Video Clips

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Numbered Video Recordings 01 to 15

01. 2007 Interview of Prof. Forte: Tape 12 by Prof. Timothy L. Jackson---Inverview at Allen Forte's Home about His Paper by Prof. Timothy L. Jackson
---01. Part 1: Prof. and Mrs. Forte's Trip in Honda, Japan
---02. Part 2: A Look at Prof. Forte's Graph
---03. Part 3: Concerning Students' Usages of Materials
---04. Part 4: Students' Usage of Prof. Forte's Ideas in Their Dissertations
---05. Part 5: Students' Usage of Prof. Forte's Unpublished Ideas
---06. Part 6: Concerning Students Using Ideas that are Similar to Prof. Forte's
---07. Part 7: Milton Babbitt's Applications of Twelve Tone Analytical Technique to His Compositions
---08. Part 8: Hans Asch and Anton Webern
---09. Part 9: Prof. Forte's Analytical Sketch of Webern's String Quartet Op. 9
---10. Part 10: Comparison of Webern and Schoenberg
---11. Part 11: Webern's Unsucessful Career as a Conductor
---12. Part 12: Webern's Main Thing: Mountain Climbing
---13. Part 13: Prof. Forte's More Detailed Analysis of Webern's String Quartet Op. 9
---14. Part 14: Prof. Forte's Schenkerian-influenced Set Analysis of Webern's String Quartet Op. 9
---15. Part 15: Russian Origin in Schoenberg's Music
---16. Part 16: Formation Issue
---17. Part 17: Webern Op.9 No. 3: Prof. Forte's Markings
---18. Part 18: Prof. Forte's Analysis of Webern's Five Pieces for Orchestra
---19. Part 19: Webern's Consistency
---20. Part 20: Prof. Forte's Analysis of Bartok's First String Quartet
---21. Part 21: Bartok's Earlier Pieces
---22. Part 22: Prof. Forte's Analysis of Mahler's Ninth Symphony: Adagio
---23. Part 23: Prof. Forte's Analysis of Bruckner's Symphony No. 7: Adagio
---24. Part 24: The Fighting of Ernst Oster and Oswald Jonas
---25. Part 25: Oswald Jonas' Interests
---26. Part 26: Correspondence between Oster and Prof. Forte
---27. Part 27: The Degree of Schenker/Oster's Influence on Prof. Forte's Analysis
---28. Part 28: Hans Weisse's Situation in 1938
---29. Part 29: Mrs. Forte's Aunt
---30. Part 30: Hindemith's Music and His Career
---31. Part 31: Prof. Forte's Graph and a Student's Paper
---32. Part 32: Prof. Forte's Unpublished Detailed Graph 1
---33. Part 33: Prof. Forte's Unpublished Detailed Graph 2
---34. Part 34: Harmonic Language
---35. Part 35: Prof. Forte's Detailed Unpublished Analysis 3
---36. Part 36: Prof. Forte's Detailed Unpublished Analysis 4
---37. Part 37: Prof. Forte's Annotated Score and Annotations
---38. Part 38: Prof. Forte's Collection of Manuscript
---39. Part 39: Prof. Forte's Analysis of Transcription
---40. Part 40: Prof. Forte's Notes on Genera
---41. Part 41: Transcription/Reduction, Set Analysis
---42. Part 42: Crossouts
---43. Part 43: Tables of Sets
---44. Part 44: Stories of Webern, Berg and Schoenberg
---45. Part 45: Leonard Stein
---46. Part 46: Gould and Steinway
---47. Part 47: Gould's Recordings

02. Prof. Forte's Lecture at Hans Weisse Memorial Concert
---Date: Wednesday, 04/08/2009
---Time: 6-7:30PM
---Location: Recital Hall, Music Building, University of North Texas
---Allen Forte Lecture TOPIC: The Role of Hans Weisse in The Teaching of Schenkerian Music Theory Hans Weisse (1892-1940), teacher of Schenkerian Analysis and Composition in the US, 1931-1940
Video clips from Hans Weisse Electronic Archive (HWEA)
---01. Allen Forte Lecture Part 1
---02. Allen Forte Lecture Part 2
---03. Other Parts of the Hans Weisse Memorial Concert

