(0:00) Schoenberg's Arrival
(1:17) Film and Commercial Music by Schoenberg
(2:43) Schoenberg’s Financial Situation
(3:34) Schoenberg and Gershwin in Tennis Games
(4:28) Schoenberg in Hollywood
(6:07) Schoenberg’s Descendents
(8:16) Schoenberg’s Daughter Gertrud
(8:59) Felix Greissle
(11:21) Gertrud Schoenberg and Alma Mahler
(12:50) Schoenberg’s Family Doctor
(16:07) When Did Schoenberg’s Family Doctor Come the US?
(17:00) Schoenberg’s Family Doctor’s Daughter
(18:16) Schoenberg’s Family Doctor’s Daughter’s Brother
(20:42) Schoenberg’s Family Doctor’s Daughter’s Mother
(22:01) German/German Jewish During WWI
(22:48) List of Pitch Class Sets in Musical Compositions
(27:04) Vocal line in Herzgewächse / Relations between Sets
(28:27) Forte’s Analysis of Herzgewächse
(29:23) Schoenberg's Imitation of Webern's Style
(31:56) Schoenberg’s Harmonic & Contrapuntal Technique
(33:06) Experimental Music, Thick Textures, Sonority Relationships
(34:44) Pitch Class Numbers and Registers
(35:56) What Influences the New Music of Schoenberg?
(37:27) Schoenberg’s Library, Schoenberg’s Public Image
(38:04) Schoenberg’s Personality
(38:50) An Admirer of French Culture; Schoenberg’s Problematic English
(41:05) Forte’s Meetings with Gertrud Schoenberg
(41:54) Did Milton Babbitt meet Schoenberg?
(43:06) Boulez, Dutch Composers; An Article on Schoenberg
(44:47) Forte’s Procrastination of Meeting Schoenberg
(46:21) Schoenberg’s Political Leaning
(47:03) The Nazi Party's Reactions against Schoenberg and Modernism
(50:27) Schoenberg’s Students
(54:36) Post-WWII German Electronic Music; Computer Music
(57:29) Do Forte’s Analyses Have Too Many Numbers?
(58:38) Forte's Analytical Approaches as a Science
(1:00:07) Reactions against Non-traditional Music; Film Music
(1:02:18) Beethoven’s Cavatina, Op. 130
(1:03:01) Ernst Oster’s Analyses
(1:03:42) Forte’s Graph of a Development Section
(1:04:58) Forte’s Letter
(1:06:24) Forte’s Analysis of Beethoven’s Op. 109