of Music

Units 8, 9 & 10

  1. Ave sanctissima Maria (von Early Music Consort of London, David Munrow)
  2. Violin Sonata in D major, op. 5, no. 1: Grave - Allegro (von Robert Kohnen, Sigiswald Kuijken, Wieland Kuijken)
  3. Oh! Baby (von Bobby Hackett)
  4. You’ll Never Walk Alone (von Frank Sinatra) Deutsche Übersetzung von Frank Sinatra - You’ll Never Walk Alone
  5. Beyond The Blue Horizon (von Martha Tilton)
  6. Messiah, ‘Since by man came death’ (von Christopher Hogwood, The Academy of Ancient Music, Christ Church Cathedral Choir, Oxford)
  7. Saraband (von Matthew Locke)
  8. Gertie, the Girl with the Gong (von Anona Winn)
  9. Lachrimæ veræ (consort version) (von Fretwork, Christopher Wilson)
  10. Chorale Prelude ‘Der Tag, der ist so freudenreich’ (von Simon Preston)
  11. Ave verum corpus
  12. Nocturne in E-flat major, op. 9 no. 2 (von Arthur Rubinstein)
  13. Nocturne in E-flat major, op. 9 no. 2 (bars 1–8, with no variants from pupil copies)
  14. Nocturne in E-flat major, op. 9 no. 2 (bars 1–8, with bar 4 variant 1a)
  15. Nocturne in E-flat major, op. 9 no. 2 (bars 1–8, with bar 4 variant 1b)
  16. Nocturne in E-flat major, op. 9 no. 2 (last 2 bars, with no variants from pupil copies)
  17. Nocturne in E-flat major, op. 9 no. 2 (last 2 bars, with variant 17a)
  18. Nocturne in E-flat major, op. 9 no. 2 (last 2 bars, with variant 17b)
  19. Rondo in C minor, op. 1

Units 11 & 12

  1. Rondo in C minor, op. 1 (first 8 seconds, normal speed)
  2. Rondo in C minor, op. 1 (first 8 seconds, slowed down by 35%)
  3. Rondo in C minor, op. 1 (first 8 seconds, slowed down by 50%)
  4. My Funny Valentine (extract, live) (von Miles Davis)
  5. Oleg Tumulilingan (extract) (von STSI Academy)
  6. Elastic (von Meshuggah)
  7. Tembang Durma manis (von Ni Nyoman Candri)
  8. Seagull (Naujaq) (von Karin and Kathy Kettler)
  9. Katajjait on “hamma” and its variants: Baffin Land / Hudson Bay / Baffin Land
  10. Basuubira Malaika (von Madinda ga Kabaka Xylophone Ensemble)
  11. Atsiagbekor (If It Comes to Fighting with Guns)
  12. Dìkòbò dámù dá sòmbé
  13. Béza Ba Dzo (von Anne‐Marie Nzié)
  14. Béza Ba Dzo (with click) (von Anne‐Marie Nzié)
  15. [Live performance of jùjú music at a Muslim funeral in Ogbomoso] (von Uncle Toye Ajagun and his Olumo Soundmakers)

Unit 13

  1. Prelude in C-sharp minor, op. 3 no. 2 (Hoffman) (von Józef Hofmann)
  2. Prelude in C-sharp minor, op. 3 no. 2 (Rachmaninoff)
  3. Prelude in C-sharp minor, op. 3 no. 2 (Rodriguez) (von Santiago Rodriguez)
  4. Symphony no. 5: I. (Nikisch) (von Berliner Philharmoniker, Artúr Nikisch)
  5. Symphony no. 5: I. (Stokowski) (von The Philadelphia Orchestra, Leopold Stokowski)
  6. A Fifth of Beethoven (von Walter Murphy)
  7. Livery Stable Blues (von Original Dixieland Jazz Band)
  8. Blue in Green (von Miles Davis)
  9. Sgt. Pepper's Lonely Hearts Club Band (von The Beatles) Deutsche Übersetzung von The Beatles - Sgt. Pepper’s Lonely Hearts Club Band
  10. Sgt. Pepper's Lonely Hearts Club Band (Reprise) (von The Beatles) Deutsche Übersetzung von The Beatles - Sgt. Pepper’s Lonely Hearts Club Band
  11. One for My Baby (von Frank Sinatra)
  12. One for My Baby (von Robbie Williams)

Unit 14

  1. Low Down Dirty Girl (von Laurel Aitken)
  2. Dalvey Gal-Parson (von Count Lasher's Calypso Quintet)
  3. Confucius (von The Skatalites)
  4. Ba Ba Boom (von The Jamaicans)
  5. Liquidator (von Harry J. All Stars)
  6. Cockney Translation (von Smiley Culture)
  7. Pies (von Wiley)
  8. Discussion from Radio 3 'Building a Library' (von William Walton)
  9. I Heard It Through the Grapevine (von Marvin Gaye) Deutsche Übersetzung von Marvin Gaye - I Heard It Through the Grapevine
  10. Maggie’s Farm (von Bob Dylan)

A342 Central Questions in the Study of Music (Compilation)

Songtexte von The Open University - A342 Central Questions in the Study of Music

Unit 17

  1. Goldberg Variations: Aria (von Trevor Pinnock)
  2. Sonata op. 17 no. 2 in C minor, 2nd mvmt (von Bart van Oort)
  3. Fantasia on Rossini’s Barber of Seville (extract) (von Francesco Nicolosi)
  4. Symphony no. 4: IV. (extract) (von NDR Radiophilharmonie, Howard Griffiths)
  5. Violin Concerto: II. (extract)
  6. Pulcinella: Sinfonia (von The Cleveland Orchestra, Igor Stravinsky)
  7. Ottone: ‘Deh! ti trattieni’ (von Freiburger Barockorchester, Nicholas McGegan)
  8. Ottone: ‘No, non temere o bella’ (von Freiburger Barockorchester, Nicholas McGegan)
  9. The Devil to Pay: ‘Was ever a man possest’
  10. Esther: ‘Breathe soft ye gales’
  11. Esther: ‘Blessed are they that fear the Lord’
  12. Saul: ‘A serpent, in my bosom warm’d’
  13. Saul: ‘O fatal day!’
  14. Saul: ‘Ye men of Judah’
  15. Saul: ‘Envy, eldest born of hell’
  16. Saul: ‘Birth and fortune I despise’
  17. Saul: ‘The time at length is come’
  18. Saul: ‘Where is the son of Jesse?’
  19. Saul: ‘With me what would’st thou?’
  20. Saul: ‘Infernal spirits’
  21. Saul: ‘Why hast thou forc’d me’
  22. Saul: ‘Ah, lovely youth’
  23. Saul: Act 1, Scene 2: Sinfonia
  24. Saul: ‘Already see’
  25. Saul: ‘Welcome, welcome, mighty king!’
  26. Saul: ‘What do I hear?’
  27. Saul: ‘David his ten thousands slew’
  28. Saul: ‘To him ten thousands’