03. Forte/Jackson Campus Tour of Yale University on July 27, 2008
---Part 1: Commons Building and Beinecke Library (1m 52s)
---Part 2: The Exterior of Beinecke Library (2m 28s)
---Part 3: Sterling Memorial Library (2m 36s)
---Part 4: “The New Library” (3m 21s)

04. Jackson Interviews Forte on July 28, 2008
---Part 1: Teaching Figured Bass (4m 45s)
---Part 2: Suzuki Approach (1m 22s)
---Part 3: Teaching Music Fundamentals to Young Children (5m 51s)
---Part 4: Teaching Figured Bass to Young Children (8m 44s)
---Part 5: Forte’s Reading of Chord Symbols in Cole Porter’s “Every Time You Say Goodbye” (9m 41s)
---Part 6: Should Classical Pianists Get Trainings in Jazz Improvisations? (3m 59s)
---Part 7: Forte Plays the Song “Nice Day” (3m 24s)
---Part 8: Forte Plays the Song “Dream Dancing” (1m 48s)
---Part 9: Forte Plays and Talks about the Song “Just One of These Things” (9m 42s)
---Part 10: Forte Plays Gershwin’s “Embraceable You” and Talks about Gershwin (3m 44s)

05. Jackson Interviews Forte on 2/21/2008
---Part 1: Forte Watches and Comments on Documentary of Forte (8m 28s)
---Part 2: Forte Watches and Comments on His Analysis in the Documentary (3m 23s)
---Part 3: Forte Watches Select Footages from Documentary of Forte (11m 18s)
---Part 4: Forte’s Analysis of Schoenberg’s Row (2m 51s)
---Part 5: Forte’s Analysis of Porgy Bess (6m 32s)
---Part 6: The Origin of Modern Harmonic Species / Schoenberg / Jewish Composers (11m 52s)
---Part 7: Schnabel / Forte Signing Jackson’s Book / Jewish Composers in the US (7m 43s)
---Part 8: Pakistani Carpet / Non-typical Graph / Debussy / Ravel (10m 39s)

06. Tape 9, April 2007: Forte's After-party Discussion of Early Schenkerian Movement
Part 1: Small Talk / Composers in the 1950s (05m 02s)
Part 2: Cage / Salzer / Jonas / Oster (09m 51s)
Part 3: Roy Travis / Jonas / Oster / Leopold Mannes (08m 24s)
Part 4: Reaction against Schenker / about Hans Weisse (08m 26s)
Part 5: Forte and Oster's Translations / Set Theory before Forte / Mrs. Odnoposoff's Story (06m 48s)

07. Tape 6: Forte Round Table Conclusion
Part 1: Dr. Bernado Illari's Introduction to Latin American and Popular Music (05m 08s)
Part 2: Illari's Tour of Salta, Argentina / Gustavo "Cuchi" Leguizamon (04m 31s)
Part 3: Zamba, a Dance Genre (11m 50s)
Part 4: Zamba / Bagualas (10m 11s)
Part 5: Dr. Bush's Conclusion Speech (2m 10s)

08. Tape 8: Forte Talks about His Family Background, Post-party concert
Part 1: Photos of the Fortes 1 (11m 55s)
Part 2: Photos of the Fortes 2 (11m 29s)
Part 3: Photos of the Fortes 3 (11m 41s)
Part 4: Photos of the Fortes 4 (08m 33s)
Part 5: Saxophone and Piano Duets by Forte and Dr. John Murphy (11m 08s)
Part 6: Piano Four Hands Performed by the Fortes (08m 53s)

09. Tape 11: Lady with Book / Jackson Interviews Forte in Forte’s Home
Part 1: The Secret Teachings of All Ages 1 (08m 53s)
Part 2: The Secret Teachings of All Ages 2 (07m 35s)
Part 3: Letter from Oster to Forte in 1962 / English Translation of Der Freie Satz (03m 48s)
Part 4: The History of the Translation of Der Freie Satz (05m 08s)
Part 5: Oster, Mitchell, and Mitchell's Wife (02m 34s)
Part 6: Mitchell and Jonas (02m 22s)
Part 7: Forte's Notes for Working out "the Structure of Atonal Music" (02m 39s)
Part 8: Forte's Reconstruction of Sketches by Berg (02m 23s)
Part 9: Sets Related to Schoenberg's Work (01m 30s)
Part 10: Forte's Sketches of Berg's String Quartet (01m 14s)
Part 11: Annotations and Manuscripts (04m 05s)
Part 12: Forte's Interest in Webern's Unpublished Sketch / Webern and Schoenberg (04m 17s)
Part 13: Forte's Procedure of Set Analysis (01m 59s)
Part 14: Forte's Complicated Analysis of Webern's Works (01m 14s)
Part 15: Hindemith and Webern (01m 29s)
Part 16: Forte's Interests in the Final Chord in One of Webern's Short Pieces (02m 04s)
Part 17: Forte's Paper on Webern (01m 08s)
Part 18: Forte's Analysis of Webern's OP. 7 No. 2 (07m 48s)
(All parts from this video recording have been uploaded)

