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Lect.01 The Language of Music
Lect.02 Timbre, Continued
Lect.04 Beat and Tempo
Lect.03 Timbre, Part 3
Lect.07 Pitch and Mode, Part 1
Lect.05 Meter, Part 1
Lect.06 Meter, Part 2
Lect.09 Intervals and Tunings
Lect.08 Pitch and Mode, Part 2
Lect.12 Melody
Lect.10 Tonality, Key Signature, and the Circle of Fifths
Lect.13 Melody, Continued
Lect.11 Intervals Revisited and Expanded
Lect.14 Texture and Harmony, Part 1
Lect.15 Harmony, Part 2—Function, Tendency, and Dominance
Lect.01 Beethoven and the Piano
Lect.16 Harmony, Part 3—Progression, Cadence, and Modulation
Lect.01 The Voice in the Wilderness
Lect.02 Homage to Mozart
Lect.03 The Grand Sonata, Part 1
Lect.05 Mozart, Part 1
Lect.01 Music as a Mirror
Lect.03 Baroque Masters
Lect.01 La bell'Italia
Lect.02 The Baroque Italian Concerto
Game Plan And Preliminaries
Lect.10 Hummel and Chopin
Lect.07 The Pathétique and the Sublime
Lect.04 The Grand Sonata, Part 2
Lect.16 Rachmaninoff
Lect.09 The Romantic Concerto
Lect.05 Meaning and Metaphor
Lect.01 1789
Lect.08 Beethoven
Lect.06 Mozart, Part 2
Lect.06 The Striking and Subversive, Op. 10 Continued
Lect.21 The Hammerklavier, Part 1
Lect.08 The Opus 14 Sonatas
Lect.07 Classical Masters
Lect.11 Mendelssohn and Schumann
Lect.02 Beginnings
Lect.14 Brahms and the Symphonic Concerto
Lect.04 Introduction to the Renaissance
Lect.16 The Appassionata and the Heroic Style
Lect.11 Sonata quasi una fantasia—The Moonlight
Lect.15 Dvorak
Lect.12 Romantic Masters
Lect.21 Schönberg, Berg, and the 12-Tone Method
Lect.17 The Russian Concerto, Part 1
Lect.23 Elliott Carter
Lect.05 The Renaissance Mass
Lect.22 Twentieth-Century Masters
Lect.24 Reconciliation
Lect.13 Tchaikovsky
Lecture 1: 2. Definitions
Lecture 1: 1. Why Seek Understanding?
Symphony Lecture 8: Mozart
Lect.01 Introduction
Lect.22 The Hammerklavier, Part 2
Lect.23 In a World of His Own
Vivaldi—The Four Seasons
ZM-759-02-2e-A Pianist In Liepzig
Lect.03 The Middle Ages
Lect.19 The Concerto in France
Lect.18 The Russian Concerto, Part 2
Lect.20 Bartok
Lecture 1: 4. Four Tenets II
Lect.02 Sources—The Ancient World and the Early Church
Holiday Music
Lect.18 They Deserve Better, Part 2
Bach—Brandenburg Concerto No. 2
Lect.10 A Genre Redefined
Lect.19 The Farewell Sonata
Lect.17 They Deserve Better, Part 1
Lect.06 The Madrigal
Bach—Violin Concerto In E Major
Lecture 1: 5. Four Tenets III; 3-Pronged Attack
ZM-700-03-3d-The Middle Ages
Lect.03 Oberto
ZM-700-05-5f -The Renaissance Mass
Lecture 1: 3. Four Tenets I
ZM-700-03-3a-The Middle Ages
ZM-700-03-3c-The Middle Ages
ZM-700-02-2g-Sources-The Ancient World and the Early Church
ZM-700-02-2b-Sources-The Ancient World and the Early Church
ZM-700-05-5i -The Renaissance Mass
ZM-700-06-6a-The Madrigal
ZM-700-05-5h-The Renaissance Mass
ZM-700-05-5g-The Renaissance Mass
ZM-700-03-3b-The Middle Ages
Lect.15 The Waldstein and the Heroic Style
Lect.20 Experiments in a Dark Time
ZM-700-04-4d-Introduction to the Renaissance
Lect.13 The Oratorio
Schubert—Symphony No. 9
ZM-700-04-4b-Introduction to the Renaissance
