Suche
Menü ×
Songtexte.com Drucklogo
  1. Home
  2. >
  3. G
  4. >
  5. Greenberg, Robert

Robert Greenberg Songtexte
The French Revolution and an Introduction to Beethoven

Geboren am 18. April 1954

Songtexte

  1. Lecture 21.6 - Classical-Era Form - Minuet and Trio II
  2. Lecture 22.6 - Classical-Era Form - Rondo
  3. Lecture 3.7 - The Middle Ages - Darkness, Change, And Diversity
  4. Lecture 5.4 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
  5. Lecture 1.2 - Introduction
  6. Lecture 20.5 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
  7. Lecture 24.1 - Classical-Era Form - Sonata-Allegro Form I, Part 2
  8. Lecture 14.4 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
  9. Lecture 7: Exclusively for His Friends
  10. Lecture 18.7 - The Viennese Classical Style, Homophony, and the Cadence
  11. Lecture 4.3 - Introduction to the Renaissence
  12. Lecture 5.8 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
  13. Lecture 13.3- Baroque Sacred Music, Part 1 - The Oratorio
  14. Lecture 12.2 - Baroque Opera, Part 2
  15. Lecture 16.3: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
  16. Lecture 14.5 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
  17. Lecture 8.4 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
  18. Lecture 15.8 - Baroque Instrumental Forms, Part 1--Passacaglia
  19. Lecture 24.9 - Classical-Era Form - Sonata-Allegro Form I, Part 2
  20. Lecture 11.3 - Baroque Opera, Part 1
  21. Lecture 11.6 - Baroque Opera, Part 1
  22. Lecture 13.8- Baroque Sacred Music, Part 1 - The Oratorio
  23. Lecture 3.1 - The Middle Ages - Darkness, Change, And Diversity
  24. Lecture 23.8 - Classical-Era Form - Sonata-Allegro Form I, Part 1
  25. Lecture 8.8 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
  26. Lecture 19.6 - Classical-Era Form - Theme and Variations
  27. Lecture 10.7 - Fugue
  28. Lecture 1.3 - Introduction
  29. Lecture 9.1 - National Styles - Italy and Germany
  30. Lecture 24.4 - Classical-Era Form - Sonata-Allegro Form I, Part 2
  31. Lecture 13.6- Baroque Sacred Music, Part 1 - The Oratorio
  32. Lecture 16.4: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
  33. Lecture 15.5 - Baroque Instrumental Forms, Part 1--Passacaglia
  34. Lecture 3.9 - The Middle Ages - Darkness, Change, And Diversity
  35. Lecture 23.3 - Classical-Era Form - Sonata-Allegro Form I, Part 1
  36. Lecture 10.1 - Fugue
  37. Lecture 2.7 - Sources - The Ancient World And The Early Church
  38. Lecture 20.6 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
  39. Lecture 8.3 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
  40. Lecture 16.1: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
  41. Lecture 6.2 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
  42. Lecture 4.8 - Introduction to the Renaissence
  43. Lecture 2.1 - Sources - The Ancient World And The Early Church
  44. Lecture 12.4 - Baroque Opera, Part 2
  45. Lecture 6.9 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
  46. Lecture 1.7 - Introduction
  47. Lecture 5.7 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
  48. Lecture 5.9 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
  49. Lecture 3.8 - The Middle Ages - Darkness, Change, And Diversity
  50. Lecture 17.5 - The Enlightenment and the Introduction to the Classical Era
  51. Lecture 17.4 - The Enlightenment and the Introduction to the Classical Era
  52. Lecture 10.5 - Fugue
  53. Lecture 16.9: Baroque Instrumental Forms, Part 2--Ritornello Form & The Baroque Concerto
  54. Lecture 14.9 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
  55. Lecture 21.1 - Classical-Era Form - Minuet and Trio II
  56. Lecture 4.2 - Introduction to the Renaissence
  57. Lecture 24.3 - Classical-Era Form - Sonata-Allegro Form I, Part 2
  58. Lecture 24.8 - Classical-Era Form - Sonata-Allegro Form I, Part 2
  59. Lecture 9.9 - National Styles - Italy and Germany
  60. Lecture 13.7- Baroque Sacred Music, Part 1 - The Oratorio
  61. Lecture 10.2 - Fugue
  62. Lecture 7.1 - Introduction To The Baroque
  63. Lecture 3.6 - The Middle Ages - Darkness, Change, And Diversity
  64. Lecture 9.4 - National Styles - Italy and Germany
  65. Lecture 21.4 - Classical-Era Form - Minuet and Trio II
  66. Lecture 18.8 - The Viennese Classical Style, Homophony, and the Cadence
  67. Lecture 9.6 - National Styles - Italy and Germany
  68. Lecture 10.6 - Fugue
  69. Lecture 12.7 - Baroque Opera, Part 2
  70. Lecture 7.4 - Introduction To The Baroque
  71. Lecture 23.4 - Classical-Era Form - Sonata-Allegro Form I, Part 1
  72. Lecture 5.1 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
  73. Lecture 2.3 - Sources - The Ancient World And The Early Church
  74. Lecture 17.1 - The Enlightenment and the Introduction to the Classical Era
  75. Lecture 24.5 - Classical-Era Form - Sonata-Allegro Form I, Part 2
  76. Lecture 11.1 - Baroque Opera, Part 1
  77. Lecture 12.3 - Baroque Opera, Part 2
  78. Lecture 18.3 - The Viennese Classical Style, Homophony, and the Cadence
  79. Lecture 5.5 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
  80. Lecture 7.6 - Introduction To The Baroque
  81. Lecture 13.4- Baroque Sacred Music, Part 1 - The Oratorio
  82. Lecture 9.5 - National Styles - Italy and Germany
  83. Lecture 4.1 - Introduction to the Renaissence
  84. Lecture 13.2- Baroque Sacred Music, Part 1 - The Oratorio
  85. Lecture 6.5 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
  86. Lecture 23.6 - Classical-Era Form - Sonata-Allegro Form I, Part 1
  87. Lecture 14.3 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
  88. Lecture 13.9- Baroque Sacred Music, Part 1 - The Oratorio
  89. Lecture 10.3 - Fugue
  90. Lecture 7.8 - Introduction To The Baroque
  91. Lecture 2.2 - Sources - The Ancient World And The Early Church
  92. Lecture 20.8 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
  93. Lecture 16.5: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
  94. Lecture 1.9 - Introduction
  95. Lecture 24.7 - Classical-Era Form - Sonata-Allegro Form I, Part 2
  96. Lecture 14.7 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
  97. Lecture 10.8 - Fugue
  98. Lecture 20.2 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
  99. Lecture 1.4 - Introduction
  100. Lecture 24.6 - Classical-Era Form - Sonata-Allegro Form I, Part 2
  101. Lecture 6.1 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
  102. Lecture 19.5 - Classical-Era Form - Theme and Variations
  103. Lecture 14.8 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
  104. Lecture 3.4 - The Middle Ages - Darkness, Change, And Diversity
  105. Lecture 20.4 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
  106. Lecture 22.3 - Classical-Era Form - Rondo
  107. Lecture 9.2 - National Styles - Italy and Germany
  108. Lecture 15.2 - Baroque Instrumental Forms, Part 1--Passacaglia
  109. Lecture 22.7 - Classical-Era Form - Rondo
  110. Lecture 23.7 - Classical-Era Form - Sonata-Allegro Form I, Part 1
  111. Lecture 3.5 - The Middle Ages - Darkness, Change, And Diversity
  112. Lecture 15.4 - Baroque Instrumental Forms, Part 1--Passacaglia
  113. Lecture 19.8 - Classical-Era Form - Theme and Variations
  114. Lecture 22.2 - Classical-Era Form - Rondo
  115. Lecture 24.2 - Classical-Era Form - Sonata-Allegro Form I, Part 2
  116. Lecture 13.1- Baroque Sacred Music, Part 1 - The Oratorio
