(0:00) Webern’s Innovating Orchestral Works
(0:21) Schoenberg’s Three Pieces for Chamber Orchestra
(0:53) A Breakthrough from Tonal to Non-tonal Music
(1:24) A Report by Egon Wellesz
(2:03) Egon Wellesz’s 1924 Essay
(3:20) Additional Encounters with Webern
(4:17) Schoenberg's Specific Reference to Webern
(6:08) Schoenberg's On-going Competition with Webern
(7:28) Frederic Dorian-Deutsch
(8:09) Berg’s Attachment to Schoenberg
(9:13) Berg’s Concealed Quotation in Wozzeck
(10:15) References to Alma Mahler and Richard Gerstl
(11:22) Personal References in Schoenberg’s Three Pieces for Chamber Orchestra
(12:34) Short Score of Schoenberg's Three Pieces for Chamber Orchestra No. III
(14:27) Webern's Four Pieces for Piano and Violin
(16:00) Why Does Schoenberg Compose Sonorities of Transformations of 6-z43? Reason 1 of 2
(17:43) Why Does Schoenberg Compose Sonorities of Transformations of 6-z43? Reason 2 of 2
(18:54) Musical References to the Viennese Circle
(20:32) Orchestration of the Third of Schoenberg’s Three Pieces for Chamber Orchestra
(22:30) Schoenberg’s Klangfarben
(24:31) Orchestral Texture and Klangfarben
(25:41) Webernian Texture
(26:41) Webernian Extreme Dynamic Levels
(28:20) The Total Chromatic in Schoenberg's Three Pieces for Chamber Orchestra No. 3
(30:05) Schoenberg's Publisher
(31:16) Schoenberg’s Orchestration
(32:39) Dr. Frank Heidlberger’s Comment
(33:21) Schoenberg’s 12-Year Period
(34:02) Schoenberg’s Borrowing from Webern
(34:45) Webern’s Sketches
(35:40) Six-note Sonority
(36:40) Trichord Sonority and Jazz
(37:19) The Beginning Sonority of Moses and Aaron
(37:54) Forte’s Translation of Moses and Aaron
(38:52) Webern’s Obsequiousness
(40:17) Berg’s Nazi Sympathies
(41:33) Forte's Visit to Germany in 1942
(42:50) Post War World II Generations in Germany
(43:57) Ziegler’s Degenerate Music
(44:33) The First Edition of MGG
(45:32) Schoenberg Was Politically Far Behind
(46:44) Stockhausen and Schoenberg
(48:11) Forte's Visit to Cologne Studio in 1952
(48:46) Stockhausen’s Visit to Yale University
(49:22) Pierre Schaeffer
(50:22) Eimert
(52:12) Twelve-Tone Serialism in American Musical Culture
(53:00) Forte's Activities at MIT
(55:28) Psychology and Tone Color
(56:47) Is There Any Influence of Schoenberg’s Harmonielehre on Music Theory?
(58:09) How Well Is Schoenberg’s Music Known in the US?
(1:00:25) Applause after Lecture