ZM-700-04-4c-Introduction to the Renaissance
Lect.07 An Introduction to the Baroque Era
Lecture 1: 7. Apologies; Composer As Person I
Lecture 1: 6. 3-Prongs Continued
ZM-700-04-4a-Introduction to the Renaissance
Haydn—Symphony No. 104
Lect.09 Motives, Bach and a Farewell to the 18th Century
Lect.17 Mozart, Masonry and The Magic Flute
Lecture 1: 8. Composer As Person II
ZM-700-03-3f -The Middle Ages
Lect.01 Game Plan and Preliminaries
ZM-700-02-2h-Sources-The Ancient World and the Early Church
ZM-700-02-2i -Sources-The Ancient World and the Early Church
ZM-700-07-7h-Introduction To The Baroque
ZM-700-07-7g-Introduction To The Baroque
ZM-700-07-7i -Introduction To The Baroque
Lect.13 The Tempest
Lect.08 Style Features of Baroque-era Music
ZM-700-06-6c-The Madrigal
ZM-700-06-6b-The Madrigal
ZM-700-02-2f -Sources-The Ancient World and the Early Church
ZM-700-02-2a-Sources-The Ancient World and the Early Church
ZM-700-05-5e-The Renaissance Mass
ZM-700-05-5c-The Renaissance Mass
ZM-700-02-2d-Sources-The Ancient World and the Early Church
ZM-700-02-2c-Sources-The Ancient World and the Early Church
ZM-700-02-2e-Sources-The Ancient World and the Early Church
ZM-700-05-5d-The Renaissance Mass
ZM-700-05-5a-The Renaissance Mass
ZM-700-05-5b-The Renaissance Mass
Lect.24 Servants to the Cause and Guilty Pleasures
ZM-700-06-6d-The Madrigal
ZM-700-06-6e-The Madrigal
Lecture 1: 0. Teaching Company Overview
Lect.01 Piano Starts Here!
ZM-700-04-4g-Introduction to the Renaissance
ZM-700-04-4f -Introduction to the Renaissance
ZM-700-04-4e-Introduction to the Renaissance
ZM-700-04-4i -Introduction to the Renaissance
ZM-700-04-4h-Introduction to the Renaissance
Lect.02 Intro & Words & Music, II
Lect.18 The Magic Flute, Part Two
ZM-700-03-3i -The Middle Ages
Lect.10 Fugue
Lect.03 A Brief History of Vocal Expression in Music, I
Mozart—Piano Concerto No. 24 In C Minor
Brahms—Symphony No. 4
Lect.01 Intro & Words & Music, I
ZM-700-03-3g-The Middle Ages
Lect.22 Classical-era Form—Rondo Form
ZM-700-03-3h-The Middle Ages
ZM-700-03-3e-The Middle Ages
ZM-700-08-8b-Style Features Of Baroque Music
ZM-700-08-8c-Style Features Of Baroque Music
ZM-700-08-8e-Style Features Of Baroque Music
Lect.16 Ritornello Form and the Baroque Concerto
ZM-700-08-8d-Style Features Of Baroque Music
Lect.02 Così fan tutte, Part One
ZM-700-07-7d-Introduction To The Baroque
ZM-700-07-7c-Introduction To The Baroque
ZM-700-07-7d-Introduction To The Baroque
ZM-700-07-7c-Introduction To The Baroque
ZM-700-07-7b-Introduction To The Baroque
ZM-700-07-7a-Introduction To The Baroque
Lect.09 Growth of Opera, Development of Italian Opera Seria, & Mozarts Idomeneo, I
Lect.09 National Styles—Italy and Germany
ZM-700-08-8h-Style Features Of Baroque Music
ZM-700-08-8a-Style Features Of Baroque Music
ZM-700-08-8f -Style Features Of Baroque Music
ZM-700-08-8i -Style Features Of Baroque Musici
ZM-700-08-8g-Style Features Of Baroque Music
ZM-700-06-6i -The Madrigal
Lect.17 The Enlightenment and an Introduction to the Classical Era
Lect.23 The Magic Flute, Part Seven