10. Tape 13: Arnold Schoenberg at BMI Dinner
Part 1: Schoenberg's Arrival (01m 18s)
Part 2: Film and Commercial Music by Schoenberg (01m 26s)
Part 3: Schoenberg’s Financial Situation (00m 51s)
Part 4: Schoenberg and Gershwin in Tennis Games (00m 54s)
Part 5: Schoenberg in Hollywood (01m 39s)
Part 6: Schoenberg’s Descendents (02m 09s)
Part 7: Schoenberg’s Daughter: Gertrud (00m 43s)
Part 8: Schoenberg’s Son-in-law by First Marriage: Felix Greissle (02m 22s)
Part 9: Gertrud Schoenberg and Alma Mahler (01m 29s)
Part 10: Schoenberg’s Family Doctor (03m 17s)
Part 11: When Did Schoenberg’s Family Doctor Come the US? (00m 52s)
Part 12: Schoenberg’s Family Doctor’s Daughter (01m 16s)
Part 13: Schoenberg’s Family Doctor’s Daughter’s Brother (02m 25s)
Part 14: Schoenberg’s Family Doctor’s Daughter’s Mother (01m 19s)
Part 15: German/German Jewish During WWI (00m 47s)
Part 16: List of Pitch Class Sets in Musical Compositions (04m 16s)
Part 17: Vocal line in Herzgewächse / Relations between Sets (01m 22s)
Part 18: Forte’s Analysis of Herzgewächse (00m 56s)
Part 19: Schoenberg's Imitation of Webern's Style (02m 33s)
Part 20: Schoenberg’s Harmonic & Contrapuntal Technique (01m 09s)
Part 21: Experimental Music, Thick Textures, Sonority Relationships (01m 37s)
Part 22: Pitch Class Numbers and Registers (01m 11s)
Part 23: What Influences the New Music of Schoenberg? (01m 31s)
Part 24: Schoenberg’s Library, Schoenberg’s Public Image (00m 36s)
Part 25: Schoenberg’s Personality (00m 46s)
Part 26: Schoenberg: An Admirer of French Culture; Schoenberg’s Problematic English (02m 15s)
Part 27: Forte’s Meetings with Gertrud Schoenberg (00m 48s)
Part 28: Did Milton Babbitt meet Schoenberg? (01m 12s)
Part 29: Boulez, Dutch Composers; An Article on Schoenberg (01m 40s)
Part 30: Forte’s Procrastination of Meeting Schoenberg (01m 34s)
Part 31: Schoenberg’s Political Leaning (00m 42s)
Part 32: The Nazi Party's Reactions against Schoenberg and Modernism (03m 24s)
Part 33: Schoenberg’s Students (04m 08s)
Part 34: Post-WWII German Electronic Music; Computer Music (02m 53s)
Part 35: Do Forte’s Analyses Have Too Many Numbers? (01m 09s)
Part 36: Forte's Analytical Approaches as a Science (01m 28s)
Part 37: Reactions against Non-traditional Music; Film Music (02m 11s)
Part 38: Beethoven’s Cavatina, Op. 130 (00m 42s)
Part 39: Ernst Oster’s Analyses (00m 41s)
Part 40: Forte’s Graph of a Development Section (01m 16s)
Part 41: Forte’s Letter (01m 25s)
Part 42: Forte’s Analysis of Beethoven’s Op. 109 (01m 35s)
(All parts from this video recording have been uploaded)