Unit 18

  1. Symphony no. 6 in F major, op. 68 "Pastoral": I. Allegro ma non troppo (von Academy of Ancient Music, Christopher Hogwood)
  2. Symphony no. 6 in F major, op. 68 "Pastoral": II. Andante molto mosso (von Academy of Ancient Music, Christopher Hogwood)
  3. Symphony no. 6 in F major, op. 68 "Pastoral": III. Allegro (von Academy of Ancient Music, Christopher Hogwood)
  4. Symphony no. 6 in F major, op. 68 "Pastoral": IV. Allegro (von Academy of Ancient Music, Christopher Hogwood)
  5. Symphony no. 6 in F major, op. 68 "Pastoral": V. Allegretto (von Academy of Ancient Music, Christopher Hogwood)
  6. Die Jahreszeiten: Der munt're Hirt versammelt nun (extract)
  7. Le portrait musical de la nature: I. Une belle contrée où le soleil luit

Unit 20

  1. Piano Quintet in E-flat major, op. 44: I. Allegro brillante (von Borodin Quartet, Sviatoslav Richter)
  2. Piano Quintet in E-flat major, op. 44: II. In modo d’una marcia. Un poco largamente (von Borodin Quartet, Sviatoslav Richter)
  3. Piano Quintet in E-flat major, op. 44: III. Scherzo: Molto vivace (von Borodin Quartet, Sviatoslav Richter)
  4. Piano Quintet in E-flat major, op. 44: IV. Finale: Allegro ma non troppo (bars 1-43a) (von Borodin Quartet, Sviatoslav Richter)
  5. Piano Quintet in E-flat major, op. 44: IV. Finale: Allegro ma non troppo (bars 43b–77a) (von Borodin Quartet, Sviatoslav Richter)
  6. Piano Quintet in E-flat major, op. 44: IV. Finale: Allegro ma non troppo (bars 77b–96a) (von Borodin Quartet, Sviatoslav Richter)
  7. Piano Quintet in E-flat major, op. 44: IV. Finale: Allegro ma non troppo (bars 96b–164a) (von Borodin Quartet, Sviatoslav Richter)
  8. Piano Quintet in E-flat major, op. 44: IV. Finale: Allegro ma non troppo (bars 164b–224a) (von Borodin Quartet, Sviatoslav Richter)
  9. Piano Quintet in E-flat major, op. 44: IV. Finale: Allegro ma non troppo (bars 224b–318) (von Borodin Quartet, Sviatoslav Richter)
  10. Piano Quintet in E-flat major, op. 44: IV. Finale: Allegro ma non troppo (bars 319–427) (von Borodin Quartet, Sviatoslav Richter)

Unit 21

  1. Attila: ‘E gettata la mia sorte’
  2. La Cenerentola: 'Non piu mesta' (von Gloria Banditelli, Cecilia Bartoli, Alessandro Corbelli, Coro del Teatro Comunale di Bologna, Fernanda Costa, Enzo Dara, William Matteuzzi, Michele Pertusi, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly)
  3. Il barbiere di Siviglia: ‘Cessa di piu resistere’ (von Magyar Rádió énekkara, Failoni Kamarazenekar, Will Humburg)
  4. Norma: 'Casta diva'
  5. Anna Bolena: mad scene
  6. Rigoletto: Quartet ‘Bella figlia’ (von Maria Callas, Tito Gobbi, Adriana Lazzarini, Giuseppe di Stefano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin)
  7. Il Trovatore: ‘Di quella pira’
  8. Falstaff: Act I (opening) (von Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado)
  9. La Forza del Destino: Overture (extract) (von Berliner Philharmoniker, Claudio Abbado)
  10. Falstaff: Act III ‘Buono. Ber del vin dolce’ (von Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado)
  11. Falstaff: ‘Quand ero paggio’ (von Victor Maurel)
  12. Falstaff: Act I Alice Meg Nannetta (von Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado)
  13. Falstaff: Act 3 ‘Tutto nel mondo’ (von Rundfunkchor Berlin, Berliner Philharmoniker, Claudio Abbado)
  14. Don Giovanni: Questo e il fin (von Bayerisches Staatsorchester, Joseph Keilberth)

Unit 22

  1. Quartet for the End of Time: I. Liturgie de cristal (von Yvonne Loriod, Christoph Poppen, Manuel Fischer-Dieskau, Wolfgang Meyer)
  2. Quartet for the End of Time: II. Vocalise, pour l'Ange qui annonce la Fin du Temps (von Yvonne Loriod, Christoph Poppen, Manuel Fischer-Dieskau, Wolfgang Meyer)
  3. Quartet for the End of Time: III. Abîme des oiseaux (von Yvonne Loriod, Christoph Poppen, Manuel Fischer-Dieskau, Wolfgang Meyer)
  4. Quartet for the End of Time: IV. Intermède (von Yvonne Loriod, Christoph Poppen, Manuel Fischer-Dieskau, Wolfgang Meyer)
  5. Quartet for the End of Time: V. Louange à l'Éternité de Jésus (von Yvonne Loriod, Christoph Poppen, Manuel Fischer-Dieskau, Wolfgang Meyer)
  6. Quartet for the End of Time: VI. Danse de la fureur, pour les sept trompettes (von Yvonne Loriod, Christoph Poppen, Manuel Fischer-Dieskau, Wolfgang Meyer)
  7. Quartet for the End of Time: VII. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la Fin du Temps (von Yvonne Loriod, Christoph Poppen, Manuel Fischer-Dieskau, Wolfgang Meyer)
  8. Quartet for the End of Time: VIII. Louange à l'Immortalité de Jésus (von Yvonne Loriod, Christoph Poppen, Manuel Fischer-Dieskau, Wolfgang Meyer)
  9. Suite for Piano, op. 25: I. Praludium (von Peter Hill)
  10. Suite for Piano, op. 25: IIa. Gavotte (von Peter Hill)
  11. Suite for Piano, op. 25: IIb. Musette (von Peter Hill)
  12. Suite for Piano, op. 25: IIc. Gavotte (von Peter Hill)
  13. Suite for Piano, op. 25: III. Intermezzo (von Peter Hill)
  14. Suite for Piano, op. 25: IVa. Menuett (von Peter Hill)
  15. Suite for Piano, op. 25: IVb. Trio (von Peter Hill)
  16. Suite for Piano, op. 25: IVc. Menuett (von Peter Hill)
  17. Suite for Piano, op. 25: V. Gigue (von Peter Hill)
  18. English Suite no. 3 in G minor, BWV 808: Gavotte (extract) (von Gustav Leonhardt)
  19. Le Tombeau de Couperin: Menuet (extract) (von Yvonne Lefébure)

Unit 23

  1. The Teetotaler's Reel / The Fairy Dance (von Aly Bain)
  2. Throw the 'R' Away (von The Proclaimers)
  3. Wolf (von Tommy Smith)
  4. Land of the Mountain and the Flood (extract) (von BBC Scottish Symphony Orchestra, Martyn Brabbins)
  5. Straloch Suite: II. (extract) (von Murray McLachlan)
  6. Ì (A Meditation on Iona) (von Scottish Chamber Orchestra, Joseph Swensen)
  7. Skye Waulking Song (von Capercaillie)
  8. Biodh an Deoch Seo 'n Làimh mo Rùin (von Leagsaidh Chaimbeul)
  9. Biodh an Deoch Seo 'n Làimh mo Rùin (von Hamish Henderson)
  10. Biodh an Deoch Seo 'n Làimh mo Rùin (von Julie Fowlis)

