An Introduction To Der Ring Des Nibelungen

Of All Great Musical Compositions (Ex.1-4)

The Fundamental Symbol (Ex.5-11)

Returning Now To The Nature Motive (Ex.12-16)

A Number Of Further Motives (Ex.17-21)

A Second, Much Smaller Family (Ex.22-25)

So Much For Nature (Ex.26-38)

The Cause Of The Deterioration (Ex.39-44)

The Other Transformation (Ex.45-48)

Several Other Motives (Ex.49-52)

Two Further Motives (Ex.41,53-61)

Basic Motive Associated With The Spear (Ex.62/68)

Along Another, More Complex Line (Ex.69-72)

In Act 2 Of "Walküre" (Ex.69,73-75)

Returning Now To Act 2 Of "Walküre (Ex.76-79)

Love Is Another Of The Central Symbols (Ex.80-83)

Later In The Same Scene (Ex.84-87)

Freia's Motive Has 2 Independent Segments (Ex.88-91)

The Label "Flight" (Ex.92)

When Fasolt, in Scene 2 of "Rhinegold" (Ex.93-8)

A Little Later In This Interlude (Ex.99-103)

The Other New Motive (Ex.104-09)

There Are Several Independent Love-motives (Ex.110-114)

The Characters In Whose Lives (Ex.115-120)

One Further Motive Belongs (Ex.121)

The Sword Motive Recurs (Ex.122-130)

Ironically, This Phrase (Ex.131-5)

Closely Associated With Gutrune's Motive (Ex.136-140)

Here We Come To The End (Ex.141-6)

Complementary To This Symbol (Ex.147-9)

One Last Central Symbol (Ex.150-7)

One Further Motive Connected (Ex.158-61)

There Are One Or Two Motives (Ex.162-8)

These Motives Of Alberich & Mime (Ex.169-71)

Quite A Number Of Subsidiary Motives (Ex.172-6)

Besides This Family Of Motives (Ex.177-80)

Our Final Example (Ex.10,181-2)

In The Final Scene Of "Götterdämmerung" (Ex.181-3)

Even More Masterly (Ex.184-8)

Now If We Return (Ex.189-91)

This Masterly Way (Ex.192-3)