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(P) 2018 Sony Music Entertainment
Titre
Pop.
Heure
Vol. I - Musical Phonology - Not Applicable
First of All
02:00
Perhaps the Principal Thing
01:39
Let Me Start
00:52
This is Not Just a Sentimental Anecdote
01:52
From this Time
02:29
But How do we Investigate
02:51
Now You Can See
01:28
Universality is a Big Word
02:31
Other Linguists
02:46
I Began by Imagining Myself
02:12
Well, Then I Thought
02:06
Let's Make a Simple Analogy
02:03
Maybe Even a Divine One
01:32
But Where do these Notes Come from?
02:22
This Acoustical Phenomenon
02:08
All These Upper Notes
The First Overtone
02:33
But More of that Later
01:56
But Let's Not Make the Mistake
02:20
And that's how the Tempered Clavichord
Now this is a Substantive Universal
02:01
But Let's be Careful
01:43
And there is Always that Blue Note
01:36
But Even these Twelve Tones
01:50
I Trust You Realize
02:16
And Again Comes a Great Leap
Now this Means
01:38
This Is Not to Say that There Were No Drastic Changes
02:28
But Meanwhile we are Still in the Golden Age
02:55
So, we're in the Midst of a Chromatic Adventure
01:27
And All by Those Progressions
01:34
Now, I Must Point Out
Do you Realize
Symphony No. 40 in G minor, K. 550 - Wolfgang Amadeus Mozart
I. Allegro molto
08:19
II. Andante
08:30
III. Menuetto, Allegretto
04:37
IV. Finale. Allegro assai
06:09
Vol. II - Musical Syntax - Not Applicable
Every Once in a While
Last Week
02:24
Amen, says Noam Chomsky
02:09
I Suppose What Chomsky is Really After
02:49
So, Let's Pull Up Our Socks
All Right, Let's Try Another One
Why Am I Taking Your Time
02:11
Well Then
01:47
I Think it Follows
But First, What are These Principles
01:49
Tranformational Grammar
01:35
But Now Just Think of that Sentence
01:01
Since this is not a Linguistics Class
Take the Passive Transformation
Well, it hasn't Brought us There
01:51
Good - Now Just as Three Notes are Linked Together
Now let's Go Back
01:48
Now We Are Ready
02:27
Now I Wanna Take You
02:05
Well, Transformation, Deletion, Embedding, Pronominalization
I Am Sure I Don't Have to Trouble
Here I Go
01:30
I Have Asked Myself
01:54
I Became so Fascinated
Let's Take one Such Utterance
Now Imagine
01:29
Now Let's See
02:32
Mozart's G Minor Symphony
01:21
Now Our Job is
02:26
That Introductory Accompaniment
01:26
What Does this Three-Note Design Mean
01:55
The Reason I Pick Symmetry
Now From Here On
02:04
And Once Again, We Are Back
01:10
By Far the Chief Transformational Principle
01:42
You See, One of the Great Failings
01:57
Most People Hearing Mozart's Opening
01:45
So What Your Ask
01:58
And if You are Still not Convinced
These Ambiguities
01:20
For Instance, in this Same First Movement
01:59
So All these Syntactic Transformations of the Same Material
01:14
He Talks About this Sonnet
Because Now it's Time
But Now Let's Listen to
Listen to the Whole Exposition
02:02
Development Coming Up
02:07
The Circle of Fifths Again
And That Was all One Single Sentence
01:17
Vol. III - Musical Semantics - Not Applicable
The Other Day
02:37
The First Would Show Us One Meaning
01:12
Think of this Famous Passage
A Linguist Would Say
Well, I Replied, Chomsky Would Say
Of Course, That Last Metaphorical Leap
Terrific, Said My Blonde Inquisitor
01:44
In Fact, When You Think of the Number
All Right, First Let's Look Briefly
02:41
Playing, That's the Word
But Does This Stravinskian Game Concept
There Are Three Specific Ways
Now, Having Defined My Usages of Metaphor
And Here We Are in Trouble
01:05
Are We Feeling What Beethoven Supposedly Felt