Unit 23 (cont)

  1. Songs From the Exotic no. 4: The Song of the Girl Ravished Away by the Fairies
  2. Distance and Enchantment (von Domus)
  3. Stornoway, Psalm 133 (extract) (von The Gaelic Psalm Singers of Back Free Church, Lewis)
  4. The Vanishing Bridegroom: The Deathbed / Cold Icy Rain
  5. Lament for Patrick Og MacCrimmon (extract) (von Donald MacPherson)
  6. The Vanishing Bridegroom: I Pray Peter
  7. Horo Gun Toireamaid Hùgan Fhathast Air
  8. The Vanishing Bridegroom: You Are Whiter Than the Swan
  9. Irkanda I (von Richard Tognetti)
  10. A Spell for Green Corn

Mehr Songtexte

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  3. 25
  4. 26
  5. 27
  6. 13
  7. 12
  8. 11
  9. 10
  10. 8
  11. Graphs of quadratic functions 6
  12. Applying the vector model of forces 3
  13. Applications of matrices
  14. Graphs of quadratic functions 4
  15. 18
  16. 19
  17. 16
  18. 17
  19. Graphs of quadratic functions 1
  20. 14
  21. 2
  22. 15
  23. 21
  24. 20
  25. 7
  26. 23
  27. 22
  28. Applying the vector model of forces 4
  29. Graphs of quadratic functions 5
  30. Graphs of quadratic functions 7
  31. 44
  32. 3
  33. 45
  34. track1
  35. 46
  36. Applying the vector model of forces 5
  37. Applying the vector model of forces 1
  38. Graphs of quadratic functions 2
  39. 33
  40. 32
  41. 31
  42. 6
  43. 30
  44. Unit 7 subsection 4.7
  45. 36
  46. 37
  47. 4
  48. 34
  49. 35
  50. 9
  51. 38
  52. 39
  53. Applying the vector model of forces 2
  54. Graphs of quadratic functions 3
  55. 41
  56. 5
  57. 40
  58. 43
  59. 42
  60. Chapter 1, Activity 34b: Silence in Context
  61. Chapter 1, Activity 37: Amplitude Increments 1
  62. Chapter 2, Activity 38: Unintentional Equalisation
  63. Chapter 1, Activity 53a: Name That Tune!
  64. Chapter 1, Activity 59: Harmony in Context
  65. Chapter 1, Activity 1d: Identifying Instrumental Groups 1
  66. Chapter 1, Activity 6c: Identifying Instruments 2
  67. Chapter 2, Activity 3: Texture and Timbre in Context 1
  68. Chapter 2, Activity 8: Changing the Phase
  69. Chapter 2, Activity 24: Reverberation Times
  70. Chapter 1, Activity 2: Identifying Instruments 1
  71. Chapter 1, Activity 30:Compound Metre
  72. Chapter 1, Activity 19: Texture and Timbre in Context 3
  73. Chapter 3, Activity 6b: Varying Note Values in Context
  74. Chapter 2, Activity 38: Ascending by Major Thirds
  75. Chapter 2, Activity 11: Relating Rhythm to Notation
  76. Chapter 1, Activity 1e: Eight Sounds
  77. Chapter 3, Activity 13e: Time Signatures in Context
  78. Chapter 2, Activity 13: Removing a Note's Attack
  79. Chapter 2, Activity 19: Recognising Chords 1
  80. Chapter 1, Activity 53d: Name That Tune!
  81. Chapter 1, Activity 3b: Identifying Instrumental Groups 2
  82. Chapter 2, Activity 4: Texture and Timbre in Context 2
  83. Chapter 1, Activity 23: Investigating Structure 3
  84. Chapter 1, Activity 1e: Identifying Instrumental Groups 1
  85. Chapter 5, Activity 33b: From Musical Sound to Music
  86. Chapter 3, Activity 8: Flexibility of Pulse in Context
  87. Chapter 1, Activity 44d: Major and Minor Tonality in Context 3
  88. Chapter 1, Activity 64a: Following the Score 3
  89. Chapter 2, Activity 26b: Phasing in Context
  90. Chapter 1, Activity 27c: Identifying Metre
  91. Chapter 1, Activity 64b: Following the Score 3
  92. Chapter 5, Activity 31: Percussion in Contemporary Music
  93. Chapter 4, Activity 11: Reverberant Sounds
  94. Chapter 5, Activity 25: Pitch Illusions in Context
  95. Chapter 2, Activity 2a: Texture in Context
  96. Chapter 1, Activity 61: Chord Symbols in Context
  97. Chapter 1, Activity 1b: Identifying Instrumental Groups 1
  98. Chapter 1, Activity 18: Texture and Timbre in Context 2
  99. Chapter 1, Activity 58: Triad Chords 2
  100. Chapter 1, Activity 8: A Simple Rhythm
  101. Chapter 1, Activity 33b: Notating Rhythms by Listening
  102. Chapter 2, Activity 35: Overload Distortion
  103. Chapter 1, Activity 12: A Sample Homophonic Texture
  104. Chapter 3, Activity 25: Jazz Idiom of Paired Notes in Context
  105. Chapter 1, Activity 11: A Sequence of Chords
  106. Chapter 6, Activity 7: Loading and Frequency Response
  107. Chapter 4, Activity 24: Multiple Echoes
  108. Chapter 1, Activity 28: Identifying Rhythm
  109. Chapter 1, Activity 44a: Major and Minor Tonality in Context 3
  110. Chapter 1, Activity 13: A Sample Contrapuntal Texture
  111. Chapter 1, Activity 53b: Name That Tune!
  112. Chapter 2, Activity 25a: Reverberation in Context
  113. Chapter 2, Activity 12: Oboe Note
  114. Chapter 1, Activity 1b: Eight Sounds
  115. Chapter 1, Activity 42: Major and Minor Tonality in Context 1
  116. Chapter 2, Activity 25c: Reverberation in Context
  117. Chapter 1, Activity 49: Comparing the Scales 1
  118. Chapter 1, Activity 1a: Eight Sounds
  119. Chapter 1, Activity 3a: Identifying Instrumental Groups 2
  120. Chapter 1, Activity 18: Antiphonal Music in Context
  121. Chapter 2, Activity 21: Intervals and Chords in Context
  122. Chapter 1, Activity 1d: Eight Sounds
  123. Chapter 1, Activity 33a: Notating Rhythms by Listening
  124. Chapter 2, Activity 26a: Phasing in Context
  125. Chapter 3, Activity 6a: Varying Note Values in Context
  126. Chapter 1, Activity 10: Five Sine Waves
  127. Chapter 1, Activity 63: Following the Score 2
  128. Chapter 1, Activity 10: A Simple Tune
  129. Chapter 2, Activity 32a: Panning in Context
  130. Chapter 2, Activity 16a: Major and Minor Tonality in Context
  131. Chapter 5, Activity 32: From Noise to Musical Sound
  132. Chapter 2, Activity 10: Identifying Time Signatures
  133. Chapter 5, Activity 21: Pitch Illusions 1
  134. Chapter 2, Activity 5: Identifying Structure 1
  135. Chapter 3, Activity 13d: Time Signatures in Context
  136. Chapter 5, Activity 26: Cultural Musical Styles in Context
  137. Chapter 2, Activity 1b: Identifying Instrumental Groups