ZM-720-01-1a-BACH AND THE HIGH BAROQUE-PART 1/4
ZM-720-01-1b-Bach and the High Baroque
ZM-700-09-9i -The Rise of German Nationalism in Music
Lect.18 The Viennese Classical Style, Homophony, and Cadence
Lect.05 Historical Overview from Constantine through the Great Thinkers of the Baroque
Lect.03 The Pre-Classical Symphony
ZM-700-06-6f -The Madrigal
Lect.19 Classical-Era Form—Theme and Variations
ZM-700-06-6h-The Madrigal
Lect.12 Baroque Opera, Part 2
Lect.15 Passacaglia
ZM-700-10-10f -Fugue
ZM-700-10-10h-Fugue
ZM-700-10-10d-Fugue
ZM-700-10-10i -Fugue
ZM-700-10-10e-Fugue
ZM-700-10-10g-Fugue
Lect.01 The Immortal Beloved
Lect.10 Lutheranism, the Chorale and the Chorale Prelude
Lect.03 J. S. Bach—Goldberg Variations
Introduction
Lect.02 J. S. Bach—The Well-Tempered Clavier, Book One
Lect.04 Bach’s Brandenburg Concerti
Lect.10 Blowin’ in the Winds
Lect.11 The Piano Trios
Lect.12 The Piano Quartets
Lect.04 Bach‚s Brandenburg Concerti
ZM-700-11-11d-Baroque Opera-Part l
30b Early Romantic Era: Liszt
Lect.04 Fugue
Holst—The Planets
Shostakovich—Symphony No. 5
Debussy—La Mer
Mendelssohn—“italian” Symphony
Beethoven—Symphony No. 9
Lect.13 String Quartet in A Major, K. 464
Lect.14 The Lutheran Church Cantata
Lect.03 Introduction to the Baroque Aesthetic
Mozart—Symphony In C Major, “jupiter”
Lect.03 Introduction to the Baroque Aesthetic
Beethoven—Piano Concerto No. 4
Lect.02 Christmas, 1722
Lect.02 Beethoven and the Heroic Style, II
Lect.06 Franz Joseph Haydn, Part 1
Lect.14 A Quartet of Sonatas
Lect.11 Baroque Opera, Part 1
Lect.08 Style Features of High Baroque Music, Part III—A Musical Glossary
Lect.22 The Magic Flute, Part Six
Lect.04 Beethoven and His Nephew, 1815-1819
Lect.06 Invention of Opera & Monteverdis Orfeo, II
Lect.04 Nabucco
Lect.08 Invention of Opera & Monteverdis Orfeo, IV
Lect.07 Invention of Opera & Monteverdis Orfeo, III
Lect.04 A Brief History of Vocal Expression in Music, II
Lect.05 Invention of Opera & Monteverdis Orfeo, I
Lect.05 Beethoven the Pianist
Lect.11 Berlioz and the Symphonie fantastique
Lect.20 The Magic Flute, Part Four
Lect.20 Classical-era Form—Minuet and Trio: Baroque Antecedents
Lect.08 Two Concerts, 1808 and 1824
Lect.12 Lesser Siblings and a Pastoral Interlude
Lect.15 Don Giovanni, Part One
Lect.23 The Requiem
Lect.12 Mendelssohn and Schumann
Lect.10 Schubert
Lect.06 Beethoven the Composer, 1792-1802
Lect.03 What Goes up Must Come down, 1815
Lect.01 Lets Take It From the Top!
Lect.02 What Comes down Must Go up, 1813-1815
Lect.07 The Heroic Ideal
Lect.09 Beethoven
Lect.04 Mannheim
Lect.05 Classical Masters
ZM-700-06-6g-The Madrigal
ZM-700-11-11b-Baroque Opera-Part l
ZM-700-10-10c-Fugue
ZM-700-10-10a-Fugue
ZM-700-10-10b-Fugue
Introduction to the Baroque
Lect.12 The Italian Style, The Operatic Ideal and Lutheran Spirituality are Joined
Fugue
The Middle Ages
Lect.03 The Hunt, Part 2
Lect.16 Basset Horns and Harmonicas
Sources
Lect.08 Duos For Violin and Viola
Lect.02 The Hunt
Lect.20 The Keyboard Suite (cont.)
Lect.01 A Blessing of Inconceivable Richness
Lect.05 Vienna
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