• (0:00) Small Talk / Composers in the 1950s
    (5:01) Cage / Salzer / Jonas / Oster
    (14:52) Roy Travis / Jonas / Oster / Leopold Mannes
    (23:16) Reaction against Schenker / about Hans Weisse
    (31:43) Forte and Oster's Translations / Set Theory before Forte / Mrs. Odnoposoff's Story

  • (0:00) Commons Building and Beinecke Library
    (1:51) The Exterior of Beinecke Library
    (4:19) Sterling Memorial Library
    (6:55) “The New Library”

  • Narrated by Maury Yeston
    Directed, Produced, and Written by Debra Bassett
    Executive Producers: Roger and Ann McNamee

  • (0:00) Forte’s and Other’s Translations of Schoenberg’s Moses und Aron
    (3:59) Forte’s Collection of Scores and Analyses
    (4:57) Forte’s Sketches
    (6:32) Forte’s Rougher Graphs
    (8:37) Forte’s Finished Graphs and Sketches
    (10:42) Forte's Analytical Sketches of Messiaen's Works
    (15:37) Nigel Simeone’s Writings on Messiaen
    (16:59) Mrs. Messiaen and Mrs. Forte
    (17:50) Forte’s Communications with Oster
    (21:43) Oster and His Girlfriend
    (25:39) Forte’s Interesting Correspondences
    (26:46) First Attempt to Apply Schenkerian Technique to Jazz
    (29:24) Milton Babbitt’s Opinions on Forte’s Transcription of Charlie Parker’s Works
    (31:52) Forte’s Essay on Jazz
    (33:12) Composers Who Do Not Like Jazz
    (34:18) Classical and Popular Music in American Culture
    (35:03) Jazz Musicians
    (36:28) Are Rhythms Notated in Jazz?
    (37:28) Forte’s Ability to Play by Ear
    (38:46) Forte’s Photos from Different Periods
    (40:03) Forte’s Family Photo Taken in Minnesota between 1903 and 1905
    (40:45) Photos of Joseph Eastman and Forte’s Mother’s Father
    (41:21) Photo of Forte’s Mother
    (41:34) Photo of Forte's Mother's Grandfather and Grandmother
    (41:57) Forte’s Grandfather and Grandmother
    (43:24) Does Forte Have Photos of Himself Studying at Yale or Teaching at Mannes?
    (43:47) Photo of the Well-established Forte
    (44:05) Photo of Forte Taken in 1947
    (45:59) Photo of Forte and Babbitt Taken in 1949
    (46:56) Photo of Forte When Teaching in Teachers College
    (47:24) Photo of Forte's Father Taken in 1915
    (48:18) Photo of Forte’s Father and His Dog
    (48:41) Photo of Three-year Old Forte and His Father
    (48:55) Does Forte Have Siblings?
    (49:10) Photo of Forte
    (49:28) Photo of Forte in Korea
    (49:43) Photo of Forte Giving a Lecture at Eastman
    (50:27) Photo of Forte at the Age of 15
    (50:58) Photo of Forte and His First Wife
    (51:33) Photo of Forte's Father's Mother Taken in 1917
    (52:05) Photo of Forte When He Was at Columbia University
    (52:39) Photo of Forte Studying in a Room on West 97th St
    (53:18) Photos of Forte's Father
    (53:43) How Did Forte Become Interested in Intellectual Things?
    (55:08) How Did Forte Prepare for Entrance Requirement for Eastman?
    (55:52) Did Forte Remember Who Tested Him at Eastman?
    (56:30) Did Forte Have to Show Any Theoretical Ability at the Entrance Exam?
    (1:01:21) New York in the 1950s
    (1:02:18) Forte's Meeting with Susan Adler
    (1:03:03) Forte's Mother's Idea of Forte Being a Church Organist
    (1:03:42) Forte Reminds Jackson of Brahms
    (1:04:43) What Was Played on Forte's Ship?
    (1:06:08) Did Everybody on Forte's Ship Make It out of the War?