  138. Chapter 1, Activity 1a: Identifying Instrumental Groups 1
  139. Chapter 3, Activity 26: Computerised Interpretation
  140. Chapter 2, Activity 25b: Reverberation in Context
  141. Chapter 1, Activity 41: Amplitude Increments 2
  142. Chapter 2, Activity 23: The Effect of Building Acoustics
  143. Chapter 3, Activity 13a: Time Signatures in Context
  144. Chapter 4, Activity 14: Reverberation Times
  145. Chapter 1, Activity 20: Texture and Timbre in Context 4
  146. Chapter 1, Activity 1c: Eight Sounds
  147. Chapter 3, Activity 14: Syncopation in Context
  148. Chapter 2, Activity 1: Instrumental Sounds
  149. Chapter 2, Activity 39: Digital Recording Defects
  150. Chapter 1, Activity 54: Identifying Intervals
  151. Chapter 1, Activity 43: Major and Minor Tonality in Context 2
  152. Chapter 3, Activity 4b: Pulse in Context
  153. Chapter 2, Activity 36a: Noise
  154. Chapter 1, Activity 29: Dotted Noted and Ties
  155. Chapter 5, Activity 29: The Diminished Fifth in Context
  156. Chapter 1, Activity 25: Notes and Beats - Using Beaming
  157. Chapter 1, Activity 1c: Identifying Instrumental Groups 1
  158. Chapter 2, Activity 25d: Reverberation in Context
  159. Chapter 2, Activity 30b: Equalisation in Action
  160. Chapter 1, Activity 17: Delay
  161. Chapter 1, Activity 24b: Example Articulations
  162. Chapter 1, Activity 27a: Identifying Metre
  163. Chapter 5, Activity 35: Music Invoking Moods or Feelings
  164. Chapter 6, Activity 17: Sine Wave and White Noise
  165. Chapter 1, Activity 27b: Identifying Metre
  166. Chapter 2, Activity 34: Identifying Effects
  167. Chapter 5, Activity 24: Pitch Illusions 2
  168. Chapter 2, Activity 2c: Texture in Context
  169. Chapter 1, Activity 15: A Tune and Accompaniment Texture
  170. Chapter 6, Activity 23: Aliasing in Context
  171. Chapter 3, Activity 6c: Varying Note Values in Context
  172. Chapter 6, Activity 18: Signal-To-Noise Ratio in Context
  173. Chapter 2, Activity 16b: Major and Minor Tonality in Context
  174. Chapter 1, Activity 16: Identifying Textures
  175. Chapter 2, Activity 7: Identifying Expression 1
  176. Chapter 1, Activity 14: A Simple Round
  177. Chapter 2, Activity 20: Recognising Chords 2
  178. Chapter 3, Activity 22: Expressivity in Performance
  179. Chapter 2, Activity 12: Notating Rhythm
  180. Chapter 2, Activity 6: Identifying Structure 2
  181. Chapter 2, Activity 36c: Noise
  182. Chapter 2, Activity 9: Identifying Tempo
  183. Chapter 1, Activity 25: Flanging in Context
  184. Chapter 2, Activity 36b: Noise
  185. Chapter 2, Activity 32b: Panning in Context
  186. Chapter 3, Activity 13b: Time Signatures in Context
  187. Chapter 2, Activity 27: Delay and Echo in Context 1
  188. Chapter 6, Activity 26: Analogue Recording in Context
  189. Chapter 1, Activity 1f: Eight Sounds
  190. Chapter 2, Activity 13: Recognising Pitch Changes
  191. Chapter 2, Activity 33a: Vocoder and Auto-Tune in Context
  192. Chapter 1, Activity 6b: Identifying Instruments 2
  193. Chapter 5, Activity 28: Dissonance in Context
  194. Chapter 2, Activity 17: Recognising Intervals 1
  195. Chapter 6, Activity 25: Quantisation Levels in Context
  196. Chapter 1, Activity 24a: Example Articulations
  197. Chapter 5, Activity 13: Sketching What You Hear
  198. Chapter 2, Activity 33b: Vocoder and Auto-Tune in Context
  199. Chapter 6, Activity 16: Noise in Context
  200. Chapter 2, Activity 18: Recognising Intervals 2
  201. Chapter 1, Activity 4b: One or Many?
  202. Chapter 2, Activity 37: Mains Hum
  203. Chapter 2, Activity 2b: Texture in Context
  204. Chapter 1, Activity 22: Investigating Structure 2
  205. Chapter 2, Activity 14: Identifying Scale Types 1
  206. Chapter 2, Activity 18: Switching a Harmonic on and Off
  207. Chapter 1, Activity 44b: Major and Minor Tonality in Context 3
  208. Chapter 2, Activity 40: Identifying Technical Defects
  209. Chapter 5, Activity 8: Beating in Context
  210. Chapter 1, Activity 44c: Major and Minor Tonality in Context 3
  211. Chapter 1, Activity 4a: One or Many?
  212. Chapter 2, Activity 29: Delay and Echo in Context 3
  213. Chapter 1, Activity 17: Texture and Timbre in Context 1
  214. Chapter 2, Activity 31: Mono or Stereo?
  215. Chapter 5, Activity 36: Contemporary Music in Context
  216. Chapter 1, Activity 34a: Silence in Context
  217. Chapter 3, Activity 13c: Time Signatures in Context
  218. Chapter 1, Activity 62: Following the Score 1
  219. Chapter 1, Activity 21: Investigating Structure 1
  220. Chapter 1, Activity 57: Working Out Triad Numbers
  221. Chapter 2, Activity 39: Tuning and Temperament
  222. Chapter 1, Activity 53c: Name That Tune!
  223. Chapter 2, Activity 28: Delay and Echo in Context 2
  224. Chapter 5, Activity 33a: From Musical Sound to Music
  225. Chapter 3, Activity 10: Interpreting the Time Signature
  226. Chapter 5, Activity 20: Streaming in Context
  227. Chapter 1, Activity 41: Major and Minor Chords
  228. Chapter 2, Activity 8: Identifying Expression 2
  229. Chapter 2, Activity 1c: Identifying Instrumental Groups
  230. Chapter 2, Activity 1a: Identifying Instrumental Groups
  231. Chapter 2, Activity 17: Removing the Fundamental
  232. Chapter 2, Activity 15: Identifying Scale Types 2
  233. Chapter 1, Activity 56: Triad Chords 1
  234. Chapter 1, Activity 6a: Identifying Instruments 2
  235. Chapter 2, Activity 30a: Equalisation in Action
  236. Chapter 3, Activity 16: Notes With 2:1 Relative Durations
  237. Chapter 3, Activity 4a: Pulse in Context
  238. Chapter 1, Activity 35: Notating Rests
  239. Chapter 1, Activity 1h: Eight Sounds
  240. Chapter 1, Activity 1g: Eight Sounds
  241. Chapter 5, Activity 34: New Sounds, New Music
  242. Block 1, Chapter 1, Activity 6b: Identifying Instruments 2
  243. Block 1, Chapter 1, Activity 42: Major and Minor Tonality in Context 1