11. Tape 1: Allen Forte Interview: Feb. 7, 2007, New Haven
Part 1: Forte’s and Other’s Translations of Schoenberg’s Moses und Aron (03m 59s)
Part 2: Forte’s Collection of Scores and Analyses (00m 58s)
Part 3: Forte’s Sketches (01m 35s)
Part 4: Forte’s Rougher Graphs (02m 04s)
Part 5: Forte’s Finished Graphs and Sketches (02m 04s)
Part 6: Forte's Analytical Sketches of Messiaen's Works (04m 55s)
Part 7: Nigel Simeone’s Writings on Messiaen (01m 21s)
Part 8: Mrs. Messiaen and Mrs. Forte (00m 51s)
Part 9: Forte’s Communications with Oster (03m 52s)
Part 10: Oster and His Girlfriend (03m 55s)
Part 11: Forte’s Interesting Correspondences (01m 07s)
Part 12: First Attempt to Apply Schenkerian Technique to Jazz (02m 37s)
Part 13: Milton Babbitt’s Opinions on Forte’s Transcription of Charlie Parker’s Works (02m 28s)
Part 14: Forte’s Essay on Jazz (01m 20s)
Part 15: Composers Who Do Not Like Jazz (01m 05s)
Part 16: Classical and Popular Music in American Culture (00m 44s)
Part 17: Jazz Musicians (01m 25s)
Part 18: Are Rhythms Notated in Jazz? (00m 59s)
Part 19: Forte’s Ability to Play by Ear (01m 18s)
Part 20: Forte’s Photos from Different Periods (01m 17s)
Part 21: Forte’s Family Photo Taken in Minnesota between 1903 and 1905 (00m 41s)
Part 22: Photos of Joseph Eastman and Forte’s Mother’s Father (00m 36s)
Part 23: Photo of Forte’s Mother (00m 12s)
Part 24: Photo of Forte's Mother's Grandfather and Grandmother (00m 22s)
Part 25: Forte’s Grandfather and Grandmother (01m 27s)
Part 26: Does Forte Have Photos of Himself Studying at Yale or Teaching at Mannes? (00m 23s)
Part 27: Photo of the Well-established Forte (00m 17s)
Part 28: Photo of Forte Taken in 1947 (01m 54s)
Part 29: Photo of Forte and Babbitt Taken in 1949 (00m 57s)
Part 30: Photo of Forte When Teaching in Teachers College (00m 27s)
Part 31: Photo of Forte's Father Taken in 1915 (00m 54s)
Part 32: Photo of Forte’s Father and His Dog (00m 23s)
Part 33: Photo of Three-year Old Forte and His Father (00m 13s)
Part 34: Does Forte Have Siblings? (00m 14s)
Part 35: Photo of Forte (00m 17s)
Part 36: Photo of Forte in Korea (00m 15s)
Part 37: Photo of Forte Giving a Lecture at Eastman (00m 44s)
Part 38: Photo of Forte at the Age of 15 (00m 31s)
Part 39: Photo of Forte and His First Wife (00m 35s)
Part 40: Photo of Forte's Father's Mother Taken in 1917 (00m 41s)
Part 41: Photo of Forte When He Was at Columbia University (00m 34s)
Part 42: Photo of Forte Studying in a Room on West 97th St (00m 39s)
Part 43: Photos of Forte's Father (00m 25s)
Part 44: How Did Forte Become Interested in Intellectual Things? (01m 24s)
Part 45: How Did Forte Prepare for Entrance Requirement for Eastman? (00m 44s)
Part 46: Did Forte Remember Who Tested Him at Eastman? (00m 37s)
Part 47: Did Forte Have to Show Any Theoretical Ability at the Entrance Exam? (04m 50s)
Part 48: New York in the 1950s (00m 57s)
Part 49: Forte's Meeting with Susan Adler (00m 45s)
Part 50: Forte's Mother's Idea of Forte Being a Church Organist (00m 39s)
Part 51: Forte Reminds Jackson of Brahms (01m 00s)
Part 52: What Was Played on Forte's Ship? (01m 24s)
Part 53: Did Everybody on Forte's Ship Make It out of the War? (02m 09s)
(All parts from this video recording have been uploaded)