We Will Never Know
Now, If We Accept This General Idea
01:40
In Our Last Lecture
We All Recognize Antithesis
01:46
It Can And It Does
01:24
And Again, as in the Poem
02:13
In Fact, it Has Been Authoritatively Suggested
We Can Expand the Idea
What Do You Suppose
What' Seriously Striking
So Why the Pastorale on this Lecture
Let's Begin at the Beginning
But What of the More Obvious Melodic Material
But to Develop How
Now We Have an Insight
But Wait
01:53
But Why Were Just Those Two Notes Added
The Metaphor Arises
02:47
But in the Ensuing Four Bars
02:10
But That's Not the Main Event
Well, That's the Beginning
That's One of the Questions
This Interference of the Two Frequencies
But What Are We to Say
It Is To Be Found
Now That's One Way of Looking
At This Point
Even if You Can Succeed
Symphony No. 6 in F Major, Op. 68 "Pastoral" - Ludwig Van Beethoven
I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
11:07
II. Scene am Bach. Andante molto moto
13:41
III. Lustiges Zusammensein der Landleute. Allegro
05:27
IV. Gewitter. Sturm. Allegro
03:42
V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto
10:15
Vol. IV - The Delights and Dangers of Ambiguity - Not Applicable
When I First Wrote Down the Title
01:41
Part of the Danger
The Idea of Ambiguity
Similarly, in Our Second Lecture
Then What's the Magic Secret
02:52
Enough of Ambiguity
The Irony of All This
But, Mind You
Where Music Was Concerned
Only Think Of
And Chopin Well We Can't Ignore Chopin
And Then, in The Same Little Mazurka
Foolish Questions
01:33
Let Me Try to Read You
Listen To This
They Began to Intermingle
The Pivotal Point
So There Is a Dramatic Change
So it is After All Not So Surprising
02:30
Now If You Noticed
You See, the Music Is Trying Hard
So That Instant in Musical Time
Now Romeo Is All Stirred Up
03:00
Roméo and Juliet, A Dramatic Symphony, Op. 17 - Hector Berlioz
1. Roméo Seul: Tristesse - Bruits de Concerts et de Bal - Grand Fête chez Capulet: Andante malinconico e sostenuto
04:29
Allegro - Larghetto espressivo - (Instrumental)
Allegro - (Instrumental)
02:21
Réunion des duex Themes, du Larghetto et de l'Allegro (Instrumental)
03:45
What a Piece
Quite Unconsciously Borrowed
My Purpose In All This
02:25
Is It, Says Wagner
02:15
Every Diminished Seventh Chord
01:23
Now the Remarkable Thing Is
02:54
And This Is What Gives Tristan
02:53
Prelude and Love-Death (From "Tristan and Isolde")
19:04
That May be the Slowest Performance
But Ultimately
01:37
Poetry Has Begun to Show
And When Debussy
It's Lovely, This Dreaming
02:35
For Example, Do You Remember
In Fact, the Ending of this Piece
Let Me Show You Briefly
This New Episode that Proceeds
For Instance, Hardly Have We Had Time
Because the Scale
It's Almost Exactly What Happens
Literally Translated
But Notice, Too, that the Example
Both Works Have Definitive Beginnings
01:31
Listen As I Play
Prélude à l'après-midi d'un faune, L. 86
10:24
Some Crazy Modern Music
01:03
Vol. V - The Twentieth Century Crisis - Not Applicable
Our Lecture Tonight
00:18
Rhapsodie espagnole, M. 54: IV. Feria
06:33
What a Way to Enter the Twentieth Century
But 1908, if the Truth to be Told
These Troubling Presentiments
02:18
So, now in 1908
This Is Atonality
A Charming Idea
00:27
The Unanswered Question
05:23
I that Luminous Final Triad
I Have Recently Been Reading
We Have Already Referred to Some of Those
03:01
In Any Case
But For All These Reasons
Son of Tristan
Now You Look at Those First Two Bars
02:19
Of Course, There Are Lots
It's as Though a New Covenant
Trouble is, That the New Musical Rules