  244. Block 1, Chapter 2, Activity 1b: Identifying Instrumental Groups
  245. Block 1, Chapter 1, Activity 6a: Identifying Instruments 2
  246. Block 4, Chapter 3, Activity 24: The Player Piano in Context 2
  247. Block 3, Chapter 6, Activity 7: The Harpsichord in Context 1
  248. Block 3, Chapter 2, Activity 42: The Penny Whistle in Context
  249. Block 3, Chapter 2, Activity 20: The Contrabassoon in Context
  250. Block 4, Chapter 5, Activity 24a: The Steel Tape Recorder
  251. Block 1, Chapter 1, Activity 62: Following the Score 1
  252. Block 2, Chapter 3, Activity 25: Jazz Idiom of Paired Notes in Context
  253. Block 1, Chapter 1, Activity 34a: Silence in Context
  254. Block 3, Chapter 5, Activity 33: The Vibraphone in Context
  255. Block 1, Chapter 1, Activity 53d: Name That Tune!
  256. Block 2, Chapter 5, Activity 36: Contemporary Music in Context
  257. Block 3, Chapter 8, Activity 18: Amplitude Modulation and Tremolo
  258. Block 3, Chapter 2, Activity 8: Chromatic Scale Played on an Oboe
  259. Block 4, Chapter 2, Activity 1: Plainchant in Context
  260. Block 3, Chapter 2, Activity 22: Operating the Clarinet Speaker Key
  261. Block 3, Chapter 4, Activity 4: The Violin in a Folk Context
  262. Block 1, Chapter 2, Activity 36c: Noise
  263. Block 3, Chapter 4, Activity 17: Violin Harmonics
  264. Block 4, Chapter 4, Activity 16: The Effect of Adding Dither Noise
  265. Block 1, Chapter 1, Activity 23: Investigating Structure 3
  266. Block 4, Chapter 1, Activity 35: The Chorus Effect
  267. Block 4, Chapter 2, Activity 2: Guido's Hymn
  268. Block 1, Chapter 1, Activity 44b: Major and Minor Tonality in Context 3
  269. Block 1, Chapter 1, Activity 25: Notes and Beats - Using Beaming
  270. Block 3, Chapter 2, Activity 50: The Ocarina in Context 1
  271. Block 2, Chapter 1, Activity 1h: Eight Sounds
  272. Block 2, Chapter 6, Activity 23: Aliasing in Context
  273. Block 2, Chapter 5, Activity 35: Music Invoking Moods or Feelings
  274. Block 3, Chapter 4, Activity 7: The Cello in Context
  275. Block 1, Chapter 2, Activity 33a: Vocoder and Auto-Tune in Context
  276. Block 1, Chapter 2, Activity 36a: Noise
  277. Block 2, Chapter 5, Activity 20: Streaming in Context
  278. Block 3, Chapter 5, Activity 7: Timpani Sounds
  279. Block 3, Chapter 2, Activity 39: The Piccolo in Context
  280. Block 3, Chapter 2, Activity 28: The Saxophone in Context 1
  281. Block 4, Chapter 2, Activity 3: Organum in Context
  282. Block 3, Chapter 5, Activity 13: Drums in Context
  283. Block 1, Chapter 1, Activity 21: Investigating Structure 1
  284. Block 4, Chapter 3, Activity 18a: The Piano Roll in Context
  285. Block 3, Chapter 4, Activity 26: The Concert Harp in Context
  286. Block 3, Chapter 2, Activity 29: The Saxophone in Context 2
  287. Block 1, Chapter 2, Activity 5: Identifying Structure 1
  288. Block 1, Chapter 2, Activity 20: Recognising Chords 2
  289. Block 1, Chapter 2, Activity 16a: Major and Minor Tonality in Context
  290. Block 3, Chapter 5, Activity 28: Marimba Sounds
  291. Block 1, Chapter 1, Activity 10: A Simple Tune
  292. Block 3, Chapter 7, Activity 6: The Versatility of the Singing Voice
  293. Block 3, Chapter 3, Activity 17: Popping Mouthpieces
  294. Block 1, Chapter 2, Activity 35: Overload Distortion
  295. Block 1, Chapter 1, Activity 49: Comparing the Scales 1
  296. Block 2, Chapter 1, Activity 37: Amplitude Increments 1
  297. Block 3, Chapter 4, Activity 6: The Viola in Context
  298. Block 3, Chapter 4, Activity 11: The Classical Guitar in Context
  299. Block 2, Chapter 2, Activity 12: Oboe Note
  300. Block 3, Chapter 6, Activity 30: The Sounds of Pipe Organ Flues
  301. Block 2, Chapter 2, Activity 18: Switching a Harmonic on and Off
  302. Block 3, Chapter 4, Activity 16: Bowed Violin Notes
  303. Block 3, Chapter 2, Activity 51: The Ocarina in Context 2
  304. Block 3, Chapter 8, Activity 1a: Electronic Music From Film and TV
  305. Block 1, Chapter 1, Activity 64a: Following the Score 3
  306. Block 2, Chapter 2, Activity 13: Removing a Note's Attack
  307. Block 2, Chapter 5, Activity 29: The Diminished Fifth in Context
  308. Block 1, Chapter 1, Activity 12: A Sample Homophonic Texture
  309. Block 3, Chapter 4, Activity 30: Identifying Instruments in Context 1
  310. Block 1, Chapter 2, Activity 18: Recognising Intervals 2
  311. Block 3, Chapter 4, Activity 27: Vibrato in Bowed String Instruments
  312. Block 2, Chapter 5, Activity 25: Pitch Illusions in Context
  313. Block 1, Chapter 1, Activity 57: Working Out Triad Numbers
  314. Block 2, Chapter 3, Activity 8: Flexibility of Pulse in Context
  315. Block 1, Chapter 1, Activity 53a: Name That Tune!
  316. Block 2, Chapter 3, Activity 6c: Varying Note Values in Context
  317. Block 2, Chapter 1, Activity 1a: Eight Sounds
  318. Block 3, Chapter 8, Activity 10: The Theremin in Context
  319. Block 3, Chapter 6, Activity 8: The Harpsichord in Context 2
  320. Block 3, Chapter 5, Activity 25: Xylophone Sounds 1
  321. Block 4, Chapter 3, Activity 54a: Leonardo Music
  322. Block 1, Chapter 2, Activity 2c: Texture in Context
  323. Block 4, Chapter 5, Activity 11a: Berliner's Gramophone
  324. Block 3, Chapter 2, Activity 14: The Cor Anglais in Context
  325. Block 3, Chapter 7, Activity 36: Classical Singing Voices in Context
  326. Block 3, Chapter 2, Activity 30: The Bagpipes in Context
  327. Block 3, Chapter 5, Activity 18: Tuned Gong Sound
  328. Block 3, Chapter 8, Activity 6: Guitar Effects
  329. Block 2, Chapter 1, Activity 1f: Eight Sounds
  330. Block 1, Chapter 1, Activity 6c: Identifying Instruments 2
  331. Block 1, Chapter 1, Activity 11: A Sequence of Chords
  332. Block 1, Chapter 2, Activity 31: Mono or Stereo?
  333. Block 1, Chapter 1, Activity 64b: Following the Score 3
  334. Block 3, Chapter 1, Activity 1: Vaccuum Cleaners as Musical Instruments