12. Tape 2: “Warm, die Lufte” Second Half + End of Madeleine’s Concert April, 2007
Part 1: An Extraordinary Gesture (01m 22s)
Part 2: A Very Dramatic Moment in the Song (01m 21s)
Part 3: Form of the Song (01m 46s)
Part 4: Philosophical Sections of the Song (01m 03s)
Part 5: Forte Plays Philosophical Sections of the Song (02m 56s)
Part 6: Forte's Response to Jackson's Question of Form (01m 35s)
Part 7: Personae in the Poem (01m 47s)
Part 8: Berg’s and Schoenberg’s Works (01m 15s)
Part 9: Who Invented Atonality? (00m 50s)
Part 10: Who Was Composing Music in 1909? (01m 09s)
Part 11: Did Debussy Say Anything About Strauss? (01m 23s)
Part 12: Schoenberg’s Opinion on Berg’s Work (00m 51s)
Part 13: Forte’s Example 10 (03m 22s)
Part 14: Musical Setting to the Text “Listen, the Nightingale Is Singing” (01m 30s)
Part 15: The Elements Which Are Reminiscent of Other Work (01m 25s)
Part 16: Allusions of the Song (00m 34s)
Part 17: What do E-flat and A Represent? (00m 44s)
Part 18: Berg's Attachment to Schoenberg (00m 55s)
Part 19: Schoenberg's Teaching Style (00m 59s)
Part 20: Translation of the Text (01m 13s)
Part 21: Chia-Ying's Interesting Observation (00m 48s)
Part 22: Whose Text Is This? (01m 40s)
Part 23: Berg’s Song for Teaching Purposes (00m 47s)
Part 24: Berg’s Harmonic Language (00m 43s)
Part 25: Did Gershwin Know Berg? (00m 39s)
Part 26: Forte's Elaboration of His Example 10 (02m 05s)
Part 27: Forte’s Example 12 (02m 03s)
Part 28: Other Examples of Set 4-16 (01m 27s)
Part 29: What’s in Measure 4? (00m 32s)
Part 30: Dr. Slottow’s Comment (01m 13s)
Part 31: Bottom of Page 4 of Forte’s Handout (00m 54s)
Part 32: Page 5 of Forte’s Handout (01m 58s)
Part 33: Tonal Analysis of “Warm, die Lufte” (02m 23s)
Part 34: Atonal or Post-tonal Music? (01m 18s)
Part 35: How Were the Set Numbers Derived? (02m 16s)
Part 36: Slottow's Announcement of Upcoming Activities of Forte (00m 31s)
Part 37: Excerpt 1 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall (03m 44s)
Part 38: Excerpt 2 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall (03m 37s)
Part 39: Excerpt 3 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall (02m 49s)
Part 40: Excerpt 4 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall (03m 41s)
Part 41: Excerpt 5 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall (05m 05s)
(All parts from this video recording have been uploaded)

