1.1Of All Great Musical Compositions (Ex.1-4)3:37 1.2The Fundamental Symbol (Ex.5-11)4:46 1.3Returning Now To The Nature Motive (Ex.12-16)3:22 1.4A Number Of Further Motives (Ex.17-21)3:17 1.5A Second, Much Smaller Family (Ex.22-25)2:35 1.6So Much For Nature (Ex.26-38)7:56 1.7The Cause Of The Deterioration (Ex.39-44)3:30 1-8The Other Transformation (Ex.45-48)3:44 1.9Several Other Motives (Ex.49-52)2:47 1.10Two Further Motives (Ex.41,53-61)7:10 1.11Basic Motive Associated With The Spear (Ex.62/68)5:17 1.12Along Another, More Complex Line (Ex.69-72)2:11 1.13In Act 2 Of "Walküre" (Ex.69,73-75)2:21 1.14Returning Now To Act 2 Of "Walküre (Ex.76-79)3:54 1,15Love Is Another Of The Central Symbols (Ex.80-83)3:06 1.16Later In The Same Scene (Ex.84-87)2:22 1.17Freia's Motive Has 2 Independent Segments (Ex.88-91)2:01 1.18The Label "Flight" (Ex.92)0:56 1:19When Fasolt, in Scene 2 of "Rhinegold" (Ex.93-8)5:22 1.20A Little Later In This Interlude (Ex.99-103)3:20 2.1The Other New Motive (Ex.104-09)3:36 2.2There Are Several Independent Love-motives (Ex.110-114)2:55 2.3The Characters In Whose Lives (Ex.115-120)5:27 2.4One Further Motive Belongs (Ex.121)1:25 2.5The Sword Motive Recurs (Ex.122-130)4:28 2.6Ironically, This Phrase (Ex.131-5)2:58 2.7Closely Associated With Gutrune's Motive (Ex.136-140)2:26 2.8Here We Come To The End (Ex.141-6)3:43 2.9Complementary To This Symbol (Ex.147-9)2:14 2.10One Last Central Symbol (Ex.150-7)4:54 2.11One Further Motive Connected (Ex.158-61)2:52 2.12There Are One Or Two Motives (Ex.162-8)3:48 2.13These Motives Of Alberich & Mime (Ex.169-71)2:07 2:14Quite A Number Of Subsidiary Motives (Ex.172-6)2:49 2.15Besides This Family Of Motives (Ex.177-80)2:31 2.16Our Final Example (Ex.10,181-2)3:57 2:17In The Final Scene Of "Götterdämmerung" (Ex.181-3)2:45 2:18Even More Masterly (Ex.184-8)4:31 2.19Now If We Return (Ex.189-91)2:47 2.20This Masterly Way (Ex.192-3)4:52