  117. Lecture 17.9 - The Enlightenment and the Introduction to the Classical Era
  118. Lecture 19.3 - Classical-Era Form - Theme and Variations
  119. Lecture 8.6 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
  120. Lecture 23.5 - Classical-Era Form - Sonata-Allegro Form I, Part 1
  121. Lecture 2.5 - Sources - The Ancient World And The Early Church
  122. Lecture 16.6: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
  123. Lecture 6.4 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
  124. Lecture 17.6 - The Enlightenment and the Introduction to the Classical Era
  125. Lecture 4.6 - Introduction to the Renaissence
  126. Lecture 5.3 - The Renaissance Mass - Josquin Des Prez, Palestrina, and The Counter-Reformation
  127. Lecture 8.5 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
  128. Lecture 12.6 - Baroque Opera, Part 2
  129. Lecture 14.2 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
  130. Lecture 7.3 - Introduction To The Baroque
  131. Lecture 16.8: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
  132. Lecture 11.8 - Baroque Opera, Part 1
  133. Lecture 22.4 - Classical-Era Form - Rondo
  134. Lecture 2.6 - Sources - The Ancient World And The Early Church
  135. Lecture 7.5 - Introduction To The Baroque
  136. Lecture 4.7 - Introduction to the Renaissence
  137. Lecture 5.2 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
  138. Lecture 18.4 - The Viennese Classical Style, Homophony, and the Cadence
  139. Lecture 18.6 - The Viennese Classical Style, Homophony, and the Cadence
  140. Lecture 8.9 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
  141. Lecture 22.8 - Classical-Era Form - Rondo
  142. Lecture 12.1 - Baroque Opera, Part 2
  143. Lecture 19.7 - Classical-Era Form - Theme and Variations
  144. Lecture 11.7 - Baroque Opera, Part 1
  145. Lecture 16.7: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
  146. Lecture 8.1 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
  147. Lecture 15.1 - Baroque Instrumental Forms, Part 1--Passacaglia
  148. Lecture 6.6 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
  149. Lecture 11.4 - Baroque Opera, Part 1
  150. Lecture 18.9 - The Viennese Classical Style, Homophony, and the Cadence
  151. Lecture 19.2 - Classical-Era Form - Theme and Variations
  152. Lecture 11.2 - Baroque Opera, Part 1
  153. Lecture 3.2 - The Middle Ages - Darkness, Change, And Diversity
  154. Lecture 2.4 - Sources - The Ancient World And The Early Church
  155. Lecture 23.2 - Classical-Era Form - Sonata-Allegro Form I, Part 1
  156. Lecture 11.5 - Baroque Opera, Part 1
  157. Lecture 9.7 - National Styles - Italy and Germany
  158. Lecture 17.8 - The Enlightenment and the Introduction to the Classical Era
  159. Lecture 15.3 - Baroque Instrumental Forms, Part 1--Passacaglia
  160. Lecture 17.2 - The Enlightenment and the Introduction to the Classical Era
  161. Lecture 18.2 - The Viennese Classical Style, Homophony, and the Cadence
  162. Lecture 17.3 - The Enlightenment and the Introduction to the Classical Era
  163. Lecture 10.4 - Fugue
  164. Lecture 4.5 - Introduction to the Renaissence
  165. Lecture 4.9 - Introduction to the Renaissence
  166. Lecture 8: Duos for Violin and Viola
  167. Lecture 20.9 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
  168. Lecture 5.6 - The Renaissance Mass - Josquin Des Prez, Palestrina, And The Counter-Reformation
  169. Lecture 22.9 - Classical-Era Form - Rondo
  170. Lecture 8.7 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
  171. Lecture 15.7 - Baroque Instrumental Forms, Part 1--Passacaglia
  172. Lecture 6.7 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
  173. Lecture 21.2 - Classical-Era Form - Minuet and Trio II
  174. Lecture 16.2: Baroque Instrumental Forms, Part 2 - Ritornello Form & The Baroque Concerto
  175. Lecture 21.8 - Classical-Era Form - Minuet and Trio II
  176. Lecture 15.6 - Baroque Instrumental Forms, Part 1--Passacaglia
  177. Lecture 18.5 - The Viennese Classical Style, Homophony, and the Cadence
  178. Lecture 19.9 - Classical-Era Form - Theme and Variations
  179. Lecture 20.3 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
  180. Lecture 1.1 - Introduction
  181. Lecture 8.2 - Style Features Of Baroque Music And A Brief Tutorial On Pitch, Motive, Melody, And Texture
  182. Lecture 19.1 - Classical-Era Form - Theme and Variations
  183. Lecture 15.9 - Baroque Instrumental Forms, Part 1--Passacaglia
  184. Lecture 17.7 - The Enlightenment and the Introduction to the Classical Era
  185. Lecture 20.7 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
  186. Lecture 9.3 - National Styles - Italy and Germany
  187. Lecture 1.8 - Introduction
  188. Lecture 12.8 - Baroque Opera, Part 2
  189. Lecture 21.3 - Classical-Era Form - Minuet and Trio II
  190. Lecture 18.1 - The Viennese Classical Style, Homophony, and the Cadence
  191. Lecture 12.9 - Baroque Opera, Part 2
  192. Lecture 20.1 - Classical-Era Form - Minuet and Trio I - Baroque Antecedents
  193. Lecture 22.1 - Classical-Era Form - Rondo
  194. Lecture 1.5 - Introduction
  195. Lecture 21.9 - Classical-Era Form - Minuet and Trio II
  196. Lecture 19.4 - Classical-Era Form - Theme and Variations
  197. Lecture 13.5- Baroque Sacred Music, Part 1 - The Oratorio
  198. Lecture 7.2 - Introduction To The Baroque
  199. Lecture 14.1 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
  200. Lecture 4.4 - Introduction to the Renaissence
  201. Lecture 6.8 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
  202. Lecture 7.9 - Introduction To The Baroque
  203. Lecture 23.1 - Classical-Era Form - Sonata-Allegro Form I, Part 1
  204. Lecture 21.5 - Classical-Era Form - Minuet and Trio II
  205. Lecture 11.9 - Baroque Opera, Part 1
  206. Lecture 7.7 - Introduction To The Baroque
  207. Lecture 14.6 - Baroque Sacred Music, Part 2--The Lutheran Church Cantata
  208. Lecture 3.3 - The Middle Ages - Darkness, Change, And Diversity
  209. Lecture 23.9 - Classical-Era Form - Sonata-Allegro Form I, Part 1
  210. Lecture 12.5 - Baroque Opera, Part 2
  211. Lecture 2.8 - Sources - The Ancient World And The Early Church
  212. Lecture 1.6 - Introduction
  213. Lecture 21.7 - Classical-Era Form - Minuet and Trio II
  214. Lecture 6.3 - Secular Music In The Late Renaissance And The Search For Expression - The Madrigal
  215. Lecture 10.9 - Fugue
  216. Lecture 22.5 - Classical-Era Form - Rondo
  217. Lecture 9.8 - National Styles - Italy and Germany
  218. Bach and Opera, Part I: — Cantata No. 140 Wachet Auf, Uns Ruft Die Stimme
  219. The Rise of Opera Buffa and Mozart's the Marriage of Figaro, I
  220. Symphony No. 5 — The Expressive Ideal Fully Formed, I
  221. A Pianist in Leipzig
  222. The Opus 14 Sonatas
  223. Dvorák — Symphony No. 9 in E Minor, II
  224. French Opera, II
  225. Mannheim
  226. Otello, Conclusion; Falstaff
  227. The Italian Style, the Operatic Ideal and Lutheran Spirituality Are Joined
  228. Bach's Inheritance, Part I: — The Protestant Reformation and the Rise of Lutheranism
  229. The Symphony in Russia
  230. Beethoven and the Heroic Style, III
  231. Lesser Siblings and a Pastoral (interlude)
  232. The Wunderhorn Symphonies
  233. Christmas, 1722
  234. The Music at Weimar
  235. Aaron Copland and Samuel Barber
  236. “A Free Man”