13. Tape 3: “Schoenberg as Webern” with Allen Forte: Thursday, April 5, 2007, University of North Texas, Music Building, Room 2006
Part 1: Webern’s Innovating Orchestral Works (00m 21s)
Part 2: Schoenberg’s Three Pieces for Chamber Orchestra (00m 33s)
Part 3: A Breakthrough from Tonal to Non-tonal Music (00m 31s)
Part 4: A Report by Egon Wellesz (00m 39s)
Part 5: Egon Wellesz’s 1924 Essay (01m 18s)
Part 6: Additional Encounters with Webern (00m 56s)
Part 7: Schoenberg's Specific Reference to Webern (01m 51s)
Part 8: Schoenberg's On-going Competition with Webern (01m 20s)
Part 9: Frederic Dorian-Deutsch (00m 41s)
Part 10: Berg’s Attachment to Schoenberg (01m 04s)
Part 11: Berg’s Concealed Quotation in Wozzeck (01m 03s)
Part 12: References to Alma Mahler and Richard Gerstl (01m 07s)
Part 13: Personal References in Schoenberg’s Three Pieces for Chamber Orchestra (01m 12s)
Part 14: Example 1: Short Score of Schoenberg's Three Pieces for Chamber Orchestra No. III (01m 53s)
Part 15: Webern's Four Pieces for Piano and Violin (01m 34s)
Part 16: Why Does Schoenberg Compose Sonorities of Transformations of 6-z43? Reason 1 of 2 (01m 42s)
Part 17: Why Does Schoenberg Compose Sonorities of Transformations of 6-z43? Reason 2 of 2 (01m 11s)
Part 18: Musical References to the Viennese Circle (01m 39s)
Part 19: Orchestration of the Third of Schoenberg’s Three Pieces for Chamber Orchestra (01m 58s)
Part 20: Schoenberg’s Klangfarben (02m 01s)
Part 21: Orchestral Texture and Klangfarben (01m 10s)
Part 22: Webernian Texture (01m 00s)
Part 23: Webernian Extreme Dynamic Levels (01m 39s)
Part 24: The Total Chromatic in Schoenberg's Three Pieces for Chamber Orchestra No. 3 (01m 45s)
Part 25: Schoenberg's Publisher (01m 11s)
Part 26: Schoenberg’s Orchestration (01m 23s)
Part 27: Dr. Frank Heidlberger’s Comment (00m 42s)
Part 28: Schoenberg’s 12-Year Period (00m 41s)
Part 29: Schoenberg’s Borrowing from Webern (00m 43s)
Part 30: Webern’s Sketches (00m 55s)
Part 31: Six-note Sonority (01m 00s)
Part 32: Trichord Sonority and Jazz (00m 39s)
Part 33: The Beginning Sonority of Moses and Aaron (00m 35s)
Part 34: Forte’s Translation of Moses and Aaron (00m 58s)
Part 35: Webern’s Obsequiousness (01m 25s)
Part 36: Berg’s Nazi Sympathies (01m 16s)
Part 37: Forte's Visit to Germany in 1942 (01m 17s)
Part 38: Post War World II Generations in Germany (01m 08s)
Part 39: Ziegler’s Degenerate Music (00m 36s)
Part 40: The First Edition of MGG (00m 59s)
Part 41: Schoenberg Was Politically Far Behind (01m 13s)
Part 42: Stockhausen and Schoenberg (01m 27s)
Part 43: Forte's Visit to Cologne Studio in 1952 (00m 35s)
Part 44: Stockhausen’s Visit to Yale University (00m 36s)
Part 45: Pierre Schaeffer (01m 00s)
Part 46: Eimert (01m 49s)
Part 47: Twelve-Tone Serialism in American Musical Culture (00m 48s)
Part 48: Forte's Activities at MIT (02m 28s)
Part 49: Psychology and Tone Color (01m 19s)
Part 50: Is There Any Influence of Schoenberg’s Harmonielehre on Music Theory? (01m 22s)
Part 51: How Well Is Schoenberg’s Music Known in the US? (02m 16s)
Part 52: Applause after Lecture (00m 29s)
(All parts from this video recording have been edited and uploaded)

14. Tape 3a: Round Table: Possible Intersections between Popular, Traditional, Art Music, and Appropriate Analytical Methodologies. Thursday, April 5, 2007, University of North Texas, Music Building, Room 258
Part 1: Introduction by Dean James Scott (Excerpt Only) (01m 16s)
Part 2: Introduction by Moderator Dr. Deanna Bush (01m 39s)
Part 3: Forte’s Introductory Remark on “My Work on Cole Porter” (00m 38s)
(All parts from this video recording have been edited and uploaded)

15. Tape 4: Forte’s Talk “My Work on Cole Porter” at Round Table: Possible Intersections between Popular, Traditional, Art Music, and Appropriate Analytical Methodologies. Thursday, April 5, 2007, University of North Texas, Music Building, Room 258
Part 1: An Important Role of Porter’s Song (00m 24s)
Part 2: Porter’s Music as Keyboard Patterns (00m 29s)
Part 3: 1964, The Year of Porter’s Death (00m 48s)
Part 4: Porter As A Major Figure of American Music of the 20th Century (00m 34s)
(More video clips might be edited and uploaded)

More Video Recordings below
** Unnumbered Video Recordings
*** Forte Documentary- Music Makes a Better Person, Parts I and II
*** Formal Lecture (Messiaen), Music Theory Festival 2005, Hanyang University, Korea
*** In-Class Lecture (Intervallic Harmony), Music Theory Festival 2005, Hanyang University, Korea
*** Keynote Address, Music Theory Festival 2005, Hanyang University, Korea

© 2007-11 AFEA @ UNT College of Music


Please direct your questions, suggestions, and comments to Dr. Timothy L. Jackson.
© 2007-12 AFEA @ UNT College of Music