  335. Block 1, Chapter 1, Activity 58: Triad Chords 2
  336. Block 3, Chapter 4, Activity 29b: Solo and Orchestra Strings
  337. Block 3, Chapter 6, Activity 32: Effect of the Swell Box Shutters
  338. Block 1, Chapter 1, Activity 1c: Identifying Instrumental Groups 1
  339. Block 1, Chapter 1, Activity 44c: Major and Minor Tonality in Context 3
  340. Block 2, Chapter 4, Activity 24: Multiple Echoes
  341. Block 2, Chapter 2, Activity 1: Instrumental Sounds
  342. Block 1, Chapter 1, Activity 35: Notating Rests
  343. Block 1, Chapter 1, Activity 24b: Example Articulations
  344. Block 1, Chapter 1, Activity 27a: Identifying Metre
  345. Block 1, Chapter 1, Activity 22: Investigating Structure 2
  346. Block 2, Chapter 6, Activity 7: Loading and Frequency Response
  347. Block 1, Chapter 2, Activity 4: Texture and Timbre in Context 2
  348. Block 3, Chapter 2, Activity 24: The Clarinet in Context
  349. Block 3, Chapter 4, Activity 25: The Effect of a Mute on a Violin
  350. Block 2, Chapter 1, Activity 1b: Eight Sounds
  351. Block 2, Chapter 2, Activity 8: Changing the Phase
  352. Block 2, Chapter 3, Activity 10: Interpreting the Time Signature
  353. Block 1, Chapter 1, Activity 1b: Identifying Instrumental Groups 1
  354. Block 3, Chapter 6, Activity 6: The Virginal in Context
  355. Block 1, Chapter 2, Activity 39: Digital Recording Defects
  356. Block 1, Chapter 1, Activity 1d: Identifying Instrumental Groups 1
  357. Block 1, Chapter 2, Activity 13: Recognising Pitch Changes
  358. Block 3, Chapter 5, Activity 2: Percussion Instrument Sounds
  359. Block 2, Chapter 1, Activity 17: Delay
  360. Block 1, Chapter 1, Activity 1e: Identifying Instrumental Groups 1
  361. Block 5, Chapter 2, Activity 4: The New Musical Phrase
  362. Block 1, Chapter 2, Activity 28: Delay and Echo in Context 2
  363. Block 1, Chapter 2, Activity 27: Delay and Echo in Context 1
  364. Block 1, Chapter 2, Activity 25a: Reverberation in Context
  365. Block 1, Chapter 1, Activity 4b: One or Many?
  366. Block 5, Chapter 2, Activity 8: The Filtered Music Phrase
  367. Block 1, Chapter 2, Activity 6: Identifying Structure 2
  368. Block 3, Chapter 2, Activity 40: The Bass Flute in Context
  369. Block 4, Chapter 3, Activity 60b: Simon's Course Tune Arrangements 1
  370. Block 3, Chapter 3, Activity 10: Natural Notes Played on a French Horn
  371. Block 1, Chapter 1, Activity 27b: Identifying Metre
  372. Block 1, Chapter 2, Activity 12: Notating Rhythm
  373. Block 1, Chapter 1, Activity 63: Following the Score 2
  374. Block 3, Chapter 5, Activity 30: The Marimba in Context
  375. Block 3, Chapter 2, Activity 41: The Panpipes in Context
  376. Block 3, Chapter 8, Activity 19: Frequency Modulation and Vibrato
  377. Block 1, Chapter 1, Activity 24a: Example Articulations
  378. Block 4, Chapter 3, Activity 54b: Leonardo Music
  379. Block 1, Chapter 2, Activity 8: Identifying Expression 2
  380. Block 2, Chapter 5, Activity 28: Dissonance in Context
  381. Block 3, Chapter 6, Activity 2: The Clavichord in Context
  382. Block 1, Chapter 1, Activity 33a: Notating Rhythms by Listening
  383. Block 3, Chapter 6, Activity 33: The Pipe Organ in Context
  384. Block 3, Chapter 6, Activity 30: The Sounds of Reed Organ Pipes
  385. Block 3, Chapter 2, Activity 10: Operating the Oboe Speaker Key
  386. Block 2, Chapter 1, Activity 1d: Eight Sounds
  387. Block 2, Chapter 3, Activity 13b: Time Signatures in Context
  388. Block 3, Chapter 2, Activity 18: The Bassoon in Context
  389. Block 2, Chapter 1, Activity 41: Amplitude Increments 2
  390. Block 3, Chapter 2, Activity 36: The Flute in Context
  391. Block 2, Chapter 1, Activity 1e: Eight Sounds
  392. Block 2, Chapter 3, Activity 4a: Pulse in Context
  393. Block 3, Chapter 2, Activity 17: Chromatic Scale Played on a Bassoon
  394. Block 1, Chapter 1, Activity 19: Texture and Timbre in Context 3
  395. Block 1, Chapter 1, Activity 43: Major and Minor Tonality in Context 2
  396. Block 3, Chapter 4, Activity 21: Guitar Notes
  397. Block 2, Chapter 3, Activity 14: Syncopation in Context
  398. Block 1, Chapter 1, Activity 53c: Name That Tune!
  399. Block 2, Chapter 5, Activity 21: Pitch Illusions 1
  400. Block 1, Chapter 1, Activity 33b: Notating Rhythms by Listening
  401. Block 4, Chapter 3, Activity 60c: Simon's Course Tune Arrangements 1
  402. Block 2, Chapter 3, Activity 6a: Varying Note Values in Context
  403. Block 2, Chapter 6, Activity 26: Analogue Recording in Context
  404. Block 3, Chapter 8, Activity 14: The Ondes Martenot in Context
  405. Block 2, Chapter 6, Activity 25: Quantisation Levels in Context
  406. Block 1, Chapter 2, Activity 37: Mains Hum
  407. Block 1, Chapter 2, Activity 30b: Equalisation in Action
  408. Block 2, Chapter 1, Activity 10: Five Sine Waves
  409. Block 1, Chapter 2, Activity 25c: Reverberation in Context
  410. Block 1, Chapter 1, Activity 15: A Tune and Accompaniment Texture
  411. Block 1, Chapter 2, Activity 26b: Phasing in Context
  412. Block 2, Chapter 3, Activity 4b: Pulse in Context
  413. Block 3, Chapter 6, Activity 14: The Christofori Piano in Context
  414. Block 1, Chapter 2, Activity 11: Relating Rhythm to Notation
  415. Block 3, Chapter 8, Activity 3a: Electronic Music Examples
  416. Block 4, Chapter 5, Activity 11b: Berliner's Gramophone
  417. Block 3, Chapter 6, Activity 17: The Silberman Piano in Context
  418. Block 4, Chapter 3, Activity 60d: Simon's Course Tune Arrangements 1
  419. Block 1, Chapter 2, Activity 17: Recognising Intervals 1
  420. Block 1, Chapter 1, Activity 17: Texture and Timbre in Context 1
  421. Block 1, Chapter 2, Activity 34: Identifying Effects
  422. Block 1, Chapter 1, Activity 56: Triad Chords 1
  423. Block 1, Chapter 2, Activity 2a: Texture in Context
  424. Block 1, Chapter 2, Activity 1c: Identifying Instrumental Groups
  425. Block 3, Chapter 4, Activity 8: The Double Bass in Context