  237. Family Life and Symphony No. 5
  238. Nabucco, Conclusion and Risorgimento
  239. The Voice in the Wilderness
  240. Il Trovatore, Conclusion and La Traviata
  241. Così Fan Tutte, Part One
  242. Introduction and Words and Music, I
  243. A Life Well Lived
  244. Beethoven — Violin Concerto in D Major, III
  245. String Quartet in C Major, Op. 59, No. 3
  246. Homage to Mozart
  247. What to Do About Germany?
  248. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, I
  249. French Opera, I
  250. Beethoven and the Heroic Style, IV
  251. Isn't It Romantic!
  252. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, IV
  253. The Baroque Italian Concerto
  254. The Ones That Got Away
  255. The Tramp of Giants
  256. Falstaff, Act II, Sc. 2 Continued
  257. I Lombardi
  258. Exclusively for His Friends
  259. I Masnadieri
  260. The Rise of Opera Buffa and Mozart's the Marriage of Figaro, II
  261. In a World of His Own
  262. The Piano Trios
  263. The "Serioso" — Opus 95
  264. Maturity
  265. The Hammerklavier, Part 1
  266. The Mastersingers of Nuremberg, Part 1
  267. Tristan and Isolde, Part 2
  268. Tristan and Isolde, Part 1
  269. Symphony No. 6, and Das Lied Von Der Erde
  270. Leopold and the Grand Tour
  271. The Mastersingers of Nuremberg, Part 2
  272. The Rise of Opera Buffa and Mozart's the Marriage of Figaro, IV
  273. Così Fan Tutte, Part Five
  274. The Flying Dutchman, Part 2
  275. La Forza Del Destino
  276. The Magic Flute, Part Five
  277. Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  278. Introduction and Words and Music, II
  279. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, III
  280. Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  281. Vivaldi, Bach and the Concerto, Part III: The Concerto Grosso and the Brandenburg Concerto No. 2
