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Edward Laufer's Lecture at UNT 03/27/2002

(0:00) Part 1: Prof. Timothy L. Jackson's Introduction
(1:15) Part 2: Strauss and Reger's Settings of "Morgen!"
(2:59) Part 3: The Text of Strauss's "Morgen!"
(5:11) Part 4: Ascending and Descending Motives of Strauss's "Morgen!"
(7:09) Part 5: More about Descending Motives of Strauss's "Morgen!"
(8:18) Part 6: A Recording of Strauss's "Morgen!"
(13:03) Part 7: Chromatic Changes in Strauss' "Morgen!"
(13:50) Part 8: Non-Descending High B in Strauss' "Morgen!"
(14:37) Part 09: Variant of the Rising Motive in Strauss’ “Morgen!”
(15:07) Part 10: Extended Phrase in the Upper Voice of Strauss’ “Morgen!”
(16:48) Part 11: The Resolution of the Voice-exchange in Strauss’ “Morgen!”
(17:20) Part 12: Edward Laufer’s Circled Tones in Strauss’ “Morgen!”
(18:04) Part 13: The First Statement in Strauss’ “Morgen!”
(18:35) Part 14: The Second Statement in Strauss’ “Morgen!”
(19:04) Part 15: The Two Statements and the Poetic Ideas in Strauss’ “Morgen!”
(19:42) Part 16: Neighbor Notes and the Programatic Ideas in Strauss’ “Morgen!”
(20:33) Part 17: Evaded Closings in Strauss’ “Morgen!”
(21:46) Part 18: Four-bar Group in Strauss' "Morgen!"
(22:26) Part 19: High B in the Fundamental Line of Strauss' "Morgen!"
(23:11) Part 20: Poetic Arrival in Strauss' "Morgen!"
(24:43) Part 21: Technical Devices in Strauss' "Morgen!"
(25:27) Part 22: A-flat and E-flat in Strauss' "Morgen!"
(26:18) Part 23: D-sharp and G-sharp in Strauss' "Morgen!"
(27:07) Part 24: Reger’s “Morgen!”
(29:55) Part 25: An Overview of Reger’s Setting of “Morgen!”
(31:04) Part 26: Reger's Tonal Language of "Morgen!"
(31:48) Part 27: "Classical" Component in Reger's "Morgen!"
(32:10) Part 28: The Role of C-sharp in Reger's "Morgen!"
(32:48) Part 29: The Modified B-natural in Reger's "Morgen!"
(33:16) Part 30: More Modified B-natural in Reger's "Morgen!"
(33:41) Part 31: Expanded Neighbor Note D-natural in Reger's "Morgen!"
(34:21) Part 32: Further Modification of Previous Examples in Reger's "Morgen!"
(35:16) Part 33: Five-stage Modification in Reger's "Morgen!"
(35:39) Part 34: Registral Shift in Reger's "Morgen!"
(37:26) Part 35: Motivic Association of Descending Sixth in Reger's "Morgen!"
(39:32) Part 36: Programatic Idea of Rhythmic Values in Reger's "Morgen!"
(40:30) Part 37: A Way to Approach the A-flat Chord in Reger's "Morgen!"
(41:31) Part 38: Diatonic Progressions from the Foreground Graph of Reger's "Morgen!"
(42:31) Part 39: Shortened Passages in Reger's "Morgen!"
(43:17) Part 40: Elaborated Harmonic Progressions in Reger's "Morgen!"
(46:19) Part 41: Chromatic Procedure in Reger's "Morgen!"
(47:48) Part 42: the Arrival of the A Major Chord in Reger's "Morgen!"
(48:34) Part 43: The Search for Happiness in Reger's "Morgen!"
(49:13) Part 44: Strauss' Certainty in Strauss' "Morgen!"
(50:32) Part 45: Reger's Search for Hope in His "Morgen!"
(51:47) Part 46: Strauss's and Reger's Ways to Depict Life in Their "Morgen!"
(52:43) Part 47: The End-of-speech Applause
(53:04) Part 48: Feedback No. 1
(53:32) Part 49: Question: Who Was the Singer on the CD?
(54:12) Part 50: Laufer's Response to the A-flat Chord at the End of Strauss' "Morgen!"
(57:43) Part 51: Laufer's Response to the Recapture Chord in Struass’ “Morgen!”
(59:45) Part 52: Laufer's Comment on Reger's "Morgen!”
(1:00:20) Part 53: Laufer's Comment on Reger's Admirers
(1:02:18) Part 54: Jackson’s Announcement of Laufer’s Three Following Lectures