  426. Block 3, Chapter 3, Activity 39: Exploiting the Clarino Register
  427. Block 3, Chapter 8, Activity 27: Creating Loops
  428. Block 3, Chapter 6, Activity 20: The Modern Grand Piano in Context
  429. Block 4, Chapter 5, Activity 32a: Restoration in Context 1
  430. Block 1, Chapter 2, Activity 10: Identifying Time Signatures
  431. Block 3, Chapter 6, Activity 24: The Effect of the Sustaining Pedal
  432. Block 1, Chapter 2, Activity 7: Identifying Expression 1
  433. Block 4, Chapter 4, Activity 43b: Comparing Broadcasting Systems
  434. Block 2, Chapter 5, Activity 34: New Sounds, New Music
  435. Block 3, Chapter 5, Activity 26: Xylophone Sounds 2
  436. Block 2, Chapter 5, Activity 8: Beating in Context
  437. Block 3, Chapter 2, Activity 34: Chromatic Scale Played on a Flute
  438. Block 1, Chapter 1, Activity 29: Dotted Noted and Ties
  439. Block 1, Chapter 1, Activity 4a: One or Many?
  440. Block 1, Chapter 1, Activity 20: Texture and Timbre in Context 4
  441. Block 1, Chapter 1, Activity 44a: Major and Minor Tonality in Context 3
  442. Block 3, Chapter 8, Activity 30: Additive Synthesis 1
  443. Block 1, Chapter 2, Activity 14: Identifying Scale Types 1
  444. Block 3, Chapter 5, Activity 12: Snare Drum Sounds
  445. Block 1, Chapter 2, Activity 21: Intervals and Chords in Context
  446. Block 2, Chapter 6, Activity 16: Noise in Context
  447. Block 1, Chapter 1, Activity 27c: Identifying Metre
  448. Block 2, Chapter 3, Activity 13a: Time Signatures in Context
  449. Block 4, Chapter 5, Activity 32b: Restoration in Context 1
  450. Block 1, Chapter 1, Activity 59: Harmony in Context
  451. Block 3, Chapter 5, Activity 10: The Nominal Picth of a Timpani Note
  452. Block 1, Chapter 1, Activity 53b: Name That Tune!
  453. Block 2, Chapter 6, Activity 18: Signal-to-Noise Ratio in Context
  454. Block 3, Chapter 8, Activity 38: Computerised Interpretation
  455. Block 3, Chapter 4, Activity 31: Identifying Instruments in Context 2
  456. Block 2, Chapter 3, Activity 22: Expressivity in Performance
  457. Block 1, Chapter 2, Activity 38: Unintentional Equalisation
  458. Block 1, Chapter 1, Activity 28: Identifying Rhythm
  459. Block 1, Chapter 2, Activity 19: Recognising Chords 1
  460. Block 1, Chapter 2, Activity 2b: Texture in Context
  461. Block 1, Chapter 2, Activity 16b: Major and Minor Tonality in Context
  462. Block 1, Chapter 1, Activity 34b: Silence in Context
  463. Block 3, Chapter 3, Activity 32: The Keyed Trumpet in Context
  464. Block 3, Chapter 8, Activity 32: Granular Synthesis & Physical Modelling
  465. Block 2, Chapter 1, Activity 1g: Eight Sounds
  466. Block 2, Chapter 3, Activity 13d: Time Signatures in Context
  467. Block 5, Chapter 2, Activity 9: The Complete Three-Part Song
  468. Block 4, Chapter 4, Activity 43c: Comparing Broadcasting Systems
  469. Block 5, Chapter 2, Activity 16: The Raw Mix
  470. Block 1, Chapter 2, Activity 23: The Effect of Building Acoustics
  471. Block 1, Chapter 2, Activity 36b: Noise
  472. Block 3, Chapter 8, Activity 33: Classic AM and Ring Modulation
  473. Block 3, Chapter 5, Activity 27: The Xylophone in Context
  474. Block 2, Chapter 5, Activity 32: From Noise to Musical Sound
  475. Block 1, Chapter 1, Activity 13: A Sample Contrapuntal Texture
  476. Block 4, Chapter 3, Activity 18b: The Piano Roll in Context
  477. Block 1, Chapter 2, Activity 40: Identifying Technical Defects
  478. Block 3, Chapter 5, Activity 17: Tam-Tam Sound
  479. Block 2, Chapter 6, Activity 17: Sine Wave and White Noise
  480. Block 3, Chapter 8, Activity 1b: Electronic Music From Film and TV
  481. Block 1, Chapter 2, Activity 1a: Identifying Instrumental Groups
  482. Block 2, Chapter 3, Activity 16: Notes With 2:1 Relative Durations
  483. Block 1, Chapter 1, Activity 30:Compound Metre
  484. Block 2, Chapter 2, Activity 38: Ascending by Major Thirds
  485. Block 1, Chapter 1, Activity 54: Identifying Intervals
  486. Block 3, Chapter 4, Activity 3: The Violin in a Classical Context
  487. Block 2, Chapter 3, Activity 13c: Time Signatures in Context
  488. Block 1, Chapter 2, Activity 33b: Vocoder and Auto-Tune in Context
  489. Block 1, Chapter 1, Activity 16: Identifying Textures
  490. Block 3, Chapter 8, Activity 3b: Electronic Music Examples
  491. Block 2, Chapter 5, Activity 33b: From Musical Sound to Music
  492. Block 1, Chapter 2, Activity 32a: Panning in Context
  493. Block 1, Chapter 2, Activity 25b: Reverberation in Context
  494. Block 3, Chapter 4, Activity 29a: Solo and Orchestra Strings
  495. Block 4, Chapter 3, Activity 60a: Simon's Course Tune Arrangements 1
  496. Block 2, Chapter 5, Activity 31: Percussion in Contemporary Music
  497. Block 2, Chapter 1, Activity 25: Flanging in Context
  498. Block 3, Chapter 8, Activity 31: Additive Synthesis 2
  499. Block 5, Chapter 2, Activity 12: The Resulting Vibraphone Tune
  500. Block 1, Chapter 1, Activity 44d: Major and Minor Tonality in Context 3
  501. Block 2, Chapter 5, Activity 26: Cultural Musical Styles in Context
  502. Block 4, Chapter 5, Activity 4: Edison's Phonograph 1
  503. Block 1, Chapter 1, Activity 14: A Simple Round
  504. Block 1, Chapter 2, Activity 29: Delay and Echo in Context 3
  505. Block 1, Chapter 2, Activity 9: Identifying Tempo
  506. Block 4, Chapter 1, Activity 40: The TA212 Course Tune
  507. Block 2, Chapter 3, Activity 13e: Time Signatures in Context
  508. Block 1, Chapter 1, Activity 2: Identifying Instruments 1
  509. Block 1, Chapter 1, Activity 41: Major and Minor Chords
  510. Block 2, Chapter 5, Activity 33a: From Musical Sound to Music
  511. Block 3, Chapter 5, Activity 14: Orchestral Cymbals Sounds
  512. Block 1, Chapter 1, Activity 18: Texture and Timbre in Context 2
  513. Block 4, Chapter 4, Activity 43a: Comparing Broadcasting Systems
  514. Block 2, Chapter 5, Activity 24: Pitch Illusions 2