  282. Symphony No. 2 — Beethoven at the Edge, I
  283. What Goes Up Must Come Down, 1815
  284. Franck, Saint-Saens, and the Symphony in France
  285. The Magic Flute, Part Seven
  286. London
  287. A Blessing of Inconceivable Richness
  288. Bach and the French Style, Part II: The Keyboard Suite
  289. Passacaglia
  290. Classical-Era Opera — The Rise of Opera Buffa
  291. The Romantic Concerto
  292. Early Songs and Symphony No. 1
  293. 19th-Century German Opera — Nationalism and Experimentation
  294. The Flight From Salzburg and Arrival in Vienna
  295. Invention of Opera and Monteverdi's Orfeo, II
  296. Music as a Mirror
  297. Schönberg, Berg and the 12-Tone Method
  298. Haydn — Symphony No. 104
  299. Bach Transcendent — The Saint Matthew Passion, Part I
  300. Così Fan Tutte, Part Seven
  301. Rigoletto, Acts I, II and III
  302. Symphony No. 6 — The Symphony as Program, II
  303. Invention of Opera and Monteverdi's Orfeo, IV
  304. The Viennese Classical Style, Homophony, and the Cadence
  305. Symphony No. 7 — The Symphony as Dance, II
  306. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, II
  307. MacBeth
  308. Verdi and Otello, I
  309. 19th-Century German Opera — Richard Wagner
  310. Lohengrin, Part 1
  311. Sonata Quasi Una Fantasia — The Moonlight
  312. Mozart the Composer — The Early Music
  313. Russian Nationalism
  314. Style Features of High Baroque Music, Part III: A Musical Glossary
  315. Operas in Vienna
  316. Invention of Opera and Monteverdi's Orfeo, III
  317. Rimsky-Korsakov — Scheherazade
  318. Classical-Era Form — Theme and Variations
  319. Rigoletto, Act III Continued
  320. Verismo, Puccini, and Tosca, I
  321. Symphony No. 6 — The Symphony as Program, III
  322. The Renaissance Mass
  323. Symphony No. 4 — Consolidation of the New Aesthetic, III
  324. The Enlightenment and an Introduction to the Classical Era
  325. Franz Joseph Haydn, Part 2
  326. I Lombardi, Conclusion and Ernani
  327. Timbre, Continued
  328. Aida, Conclusion
  329. Dvorák — Concerto for ’Cello
  330. Basset Horns and Harmonicas
  331. Reconciliation
  332. Mahler — Symphony No. 5
  333. The First Works
  334. Bartok
  335. Meter, Part 1
  336. The Concerto and the Orchestra
  337. Tchaikovsky
  338. String Quartet in C# Minor, Op. 131, Part 1
  339. Beethoven — Symphony No. 3
  340. Vienna and Abduction
  341. Bach Transcendent — The Saint Matthew Passion, Part III
  342. Early 20th-Century Modernism — Claude Debussy
  343. The Lutheran Church Cantata
  344. Ritornello Form and the Baroque Concerto
  345. Don Carlo, Conclusion
  346. Beethoven — Piano Concerto No. 5 in E-Flat Major, IV
  347. Mendelssohn — “italian” Symphony
  348. Symphony No. 9 — The Symphony as the World, III
  349. Meaning and Metaphor
  350. String Quartet in C# Minor, Op. 131, Part 3
  351. Motives, Bach and a Farewell to the 18th Century
  352. String Quartet in C# Minor, Op. 131, Part 2
  353. Rigoletto, Conclusion and Il Trovatore
  354. The Thaw
  355. The Striking and Subversive, Op. 10 Continued
  356. They Deserve Better, Part 1
  357. Luisa Miller and Rigoletto
  358. Mendelssohn and Schumann
  359. Dissonance — Musical and Financial
  360. Dresden and Tannhäuser, Part 1
  361. Style Features of High Baroque Music, Part II: A Musical Glossary
  362. String Quartet in E Minor, Op. 59, No. 2
  363. Symphony No. 3 — The "New Path" — Heroism and Self-Expression, I
  364. Fugue
  365. The Grand Sonata, Part 2
  366. The Grand Sonata, Part 1
  367. Stravinsky — The Rite of Spring
  368. The Italian Apprenticeship
  369. Revelation
  370. Esterháza Continued
  371. 1789
  372. Romantic Masters
  373. Let the Controversy Begin
  374. Tonality, Key Signature, and the Circle of Fifths
  375. Das Lied, Final Symphonies, and the End
  376. The Language of Music
  377. The Solo Concerto
  378. Mozart — Symphony in C Major, “jupiter”
  379. Illness Takes Hold
  380. Beethoven
  381. The Madrigal
  382. Harmony, Part 2: — Function, Tendency, and Dominance
  383. Sources — The Ancient World and the Early Church
  384. Beethoven the Composer, 1792–1802
  385. Baroque Opera, Part 2
  386. Strauss — Death and Transfiguration, I
  387. The Professional, Part One
  388. Introduction to Romanticism
  389. A Genre Redefined
  390. Beethoven — Piano Concerto No. 5 in E-Flat Major, II
  391. Così Fan Tutte, Part Three
  392. The Professional, Part Two
  393. Un Ballo in Maschera, Conclusion
  394. Style Features of Baroque-Era Music
  395. Opus 130 and the Grand Fugue, Part 2
  396. Opus 130 and the Grand Fugue, Part 1
  397. Beethoven and the Heroic Style, I
  398. Tchaikovsky — Violin Concerto
  399. "The Hunt", Part 2
  400. Symphony No. 5 — The Expressive Ideal Fully Formed, III
  401. Game Plan and Preliminaries
  402. Mendelssohn — Incidental Music and Overture to a Midsummer Night's Dream, I
  403. Blowin’ in the Winds
  404. Holst — The Planets
  405. Rachmaninoff
  406. Three Women — Tatyana, Antonina, and Nadezhda
  407. Beethoven the Pianist
  408. Vienna
  409. Beethoven's Classical Inheritance
  410. The Classical String Quartet and the Classical Symphony
  411. Symphony No. 2 — Beethoven at the Edge, II
  412. From Student to Professional
  413. Melody, Continued
  414. Haydn’s Marriage and Esterháza
  415. The Schumanns
  416. Classical-Era Form — Minuet and Trio: Baroque Antecedents
  417. Beethoven and the Heroic Style, II
  418. Russian Opera, II
  419. Don Giovanni, Part One
  420. Mendelssohn — Incidental Music and Overture to a Midsummer Night's Dream, IV
  421. Otello
  422. Dvorak
  423. Beethoven in 1824
  424. Early 20th-Century Modernism — Igor Stravinsky
  425. Symphony No. 1 — Beethoven as Classicist — Tradition and Innovation, I
  426. In Deference to His Masters
  427. An Introduction to the Baroque Era
  428. Brahms — Violin Concerto
  429. Così Fan Tutte, Part Six
  430. Symphony No. 3 — The "New Path" — Heroism and Self-Expression, II
  431. Beethoven, London Again, and Breakthrough
  432. Così Fan Tutte, Part Four
  433. Schubert
  434. Classical-Era Form — Rondo Form
  435. Mendelssohn — Incidental Music and Overture to a Midsummer Night's Dream, II
  436. Paris
  437. The Escape From Riga
  438. The Waldstein and the Heroic Style
  439. A Career in Music
  440. Mahler the Conductor
  441. Introduction and Early Life
  442. The Magic Flute, Part Two
  443. The Magic Flute, Part Six
  444. The Requiem
  445. Symphony No. 5 — The Expressive Ideal Fully Formed, II
  446. Introduction and Childhood
  447. Rome
  448. Symphony No. 3 — The "New Path" — Heroism and Self-Expression, IV
  449. Carnaval
  450. Roy Harris and William Schuman
  451. Not Just a Pretty Face
  452. Tannhäuser, Part 2
  453. Dvorák — Symphony No. 9 in E Minor, I
  454. The Program Symphony — Berlioz's Symphonie Fantastique, Part 1
  455. A Born Pianist
  456. Mozart, Part 2
  457. Rigoletto, Act I Continued
  458. The Hammerklavier, Part 2
  459. The Program Symphony — Berlioz's Symphonie Fantastique, Part 2
  460. Something Old and Something New
  461. Mozart, Part 1
  462. The Immortal Beloved
  463. Beginnings
  464. Symphony No. 3 — The "New Path" — Heroism and Self-Expression, III
  465. Bach and the French Style, Part I: Dance and the Orchestral Suite
  466. Bach and Opera, Part II: — Opera Buffa and the Secular Cantata, the Coffee Cantata
  467. Symphony No. 4 — Consolidation of the New Aesthetic, IV
  468. Introduction to the Baroque Aesthetic
  469. Olivier Messiaen and Turangalila!
  470. 19th-Century Italian Opera — Giuseppe Verdi
  471. Texture and Harmony, Part 1
  472. Russian Opera, I
  473. Mastery
  474. Symphony No. 6 — The Symphony as Program, I
  475. Transcendence
  476. Bach Transcendent — The Saint Matthew Passion, Part IV
  477. Beethoven and the Piano
  478. Debussy — La Mer
  479. Shostakovich — Symphony No. 10
  480. J.B., We Hardly Knew You!