The Kind of Tonal Feeling
Of Course, There Are Those Who Say
It Seems Somehow Inevitable
02:17
Is There Possibly the Beginning
And What About Beethoven's Nineth
02:43
These Are Some of the Problems
02:39
Now Let's Jump Ahead
Let's Put it Another Way
First of All, Berg Chose a Tone Row
So, All in All
Berg: Violin Concerto (Excerpt)
02:23
Fantastic
It Comes at a Point
Berg: Violin Concerto: II. Allegro, ma sempre rubato -
If This Particularly Demanding Lecture
If You Really Have Been Thinking
But While Restudying this Work
The Twentieth Century
What Do You Do If You Know All This
02:34
It's Very Strange, How the Pieces
What Exactly Was This News
We Emerge From a Cinema
As You Listen to This Finale
This is Mahler
Symphony No. 9 in D Major: IV. Adagio. Sehr langsam und noch zurückhaltend
23:00
Vol. VI - The Poetry of Earth - Not Applicable
I Know What Your Are Thinking
What About This
I Am Plaguing You With this Question
Of Course What he is Really Talking About
But It Was Precisely
Now I Have Just Used Two Words
In Fact, It Was Satie, Picasso, and Cocteau
But Our Scene
Even in the Most
For Our Purposes
Musicologists Are Always Pointing
But Bitonality Does Not Only Serve
Of Course, Polytonality Can And Does
Now What's Going On
And While You Are in That Record Shop
Of Course, These Asymmetries
Brutal It May Be
Now, Remember
These Are Two Sets
Just Cast An Eye
02:44
Now That Page of Music
02:58
But the Most Striking Semantic Effect
This New Aesthetic Relaxation
Even Some Germans
You Can See How the Transformation
Chomsky Himself Gives a Classic Example
Very Important, the Ironic Element
02:38
So, It Would Seem
But This Neoclassic Approach
I Think This Is Again a Moment
It's the Essence
If This Poem Were Rewritten
01:19
Why Have I Digressed
Now Can You Understand
Untermeyer Called This
Of Course, With the Waste Land
01:16
But the Thing of It All Is
We Are Going to Hear
One Has Only Learnt to Get
02:45
Now I propose Only Because
This Union Is Possible Only Because
02:57
But What Has All This to Do With Stravinsky
And This Is the Essence
Look: Here Is a Joke
Chilling, Shattering, Neoclassic
Stravinsky's Own Aesthetic Pronouncements
But Of Course He Was Forced
And Now We Are Finally Ready
02:36
And Then Mozart Appears
But This Eclecticism Knows No Bounds
Now All This I Had Planned to Tell You
You Think That's Funny
02:42
How About That
Then Came the Answer
02:40
But Why This Particular Misalliance
01:22
My Words Are Poor
Stravinsky: Oedipus Rex - Igor Stravinski
Prologue: "Your Are About to Hear a Latin Version of Oedipus the King
Michael Wagner
00:58
Act I: "Caedit nos pestis"
04:05
Act I: "Liberi vos liberabo"
03:29
Act I: "This is Creon, Brother-In-Law of Oedipus
00:26
Act I: "Respondit Deus"
06:38
Act I:" Oedipus Questions the Fountain of Truth
Act I: "Dicere non possum"
05:22
Act I: "Gloria!"
01:11
Act II: The Dispute of the Princess Attracts the Attention of Jocasta
Act II: "Nonn'erubescite, reges"
04:25
Act II: "Ne Probentur Oracula"
03:20
Act II: "Ego senem cecici"
Act II: The Witness to the Murder Comes Out of the Shadow
00:44
Act II "Adest omniscius pastor"
04:32
Act II: "Nonne monstru rescituri"
03:24
Act II: And Now You Are Going to Hear That Famous Monolog
Act II: "Divum locastae caput mortuum!"
03:09
Act II: "Ecce! Regem Oedipoda"
Va-le-di-co
During that Decade
It Was At This Point That I Wrote
What Interests Me About It
Is it Possible
It's As Tough in the Period
And I Believe
par Leonard Bernstein
par Michael Wagner
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