  515. Block 1, Chapter 1, Activity 8: A Simple Rhythm
  516. Block 1, Chapter 2, Activity 24: Reverberation Times
  517. Block 1, Chapter 2, Activity 30a: Equalisation in Action
  518. Block 1, Chapter 2, Activity 26a: Phasing in Context
  519. Block 3, Chapter 2, Activity 48: Chromatic Scale Played on a Recorder
  520. Block 2, Chapter 3, Activity 6b: Varying Note Values in Context
  521. Block 3, Chapter 2, Activity 23: Chromatic Scale Played on a Clarinet
  522. Block 2, Chapter 2, Activity 17: Removing the Fundamental
  523. Block 3, Chapter 2, Activity 11: The Oboe in Context
  524. Block 1, Chapter 2, Activity 3: Texture and Timbre in Context 1
  525. Block 4, Chapter 5, Activity 35: Restoration in Context 2
  526. Block 4, Chapter 4, Activity 12: Investigating Aliasing
  527. Block 1, Chapter 2, Activity 15: Identifying Scale Types 2
  528. Block 3, Chapter 3, Activity 12: The Horn in Context
  529. Block 2, Chapter 4, Activity 11: Reverberant Sounds
  530. Block 5, Chapter 2, Activity 22: The Audio Mix-Down
  531. Block 3, Chapter 7, Activity 32: Choral Voices in Context
  532. Block 3, Chapter 5, Activity 22: Glockenspiel Sounds
  533. Block 1, Chapter 1, Activity 61: Chord Symbols in Context
  534. Block 5, Chapter 2, Activity 18: A Sample Master Mix
  535. Block 4, Chapter 5, Activity 30: Hi-Fi in Context
  536. Block 3, Chapter 5, Activity 31: Vibraphone Sounds
  537. Block 1, Chapter 1, Activity 3b: Identifying Instrumental Groups 2
  538. Block 2, Chapter 2, Activity 39: Tuning and Temperament
  539. Block 3, Chapter 4, Activity 12: The Folk Guitar in Context
  540. Block 1, Chapter 2, Activity 25d: Reverberation in Context
  541. Block 2, Chapter 1, Activity 18: Antiphonal Music in Context
  542. Block 4, Chapter 5, Activity 24b: The Steel Tape Recorder
  543. Block 1, Chapter 2, Activity 32b: Panning in Context
  544. Block 2, Chapter 4, Activity 14: Reverberation Times
  545. Block 2, Chapter 1, Activity 1c: Eight Sounds
  546. Block 2, Chapter 5, Activity 13: Sketching What You Hear
  547. Block 3, Chapter 1, Activity 5: Short/Continuous, Transient/Sustained?
  548. Block 1, Chapter 1, Activity 3a: Identifying Instrumental Groups 2
  549. Block 2, Chapter 3, Activity 26: Computerised Interpretation
  550. Block 1, Chapter 1, Activity 1a: Identifying Instrumental Groups 1
  551. Block 3, Chapter 5, Activity 10: The Nominal Pitch of a Timpani Note
  552. Histoire du soldat, ‘Petit concert’
  553. Piano Concerto no. 24 in C minor, K. 491: First movement, bars 1–99, orchestral introduction (first exposition)
  554. Piano Concerto no. 24 in C minor, K. 491: First movement, bar 283, piano entry (development)
  555. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 220 (Variation 8)
  556. Piano Concerto no. 24 in C minor, K. 491: Second movement, bars 1–19
  557. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 164 (Variation 6)
  558. Piano Concerto no. 24 in C minor, K. 491: First movement, bar 486 (cadenza)
  559. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 64 (Variation 3)
  560. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 16, second time (Variation 1)
  561. Piano Concerto no. 24 in C minor, K. 491: Third movement, bars 1–16 (theme)
  562. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 128 (Variation 5)
  563. Piano Concerto no. 24 in C minor, K. 491: Second movement, bar 63 (recapitulation)
  564. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 96 (Variation 4)
  565. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 200 (Variation 7)
  566. Piano Concerto no. 24 in C minor, K. 491: First movement, bar 100, piano entry (second exposition)
  567. Piano Concerto no. 24 in C minor, K. 491: Second movement, bar 20 (woodwind episode)
  568. Piano Concerto no. 24 in C minor, K. 491: Third movement, bar 32, second time (Variation 2)
  569. Piano Concerto no. 24 in C minor, K. 491: First movement, bar 362 (recapitulation)
  570. Piano Concerto no. 24 in C minor, K. 491: Second movement, end of bar 46 (woodwind episode)
  571. Piano Concerto in C minor, K. 491: I. (extract)
  572. Prelude and Fugue for Organ in D major, BWV 532 (extract)
  573. Piano Sonata in E-flat, op. 31 no. 3 (extract)
  574. Sonata for Piano and Violin, K. 379: I. Allegro (extract)
  575. Symphony no. 3, in F major, op. 90: I. (extract)
  576. Album für die Jugend: ‘Armes Waisenkind’ (extract)
  577. Piano Sonata, K. 333 in B-flat major: I. (extract)
  578. Violin Concerto in A minor, BWV 1041: I.
  579. The Four Seasons, Autumn: III.
  580. Giulio Cesare: Atto II, Scena VIII. "Che sento?" (Cleopatra) - Aria "Se pietà" (Cleopatra)
  581. Vergebliches Standchen
  582. Heidenröslein, D257
  583. Violin Sonata in D major, op. 5, no. 1: Grave - Allegro
  584. Ave sanctissima Maria
  585. Ave verum KV 618
  586. Messiah, HWV 56: Part III. "Since by man came death"
  587. Atsiabbekor (If It Comes to Fighting with Guns)
  588. Basiibira malaika
  589. Symphony No. 5 in C minor, Op. 67: I. Allegro con brio
  590. Memory
  591. Il trovatore: Atto III, Scena II. “Di quella pira”
  592. Le Sacre du Printemps : Danse sacrale
  593. Rigoletto: Atto III. “Bella figlia dell'amore”
  594. Symphony no. 4: IV. (extract)
  595. Lachrimae no. 7: Lachrimae Verae
  596. Go Down Moses
  597. La Cenerentola: Finale II. "Non più mesta" (Cenerentola)
  598. Aufenthalt, D. 957, no. 5
  599. Il barbiere di Siviglia: ‘Cessa di piu resistere’
  600. 1-1
  601. 3-1
  602. 1-2
  603. 3-2
  604. 1-3
  605. 2-1
  606. 4-1
  607. 2-2
  608. 4-2
  609. 4-5
  610. 2-3
  611. 4-3
  612. 4-4
  613. 5-1
  614. 5-2
  615. 5-3
  616. Preparing to study
  617. Sonata for Violin and Keyboard in G, Hob. XV:32: II. (extract)
  618. Histoire du soldat: Marche du soldat
  619. Symphony no. 6 in B minor, op. 74, "Pathétique": I. (extract)

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