  481. Beethoven — Violin Concerto in D Major, I
  482. Aida
  483. Madness
  484. Bach Transcendent — The Goldberg Variations, Part I
  485. Holiday Music
  486. A Brief History of Vocal Expression in Music, II
  487. Farewells
  488. Symphony No. 8 — Homage to Classicism, II
  489. The Flying Dutchman, Part 1
  490. The Lean Years and the Pre-Classical Style
  491. Charles Ives
  492. Beethoven — Piano Concerto No. 5 in E-Flat Major, I
  493. The Heroic Ideal
  494. Tchaikovsky — Symphony No. 4
  495. Symphony No. 7 — The Symphony as Dance, I
  496. Nabucco
  497. The Escape From Dresden, Exile, and Essays
  498. Falstaff, Act I, Sc. 2, Conclusion; Act II, Sc. 1
  499. Early 20th-Century Modernism — Arnold Schönberg
  500. The Twentieth-Century British Symphony
  501. String Quartet in a Minor, Op. 132, Part 1
  502. Copland — Appalachian Spring
  503. The Vagabond Years
  504. La Bell'Italia
  505. Alma and Vienna
  506. The Oratorio
  507. String Quartet in a Minor, Op. 132, Part 2
  508. Cantata No. 140 Wachet Auf, Uns Ruft Die Stimme (continued)
  509. A Quartet of Sonatas
  510. Beethoven in 1805
  511. The Appassionata and the Heroic Style
  512. Beat and Tempo
  513. The Kid's Got Talent!
  514. Experiments in a Dark Time
  515. Opus 59, No. 1 — Revolution in Action, Part 1
  516. Vivaldi — The Four Seasons
  517. Opus 59, No. 1 — Revolution in Action, Part 2
  518. Intervals Revisited and Expanded
  519. The Bel Canto Style and Rossini's the Barber of Seville, I
  520. Introduction and There’s No Place Like Home
  521. Haydn and Inspiration
  522. Shostakovich — Symphony No. 5
  523. Beethoven — Piano Concerto No. 4
  524. Così Fan Tutte, Part Two
  525. Brahms — Symphony No. 4
  526. Baroque Masters
  527. Elliott Carter
  528. Mozart
  529. The Concerto in France
  530. Bedrich Smetana — Má Vlast
  531. Salieri, da Ponte and the Marriage of Figaro
  532. Lohengrin, Part 2
  533. The New Stravinsky
  534. Bach's Inheritance, Part II: — The Development of the Italian Style
  535. The Rite of Spring
  536. Bach — Brandenburg Concerto No. 2
  537. National Styles — Italy and Germany
  538. Symphony No. 9 — The Symphony as the World, IV
  539. Don Carlo
  540. The Pathétique and the Sublime
  541. Oberto
  542. Falstaff, Act II, Conclusion; Act III
  543. The Bel Canto Style and Rossini's the Barber of Seville, II
  544. Brahms — Violin Concerto in D Major, III
  545. The Tempest
  546. Beethoven Busts Out!
  547. Classical-Era Form — Sonata Form, Part 3
  548. A Citizen of the World
  549. Verdi and Otello, III
  550. Bach — Violin Concerto in E Major
  551. Classical-Era Form — Sonata Form, Part 1
  552. The Ring, Part 6
  553. Classical-Era Form — Sonata Form, Part 2
  554. The Ring, Part 5
  555. Strauss — Death and Transfiguration, II
  556. Bach Transcendent — The Saint Matthew Passion, Part II
  557. Falstaff, Act I, Sc. 1
  558. The Ring, Part 2
  559. The Ring, Part 1
  560. The Ring, Part 4
  561. The Ring, Part 3
  562. Formal Challenges and Solutions in Early Romantic Music
  563. Meter, Part 2
  564. Marriage and Songs
  565. Late Romantic German Opera — Richard Strauss and Salome
  566. Vivaldi, Bach and the Concerto, Part I: Vivaldi and the Venetian Opera
  567. Beethoven — Piano Concerto No. 5 in E-Flat Major, III
  568. Duos for Violin and Viola
  569. Vivaldi, Bach and the Concerto, Part II: Vivaldi's Model and Bach, Violin Concerto No. 2 in E Major
  570. Neoclassicism
  571. Strauss — Death and Transfiguration, IV
  572. The Concert Overture, Part 2
  573. The Russian Concerto, Part 2
  574. Lady MacBeth
  575. The War Years (WWI)
  576. Intervals and Tunings
  577. Reconciliation — String Quartet in F Major, Op. 135
  578. Servants to the Cause and Guilty Pleasures
  579. Opera Buffa and the Secular Cantata, the Coffee Cantata (continued)
  580. The Magic Flute, Part Eight
  581. Parsifal, Part 1
  582. The Concert Overture, Part 1
  583. Parsifal, Part 2
  584. The Russian Concerto, Part 1
  585. Melody
  586. Symphony No. 8 — Homage to Classicism, III
  587. Symphony No. 9 — The Symphony as the World, II
  588. Verdi and Otello, II
  589. They Deserve Better, Part 2
  590. Le Concert, C'Est Moi — The Concert Is Me
  591. Resurrection
  592. What Comes Down Must Go Up, 1813–1815
  593. Classical-Era Form — Minuet and Trio Form
  594. The Flute Quartet in D Major
  595. Falstaff, Act II, Sc. 1, Conclusion; Sc. 2
  596. Brahms and the Symphonic Concerto
  597. The Brothels of Hamburg
  598. Don Giovanni, Part Two
  599. Franz Joseph Haydn, Part 1
  600. Harmony, Part 3: — Progression, Cadence, and Modulation
  601. Bach’s Brandenburg Concerti
  602. Repression and Depression
  603. Berlioz and the Symphonie Fantastique
  604. Beethoven — Violin Concerto in D Major, IV
  605. Miracles
  606. Liszt — Totentanz, II
  607. The First Masterworks
  608. Romantic-Era Musical Nationalism
  609. Pitch and Mode, Part 1
  610. Mozart — Piano Concerto No. 24 in C Minor
  611. Twentieth-Century Masters
  612. Mendelssohn — Incidental Music and Overture to a Midsummer Night's Dream, III
  613. Pitch and Mode, Part 2
  614. Dance and the Orchestral Suite (continued)
  615. Liszt — Totentanz, III
  616. Nielsen and Sibelius
  617. Beethoven — Symphony No. 9
  618. Liszt — Totentanz, IV
  619. Un Ballo in Maschera
  620. Mozart — Piano Concerto No. 25 in C Major, I
  621. Falstaff, Act I, Sc. 1, Conclusion; Sc. 2
  622. Brahms, Bruckner, and the Viennese Symphony
  623. Verdi and Otello, IV
  624. Baroque Opera, Part 1
  625. Verismo, Puccini, and Tosca, II
  626. Symphony No. 9 — The Symphony as the World, V
  627. Historical Overview From Constantine Through the Great Thinkers of the Baroque
  628. The Middle Ages
  629. The Symphony — Music for Every Person
  630. Invention of Opera and Monteverdi's Orfeo, I
  631. The Pre-Classical Symphony
  632. Weimar
  633. Nationalism and the Symphony
  634. Introduction to the Renaissance
  635. Liszt — Totentanz, I
  636. The Last Years, or Don't Drink the Water
  637. London, Paris, and Rienzi
  638. Beethoven and His Nephew, 1815–1819
  639. The Piano Quartets
  640. Opus 127, Part 2
  641. Opus 127, Part 1
  642. Richard Strauss — Thus Spoke Zarathustra
  643. Ives — Three Places in New England
  644. The Symphonic Year
  645. Rachmaninoff — Symphony No. 2
  646. Symphony No. 9 — The Symphony as the World, I
  647. Schumann — Symphony No. 3
  648. Dvorák — Symphony No. 8
  649. Richard Wagner and Tristan Und Isolde, II
  650. The Great Patriotic War
  651. Lutheranism, the Chorale and the Chorale Prelude
  652. Illness and Inspiration
  653. The Keyboard Suite (continued)
  654. Symphony No. 8 — Homage to Classicism, I
  655. Introduction
  656. The Creation, the Seasons, and the End
  657. The French Revolution and an Introduction to Beethoven
  658. The Requiem, Conclusion
  659. Style Features of High Baroque Music, Part I: A Musical Glossary
  660. Life in Vienna
  661. An Introduction to Early 20th-Century Modernism
  662. A Brief History of Vocal Expression in Music, I
  663. Brahms — Violin Concerto in D Major, I
  664. The Last Years
  665. Gustav Mahler
  666. Strauss — Death and Transfiguration, III
  667. Classical-Era Opera, Part 2: — Mozart and the Operatic Ensemble
  668. Hummel and Chopin
  669. Dvorák — Symphony No. 9 in E Minor, IV
  670. Bach Transcendent — The Goldberg Variations, Part III
  671. German Opera Comes of Age
  672. Beethoven in 1809
  673. Vivaldi, Bach and the Concerto, Part II: Bach Violin Concerto No. 2 in E Major (continued)
  674. Brahms — Violin Concerto in D Major, IV
  675. Bach Transcendent — The Goldberg Variations, Part II
  676. Clara
  677. Timbre, Part 3
  678. The Rise of German Opera
  679. "The Hunt"
  680. String Quartet in a Major, K. 464
  681. Symphony No. 4 — Consolidation of the New Aesthetic, II
  682. Schubert — Symphony No. 9
  683. “My Great Friend”
  684. Let's Take It From the Top!
  685. Beethoven — Violin Concerto in D Major, II
  686. The Magic Flute, Part Three
  687. Symphony No. 1 — Beethoven as Classicist — Tradition and Innovation, II
  688. Mozart, Masonry and the Magic Flute
  689. Bach Transcendent — The Goldberg Variations, Part IV
  690. Mozart — Piano Concerto No. 25 in C Major, IV
  691. The Rise of Opera Buffa and Mozart's the Marriage of Figaro, III
  692. Brahms — Violin Concerto in D Major, II
  693. Two Concerts, 1808 and 1824
  694. The Farewell Sonata
  695. Symphony No. 4 — Consolidation of the New Aesthetic, I
  696. The String Quintets
  697. Mozart — Piano Concerto No. 25 in C Major, III
  698. Richard Wagner and Tristan Und Isolde, I
  699. Dvorák — Symphony No. 9 in E Minor, III
  700. Dmitri Shostakovich and His Tenth Symphony
  701. Mozart — Piano Concerto No. 25 in C Major, II
  702. The "Harp"
  703. The Magic Flute, Part Four
  704. "Loose Change"
  705. 19th-Century Italian Opera — Bel Canto Opera
  706. Classical Masters
  707. Lecture 9.2 - The Rise of German Nationalism in Music
  708. Lecture 9.8 - The Rise of German Nationalism in Music
  709. Lecture 9.5 - The Rise of German Nationalism in Music
  710. Lecture 9.9 - The Rise of German Nationalism in Music
  711. Lecture 9.6 - The Rise of German Nationalism in Music
  712. Lecture 9.3 - The Rise of German Nationalism in Music
  713. Lecture 9.7 - The Rise of German Nationalism in Music
  714. Lecture 9.4 - The Rise of German Nationalism in Music
  715. Lecture 9.1 - The Rise of German Nationalism in Music
  716. Lecture 9.10 - The Rise of German Nationalism in Music
  717. Lecture 35.1 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 1
  718. Lecture 26.4 - Classical-Era Orchestral Genres - The Symphony - Music for Every Person
  719. Lecture 34.6 - Formal Challenges and Solutions in Early Romantic Music - Miniatures: Lieder and Chopin
  720. Lecture 25.8 - Classical-Era Form - Sonata-Allegro Form II
  721. Lecture 30.9 - The French Revolution and an Introduction to Beethoven
  722. Lecture 31.9 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  723. Lecture 34.7 - Formal Challenges and Solutions in Early Romantic Music - Miniatures: Lieder and Chopin
  724. Lecture 31.5 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  725. Lecture 27.9 - Classical-Era Orchestral Genres - The Concerto
  726. Lecture 29.4 - Classical-Era Opera - Mozart and the Operatic Ensemble
  727. Lecture 30.5 - The French Revolution and an Introduction to Beethoven
  728. Lecture 28.4 - Classical-Era Opera - The Development of Opera Buffa
  729. Lecture 34.5 - Formal Challenges and Solutions in Early Romantic Music - Miniatures: Lieder and Chopin
  730. Lecture 34.8 - Formal Challenges and Solutions in Early Romantic Music - Miniatures: Lieder and Chopin
  731. Lecture 28.8 - Classical-Era Opera - The Development of Opera Buffa
  732. Lecture 34.2 - Formal Challenges and Solutions in Early Romantic Music - Miniatures: Lieder and Chopin
  733. Lecture 35.9 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 1
  734. Lecture 31.1 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  735. Lecture 35.6 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 1
  736. Lecture 25.2 - Classical-Era Form - Sonata-Allegro Form II
  737. Lecture 27.3 - Classical-Era Orchestral Genres - The Concerto
  738. Lecture 32.1 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  739. Lecture 32.8 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  740. Lecture 27.1 - Classical-Era Orchestral Genres - The Concerto
  741. Lecture 36.4 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 2
  742. Lecture 32.9 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  743. Lecture 34.3 - Formal Challenges and Solutions in Early Romantic Music - Miniatures: Lieder and Chopin
  744. Lecture 34.9 - Formal Challenges and Solutions in Early Romantic Music - Miniatures: Lieder and Chopin
  745. Lecture 34.4 - Formal Challenges and Solutions in Early Romantic Music - Miniatures: Lieder and Chopin
  746. Lecture 28.3 - Classical-Era Opera - The Development of Opera Buffa
  747. Lecture 27.2 - Classical-Era Orchestral Genres - The Concerto
  748. Lecture 31.6 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  749. Lecture 28.1 - Classical-Era Opera - The Development of Opera Buffa
  750. Lecture 35.7 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 1
  751. Lecture 31.8 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  752. Lecture 27.4 - Classical-Era Orchestral Genres - The Concerto
  753. Lecture 25.4 - Classical-Era Form - Sonata-Allegro Form II
  754. Lecture 36.6 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 2
  755. Lecture 36.1 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 2
  756. Lecture 25.1 - Classical-Era Form - Sonata-Allegro Form II
  757. Lecture 32.7 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  758. Lecture 30.2 - The French Revolution and an Introduction to Beethoven
  759. Lecture 27.8 - Classical-Era Orchestral Genres - The Concerto
  760. Lecture 35.2 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 1
  761. Lecture 35.4 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 1
  762. Lecture 32.4 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  763. Lecture 33.7 - Introduction to Romanticism
  764. Lecture 34.1 - Formal Challenges and Solutions in Early Romantic Music - Miniatures: Lieder and Chopin
  765. Lecture 33.4 - Introduction to Romanticism
  766. Lecture 29.6 - Classical-Era Opera - Mozart and the Operatic Ensemble
  767. Lecture 32.5 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  768. Lecture 33.1 - Introduction to Romanticism
  769. Lecture 29.3 - Classical-Era Opera - Mozart and the Operatic Ensemble
  770. Lecture 32.6 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  771. Lecture 25.5 - Classical-Era Form - Sonata-Allegro Form II
  772. Lecture 30.1 - The French Revolution and an Introduction to Beethoven
  773. Lecture 36.8 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 2
  774. Lecture 31.7 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  775. Lecture 35.5 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 1
  776. Lecture 27.6 - Classical-Era Orchestral Genres - The Concerto
  777. Lecture 28.2 - Classical-Era Opera - The Development of Opera Buffa
  778. Lecture 26.3 - Classical-Era Orchestral Genres - The Symphony - Music for Every Person
  779. Lecture 26.5 - Classical-Era Orchestral Genres - The Symphony - Music for Every Person
  780. Lecture 25.3 - Classical-Era Form - Sonata-Allegro Form II
  781. Lecture 27.5 - Classical-Era Orchestral Genres - The Concerto
  782. Lecture 35.8 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 1
  783. Lecture 25.6 - Classical-Era Form - Sonata-Allegro Form II
  784. Lecture 32.3 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  785. Lecture 36.3 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 2
  786. Lecture 30.4 - The French Revolution and an Introduction to Beethoven
  787. Lecture 29.7 - Classical-Era Opera - Mozart and the Operatic Ensemble
  788. Lecture 30.3 - The French Revolution and an Introduction to Beethoven
  789. Lecture 32.2 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 2
  790. Lecture 33.9 - Introduction to Romanticism
  791. Lecture 33.3 - Introduction to Romanticism
  792. Lecture 33.6 - Introduction to Romanticism
  793. Lecture 29.2 - Classical-Era Opera - Mozart and the Operatic Ensemble
  794. Lecture 35.3 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 1
  795. Lecture 30.8 - The French Revolution and an Introduction to Beethoven
  796. Lecture 30.6 - The French Revolution and an Introduction to Beethoven
  797. Lecture 33.5 - Introduction to Romanticism
  798. Lecture 26.7 - Classical-Era Orchestral Genres - The Symphony - Music for Every Person
  799. Lecture 36.2 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 2
  800. Lecture 33.2 - Introduction to Romanticism
  801. Lecture 36.5 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 2
  802. Lecture 36.9 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 2
  803. Lecture 33.8 - Introduction to Romanticism
  804. Lecture 28.5 - Classical-Era Opera - The Development of Opera Buffa
  805. Lecture 31.4 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  806. Lecture 27.7 - Classical-Era Orchestral Genres - The Concerto
  807. Lecture 29.5 - Classical-Era Opera - Mozart and the Operatic Ensemble
  808. Lecture 26.6 - Classical-Era Orchestral Genres - The Symphony - Music for Every Person
  809. Lecture 29.1 - Classical-Era Opera - Mozart and the Operatic Ensemble
  810. Lecture 28.7 - Classical-Era Opera - The Development of Opera Buffa
  811. Lecture 26.2 - Classical-Era Orchestral Genres - The Symphony - Music for Every Person
  812. Lecture 26.1 - Classical-Era Orchestral Genres - The Symphony - Music for Every Person
  813. Lecture 36.7 - Formal Challenges and Solutions in Early Romantic Music - The Program Symphony: Berlioz' Symphonie Fantastique, Part 2
  814. Lecture 28.6 - Classical-Era Opera - The Development of Opera Buffa
  815. Lecture 31.2 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  816. Lecture 25.7 - Classical-Era Form - Sonata-Allegro Form II
  817. Lecture 31.3 - Beethoven's Symphony No. 5 in C Minor, Op. 67, Part 1
  818. Lecture 29.8 - Classical-Era Opera - Mozart and the Operatic Ensemble
  819. Lecture 30.7 - The French Revolution and an Introduction to Beethoven
  820. 1. The Language of Music: III.
  821. 6. Meter, Part 2: III.
  822. 13. Melody, continued: III.
  823. 10. Tonality, Key Signature and the Circle of Fifths: II.
  824. 2. Timbre, Continued: III.
  825. 13. Melody, continued: VI.
  826. 12. Melody: II.
  827. 5. Meter, Part 1
  828. 11. Intervals Revisited and Expanded: I.
  829. 11. Intervals Revisited and Expanded: IV.
  830. 15. Harmony, Part 2: Function, Tendency and Dominance: V.
  831. 11. Intervals Revisited and Expanded: III.
  832. 15. Harmony, Part 2: Function, Tendency and Dominance
  833. 6. Meter, Part 2: IV.
  834. 4. Beat and Tempo: III.C.
  835. 8. Pitch and Mode, Part 2: III.
  836. 5. Meter, Part 1: I.2.
  837. 3. Timbre, Part 3: III.B.3.
  838. 8. Pitch and Mode, Part 2: II.G.
  839. 2. Timbre, Continued: II.B.3.
  840. 8. Pitch and Mode, Part 2
  841. 11. Intervals Revisited and Expanded: VI.
  842. 11. Intervals Revisited and Expanded: VII.
  843. 9. Intervals and Tunings: I.F.
  844. 9. Intervals and Tunings
  845. 7. Pitch and Mode, Part 1: II.D.
  846. 3. Timbre, Part 3: I.B.
  847. 13. Melody, continued: II.
  848. 3. Timbre, Part 3: V.C.
  849. 14. Texture and Harmony, Part 1: X.
  850. 12. Melody
  851. 7. Pitch and Mode, Part 1: II.B.
  852. 5. Meter, Part 1: II.
  853. 3. Timbre, Part 3: VI.D.E.
  854. 15. Harmony, Part 2: Function, Tendency and Dominance: III.
  855. 3. Timbre, Part 3: Andante in C major for Horn and Piano AV 86a
  856. 1. The Language of Music: I.A.1.
  857. 2. Timbre, Continued
  858. 14. Texture and Harmony, Part 1
  859. 12. Melody: V.
  860. 14. Texture and Harmony, Part 1: III.
  861. 4. Beat and Tempo: II.
  862. 13. Melody, continued: V.
  863. 16. Harmony, Part 3: Progression, Cadence and Modulation
  864. 14. Texture and Harmony, Part 1: VIII.
  865. 9. Intervals and Tunings: V.
  866. 2. Timbre, Continued: V.I.
  867. 3. Timbre, Part 3
  868. 10. Tonality, Key Signature and the Circle of Fifths
  869. 9. Intervals and Tunings: IV.
  870. 2. Timbre, Continued: I.B.
  871. 16. Harmony, Part 3: Progression, Cadence and Modulation: III.
  872. 3. Timbre, Part 3: II.A.
  873. 2. Timbre, Continued: IV. C.
  874. 1. The Language of Music: I.C.
  875. 1. The Language of Music: II. Timbre, Part 1
  876. 9. Intervals and Tunings: III.
  877. 16. Harmony, Part 3: Progression, Cadence and Modulation: IV.G.
  878. 14. Texture and Harmony, Part 1: II.
  879. 14. Texture and Harmony, Part 1: V!.
  880. 9. Intervals and Tunings: VI.
  881. 7. Pitch and Mode, Part 1: II.F.
  882. 6. Meter, Part 2
  883. 4. Beat and Tempo: I.B.
  884. 6. Meter, Part 2: V.
  885. 16. Harmony, Part 3: Progression, Cadence and Modulation: IV.C.
  886. 11. Intervals Revisited and Expanded
  887. 1. The Language of Music
  888. 10. Tonality, Key Signature and the Circle of Fifths: IV.
  889. 12. Melody: IV.
  890. 16. Harmony, Part 3: Progression, Cadence and Modulation: II.
  891. 13. Melody, continued
  892. 6. Meter, Part 2: II.
  893. 4. Beat and Tempo
  894. 8. Pitch and Mode, Part 2: II.
  895. 5. Meter, Part 1: III.
  896. 10. Tonality, Key Signature and the Circle of Fifths: III.
  897. 15. Harmony, Part 2: Function, Tendency and Dominance: I.
  898. 15. Harmony, Part 2: Function, Tendency and Dominance: IV.
  899. 7. Pitch and Mode, Part 1
  900. 7. Pitch and Mode, Part 1: II.
  901. 10. Tonality, Key Signature and the Circle of Fifths: IV…
  902. 1. The Language of Music: V.
  903. 4. Beat and Tempo: I.C.
  904. 12. Melody: III.
  905. Melody: Part 7
  906. Melody: Part 3
  907. Introduction to Understanding the Fundamentals of Music
  908. Harmony, Part 2—Function, Tendency, and Dominance: Part 1
  909. Harmony, Part 2—Function, Tendency, and Dominance: Part 5
  910. Harmony, Part 2—Function, Tendency, and Dominance: Part 9
  911. Intervals Revisited and Expanded: Part 4
  912. Intervals Revisited and Expanded: Part 8
  913. Pitch and Mode, Part 1: Part 3
  914. Pitch and Mode, Part 1: Part 7
  915. Pitch and Mode, Part 2: Part 4
  916. Pitch and Mode, Part 2: Part 8
  917. Beat and Tempo: Part 4
  918. Beat and Tempo: Part 8
  919. Melody, Continued: Part 1
  920. Melody, Continued: Part 2
  921. Timbre Continued: Part 4
  922. Timbre Continued: Part 8
  923. Melody, Continued: Part 7
  924. Melody, Continued: Part 8
  925. Melody, Continued: Part 9
  926. Melody, Continued: Part 3
  927. Melody, Continued: Part 4
  928. Melody, Continued: Part 5
  929. Melody, Continued: Part 6
  930. Tonality, Key Signature, and the Circle of Fifths: Part 9
  931. Intervals and Tunings: Part 6
  932. Tonality, Key Signature, and the Circle of Fifths: Part 8
  933. Intervals and Tunings: Part 7
  934. Tonality, Key Signature, and the Circle of Fifths: Part 7
  935. Intervals and Tunings: Part 8
  936. Tonality, Key Signature, and the Circle of Fifths: Part 6
  937. Intervals and Tunings: Part 9
  938. Tonality, Key Signature, and the Circle of Fifths: Part 5
  939. Intervals and Tunings: Part 2
  940. Tonality, Key Signature, and the Circle of Fifths: Part 4
  941. Intervals and Tunings: Part 3
  942. Tonality, Key Signature, and the Circle of Fifths: Part 3
  943. Intervals and Tunings: Part 4
  944. Tonality, Key Signature, and the Circle of Fifths: Part 2
  945. Intervals and Tunings: Part 5
  946. Tonality, Key Signature, and the Circle of Fifths: Part 1
  947. Timbre, Part 3: Part 8
  948. Intervals and Tunings: Part 1
  949. Timbre, Part 3: Part 4
  950. The Language of Music: Part 1
  951. The Language of Music: Part 2
  952. The Language of Music: Part 3
  953. The Language of Music: Part 4
  954. The Language of Music: Part 5
  955. The Language of Music: Part 6
  956. The Language of Music: Part 7
  957. The Language of Music: Part 8
  958. Melody: Part 8
  959. Melody: Part 4
  960. Harmony, Part 2—Function, Tendency, and Dominance: Part 2
  961. Harmony, Part 2—Function, Tendency, and Dominance: Part 6
  962. Intervals Revisited and Expanded: Part 3
  963. Intervals Revisited and Expanded: Part 7
  964. Pitch and Mode, Part 1: Part 4
  965. Pitch and Mode, Part 1: Part 8
  966. Meter, Part 1: Part 4
  967. Meter, Part 1: Part 3
  968. Meter, Part 1: Part 6
  969. Meter, Part 1: Part 5
  970. Meter, Part 1: Part 8
  971. Pitch and Mode, Part 2: Part 1
  972. Pitch and Mode, Part 2: Part 5
  973. Pitch and Mode, Part 2: Part 9
  974. Meter, Part 1: Part 7
  975. Meter, Part 1: Part 9
  976. Beat and Tempo: Part 3
  977. Beat and Tempo: Part 7
  978. Meter, Part 1: Part 2
  979. Meter, Part 1: Part 1
  980. Timbre Continued: Part 3
  981. Timbre Continued: Part 7
  982. Timbre, Part 3: Part 9
  983. Timbre, Part 3: Part 1
  984. Timbre, Part 3: Part 5
  985. Melody: Part 9
  986. Melody: Part 1
  987. Melody: Part 5
  988. Harmony, Part 2—Function, Tendency, and Dominance: Part 3
  989. Harmony, Part 2—Function, Tendency, and Dominance: Part 7
  990. Intervals Revisited and Expanded: Part 2
  991. Intervals Revisited and Expanded: Part 6
  992. Pitch and Mode, Part 1: Part 1
  993. Pitch and Mode, Part 1: Part 5
  994. Pitch and Mode, Part 1: Part 9
  995. Pitch and Mode, Part 2: Part 2
  996. Pitch and Mode, Part 2: Part 6
  997. Beat and Tempo: Part 2
  998. Beat and Tempo: Part 6
  999. Meter, Part 2: Part 2
  1000. Meter, Part 2: Part 1
  1001. Meter, Part 2: Part 4
  1002. Meter, Part 2: Part 3
  1003. Meter, Part 2: Part 6
  1004. Meter, Part 2: Part 5
  1005. Meter, Part 2: Part 8
  1006. Meter, Part 2: Part 7
  1007. Meter, Part 2: Part 9
  1008. Texture and Harmony, Part 1: Part 1
  1009. Texture and Harmony, Part 1: Part 6
  1010. Texture and Harmony, Part 1: Part 7
  1011. Texture and Harmony, Part 1: Part 8
  1012. Texture and Harmony, Part 1: Part 9
  1013. Texture and Harmony, Part 1: Part 2
  1014. Texture and Harmony, Part 1: Part 3
  1015. Harmony, Part 3—Progression, Cadence, and Modulation: Part 9
  1016. Texture and Harmony, Part 1: Part 4
  1017. Timbre Continued: Part 2
  1018. Timbre Continued: Part 6
  1019. Texture and Harmony, Part 1: Part 5
  1020. Harmony, Part 3—Progression, Cadence, and Modulation: Part 7
  1021. Harmony, Part 3—Progression, Cadence, and Modulation: Part 8
  1022. Harmony, Part 3—Progression, Cadence, and Modulation: Part 5
  1023. Harmony, Part 3—Progression, Cadence, and Modulation: Part 6
  1024. Harmony, Part 3—Progression, Cadence, and Modulation: Part 3
  1025. Harmony, Part 3—Progression, Cadence, and Modulation: Part 4
  1026. Harmony, Part 3—Progression, Cadence, and Modulation: Part 1
  1027. Harmony, Part 3—Progression, Cadence, and Modulation: Part 2
  1028. Timbre, Part 3: Part 6
  1029. Timbre, Part 3: Part 2
  1030. Melody: Part 2
  1031. Melody: Part 6
  1032. Harmony, Part 2—Function, Tendency, and Dominance: Part 4
  1033. Harmony, Part 2—Function, Tendency, and Dominance: Part 8
  1034. Intervals Revisited and Expanded: Part 1
  1035. Intervals Revisited and Expanded: Part 5
  1036. Intervals Revisited and Expanded: Part 9
  1037. Pitch and Mode, Part 1: Part 2
  1038. Pitch and Mode, Part 1: Part 6
  1039. Pitch and Mode, Part 2: Part 3
  1040. Pitch and Mode, Part 2: Part 7
  1041. Beat and Tempo: Part 1
  1042. Beat and Tempo: Part 5
  1043. Beat and Tempo: Part 9
  1044. Timbre Continued: Part 1
  1045. Timbre Continued: Part 5
  1046. Timbre Continued: Part 9
  1047. Timbre, Part 3: Part 7
  1048. Timbre, Part 3: Part 3
  1049. Lecture One: "The Language of Music", Part 6
  1050. Lecture Eleven: "Intervals Revisited and Expanded", Part 4
  1051. Lecture Eleven: "Intervals Revisited and Expanded", Part 8
  1052. Lecture Five: "Meter, Part 1", Part 9
  1053. Lecture Five: "Meter, Part 1", Part 8
  1054. Lecture Four: "Beat and Tempo", Part 3
  1055. Lecture Four: "Beat and Tempo", Part 7
  1056. Lecture Six: "Meter, Part 2", Part 4
  1057. Lecture Six: "Meter, Part 2", Part 8
  1058. Lecture Two: "Timbre, Continued", Part 1
  1059. Lecture Two: "Timbre, Continued", Part 5
  1060. Lecture Two: "Timbre, Continued", Part 9
  1061. Lecture Sixteen: "Harmony, Part 3—Progression, Cadence, and Modulation", Part 3
  1062. Lecture Sixteen: "Harmony, Part 3—Progression, Cadence, and Modulation", Part 7
  1063. Lecture Ten: "Tonality, Key Signature, and the Circle of Fifths", Part 4
  1064. Lecture Ten: "Tonality, Key Signature, and the Circle of Fifths", Part 8
  1065. Lecture Five: "Meter, Part 1", Part 1
  1066. Lecture Five: "Meter, Part 1", Part 3
  1067. Lecture Five: "Meter, Part 1", Part 2
  1068. Lecture Five: "Meter, Part 1", Part 5
  1069. Lecture Five: "Meter, Part 1", Part 4
  1070. Lecture Five: "Meter, Part 1", Part 7
  1071. Lecture Five: "Meter, Part 1", Part 6
  1072. Lecture Twelve: "Melody", Part 1
  1073. Lecture Twelve: "Melody", Part 5
  1074. Lecture Twelve: "Melody", Part 9
  1075. Lecture One: "The Language of Music", Part 1
  1076. Lecture One: "The Language of Music", Part 5
  1077. Lecture Eleven: "Intervals Revisited and Expanded", Part 1
  1078. Lecture Eleven: "Intervals Revisited and Expanded", Part 5
  1079. Lecture Eleven: "Intervals Revisited and Expanded", Part 9
  1080. Lecture Four: "Beat and Tempo", Part 2
  1081. Lecture Four: "Beat and Tempo", Part 6
  1082. Lecture Six: "Meter, Part 2", Part 3
  1083. Lecture Six: "Meter, Part 2", Part 7
  1084. Lecture Two: "Timbre, Continued", Part 4
  1085. Lecture Two: "Timbre, Continued", Part 8
  1086. Lecture Sixteen: "Harmony, Part 3—Progression, Cadence, and Modulation", Part 4
  1087. Lecture Sixteen: "Harmony, Part 3—Progression, Cadence, and Modulation", Part 8
  1088. Lecture Ten: "Tonality, Key Signature, and the Circle of Fifths", Part 1
  1089. Lecture Ten: "Tonality, Key Signature, and the Circle of Fifths", Part 5
  1090. Lecture Ten: "Tonality, Key Signature, and the Circle of Fifths", Part 9
  1091. Lecture Twelve: "Melody", Part 4
  1092. Lecture Twelve: "Melody", Part 8
  1093. Lecture One: "The Language of Music", Part 4
  1094. Lecture One: "The Language of Music", Part 8
  1095. Lecture Eleven: "Intervals Revisited and Expanded", Part 2
  1096. Lecture Eleven: "Intervals Revisited and Expanded", Part 6
  1097. Lecture Fifteen: "Harmony, Part 2—Function, Tendency, and Dominance", Part 4
  1098. Lecture Fifteen: "Harmony, Part 2—Function, Tendency, and Dominance", Part 5
  1099. Lecture Fifteen: "Harmony, Part 2—Function, Tendency, and Dominance", Part 6
  1100. Lecture Fifteen: "Harmony, Part 2—Function, Tendency, and Dominance", Part 7
  1101. Lecture Fifteen: "Harmony, Part 2—Function, Tendency, and Dominance", Part 8
  1102. Lecture Fifteen: "Harmony, Part 2—Function, Tendency, and Dominance", Part 9
  1103. Lecture Seven: "Pitch and Mode, Part 1", Part 7
  1104. Lecture Seven: "Pitch and Mode, Part 1", Part 8
  1105. Lecture Seven: "Pitch and Mode, Part 1", Part 9
  1106. Lecture Seven: "Pitch and Mode, Part 1", Part 1
  1107. Lecture Seven: "Pitch and Mode, Part 1", Part 2
  1108. Lecture Seven: "Pitch and Mode, Part 1", Part 3
  1109. Lecture Seven: "Pitch and Mode, Part 1", Part 4
  1110. Lecture Seven: "Pitch and Mode, Part 1", Part 5
  1111. Lecture Seven: "Pitch and Mode, Part 1", Part 6
  1112. Lecture Thirteen: "Melody, Continued", Part 4
  1113. Lecture Thirteen: "Melody, Continued", Part 5
  1114. Lecture Thirteen: "Melody, Continued", Part 2
  1115. Lecture Thirteen: "Melody, Continued", Part 3
  1116. Lecture Thirteen: "Melody, Continued", Part 8
  1117. Lecture Thirteen: "Melody, Continued", Part 9
  1118. Lecture Thirteen: "Melody, Continued", Part 6
  1119. Lecture Thirteen: "Melody, Continued", Part 7
  1120. Lecture Six: "Meter, Part 2", Part 2
  1121. Lecture Four: "Beat and Tempo", Part 1
  1122. Lecture Four: "Beat and Tempo", Part 5
  1123. Lecture Four: "Beat and Tempo", Part 9
  1124. Lecture Eight: "Pitch and Mode, Part 2", Part 3
  1125. Lecture Eight: "Pitch and Mode, Part 2", Part 4
  1126. Lecture Eight: "Pitch and Mode, Part 2", Part 5
  1127. Lecture Eight: "Pitch and Mode, Part 2", Part 6
  1128. Lecture Six: "Meter, Part 2", Part 6
  1129. Lecture Eight: "Pitch and Mode, Part 2", Part 1
  1130. Lecture Eight: "Pitch and Mode, Part 2", Part 2
  1131. Lecture Eight: "Pitch and Mode, Part 2", Part 7
  1132. Lecture Eight: "Pitch and Mode, Part 2", Part 8
  1133. Lecture Eight: "Pitch and Mode, Part 2", Part 9
  1134. Lecture Two: "Timbre, Continued", Part 3
  1135. Lecture Two: "Timbre, Continued", Part 7
  1136. Lecture Fifteen: "Harmony, Part 2—Function, Tendency, and Dominance", Part 1
  1137. Lecture Sixteen: "Harmony, Part 3—Progression, Cadence, and Modulation", Part 1
  1138. Lecture Sixteen: "Harmony, Part 3—Progression, Cadence, and Modulation", Part 5
  1139. Lecture Fifteen: "Harmony, Part 2—Function, Tendency, and Dominance", Part 2
  1140. Lecture Fifteen: "Harmony, Part 2—Function, Tendency, and Dominance", Part 3
  1141. Lecture Ten: "Tonality, Key Signature, and the Circle of Fifths", Part 2
  1142. Lecture Ten: "Tonality, Key Signature, and the Circle of Fifths", Part 6
  1143. Lecture One: "The Language of Music", , Part 2
  1144. Lecture Twelve: "Melody", Part 3
  1145. Lecture Twelve: "Melody", Part 7
  1146. Lecture One: "The Language of Music", Part 3
  1147. Lecture One: "The Language of Music", Part 7
  1148. Lecture Eleven: "Intervals Revisited and Expanded", Part 3
  1149. Lecture Eleven: "Intervals Revisited and Expanded", Part 7
  1150. Lecture Nine: "Intervals and Tunings", Part 2
  1151. Lecture Nine: "Intervals and Tunings", Part 1
  1152. Lecture Nine: "Intervals and Tunings", Part 9
  1153. Lecture Nine: "Intervals and Tunings", Part 8
  1154. Lecture Nine: "Intervals and Tunings", Part 7
  1155. Lecture Nine: "Intervals and Tunings", Part 6
  1156. Lecture Nine: "Intervals and Tunings", Part 5
  1157. Lecture Nine: "Intervals and Tunings", Part 4
  1158. Lecture Nine: "Intervals and Tunings", Part 3
  1159. Lecture Thirteen: "Melody, Continued", Part 1
  1160. Lecture Three: "Timbre, Part 3", Part 3
  1161. Lecture Three: "Timbre, Part 3", Part 4
  1162. Lecture Six: "Meter, Part 2", Part 1
  1163. Lecture Three: "Timbre, Part 3", Part 1
  1164. Lecture Three: "Timbre, Part 3", Part 2
  1165. Lecture Four: "Beat and Tempo", Part 4
  1166. Lecture Four: "Beat and Tempo", Part 8
  1167. Lecture Six: "Meter, Part 2", Part 5
  1168. Lecture Six: "Meter, Part 2", Part 9
  1169. Lecture Two: "Timbre, Continued", Part 2
  1170. Lecture Two: "Timbre, Continued", Part 6
  1171. Lecture Sixteen: "Harmony, Part 3—Progression, Cadence, and Modulation", Part 2
  1172. Lecture Sixteen: "Harmony, Part 3—Progression, Cadence, and Modulation", Part 6
  1173. Lecture Fourteen: "Texture and Harmony, Part 1", Part 9
  1174. Lecture Fourteen: "Texture and Harmony, Part 1", Part 8
  1175. Lecture Fourteen: "Texture and Harmony, Part 1", Part 7
  1176. Lecture Ten: "Tonality, Key Signature, and the Circle of Fifths", Part 3
  1177. Lecture Ten: "Tonality, Key Signature, and the Circle of Fifths", Part 7
  1178. Lecture Fourteen: "Texture and Harmony, Part 1", Part 6
  1179. Lecture Fourteen: "Texture and Harmony, Part 1", Part 5
  1180. Lecture Three: "Timbre, Part 3", Part 9
  1181. Lecture Three: "Timbre, Part 3", Part 7
  1182. Lecture Three: "Timbre, Part 3", Part 8
  1183. Lecture Three: "Timbre, Part 3", Part 5
  1184. Lecture Three: "Timbre, Part 3", Part 6
  1185. Lecture Fourteen: "Texture and Harmony, Part 1", Part 4
  1186. Lecture Fourteen: "Texture and Harmony, Part 1", Part 3
  1187. Lecture Fourteen: "Texture and Harmony, Part 1", Part 2
  1188. Lecture Fourteen: "Texture and Harmony, Part 1", Part 1
  1189. Lecture Twelve: "Melody", Part 2
  1190. Lecture Twelve: "Melody", Part 6
  1191. Lecture One: "The Language of Music", Part 2

Pinnwand

Log dich ein um einen Eintrag zu schreiben.
Schreibe den ersten Kommentar!

Fans

»Robert Greenberg« gefällt bisher niemandem.

Gefällt mir
Künstler
Über uns
Infos
Links
Hot Songs