  • (0:00) Photos of the Fortes 1
    (11:54) Photos of the Fortes 2
    (23:23) Photos of the Fortes 3
    (35:04) Photos of the Fortes 4
    (43:38) Saxophone and Piano Duets by Forte and Dr. John Murphy
    (54:46) Piano Four Hands Performed by the Fortes

  • (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

  • (0:00) An Extraordinary Gesture
    (1:22) A Very Dramatic Moment in the Song
    (2:43) Form of the Song
    (4:29) Philosophical Sections of the Song
    (5:32) Forte Plays Philosophical Sections of the Song
    (8:28) Forte's Response to Jackson's Question of Form
    (10:02) Personae in the Poem
    (11:50) Berg’s and Schoenberg’s Works
    (13:05) Who Invented Atonality?
    (13:55) Who Was Composing Music in 1909?
    (15:04) Did Debussy Say Anything About Strauss?
    (16:27) Schoenberg’s Opinion on Berg’s Work
    (17:18) Forte’s Example 10
    (20:40) Musical Setting to the Text “Listen, the Nightingale Is Singing”
    (22:10) The Elements Which Are Reminiscent of Other Work
    (23:34) Allusions of the Song
    (24:09) What do E-flat and A Represent?
    (24:53) Berg's Attachment to Schoenberg
    (25:48) Schoenberg's Teaching Style
    (26:47) Translation of the Text
    (28:00) Chia-Ying's Interesting Observation
    (28:49) Whose Text Is This?
    (30:28) Berg’s Song for Teaching Purposes
    (31:16) Berg’s Harmonic Language
    (31:59) Did Gershwin Know Berg?
    (32:59) Forte's Elaboration of His Example 10
    (34:44) Forte’s Example 12
    (36:46) Other Examples of Set 4-16
    (38:13) What’s in Measure 4?
    (38:45) Dr. Slottow’s Comment
    (39:58) Bottom of Page 4 of Forte’s Handout
    (40:52) Page 5 of Forte’s Handout
    (52:50) Tonal Analysis of “Warm, die Lufte”
    (45:12) Atonal or Post-tonal Music?
    (46:30) How Were the Set Numbers Derived?
    (48:47) Slottow's Announcement of Upcoming Activities of Forte
    (49:17) Excerpt 1 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall
    (53:01) Excerpt 2 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall
    (56:38) Excerpt 3 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall
    (59:27) Excerpt 4 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall
    (1:03:09) Excerpt 5 of Violinist Pedro Pinyol and Pianist Madeleine Forte. April 6, 2007, University of North Texas, Concert Hall

  • (0:00) Prof. and Mrs. Forte's Trip in Honda, Japan
    (0:57) A Look at Prof. Forte's Graph
    (2:55) Concerning Students' Usages of Materials
    (3:38) Students' Usage of Prof. Forte's Ideas in Their Dissertations
    (6:06) Students' Usage of Prof. Forte's Unpublished Ideas
    (8:34) Concerning Students Using Ideas that are Similar to Prof. Forte's
    (9:26) Milton Babbitt's Applications of Twelve Tone Analytical Technique to His Compositions
    (9:55) Hans Asch and Anton Webern
    (10:21) Prof. Forte's Analytical Sketch of Webern's String Quartet Op. 9
    (11:18) Comparison of Webern and Schoenberg
    (11:36) Webern's Unsucessful Career as a Conductor
    (12:52) Mountain Climbing
    (13:30) Prof. Forte's More Detailed Analysis of Webern's String Quartet Op. 9
    (14:38) Prof. Forte's Schenkerian-influenced Set Analysis of Webern's String Quartet Op. 9
    (15:11) Russian Origin in Schoenberg's Music
    (15:40) Formation Issue
    (16:03) Prof. Forte's Markings
    (16:43) Prof. Forte's Analysis of Webern's Five Pieces for Orchestra
    (17:14) Webern's Consistency
    (19:52) Prof. Forte's Analysis of Bartok's First String Quartet
    (22:06) Bartok's Earlier Pieces
    (22:14) Adagio
    (23:54) Adagio
    (24:11) The Fighting of Ernst Oster and Oswald Jonas
    (25:15) Oswald Jonas' Interests
    (26:24) Correspondence between Oster and Prof. Forte
    (28:16) The Degree of Schenker/Oster's Influence on Prof. Forte's Analysis
    (28:28) Hans Weisse's Situation in 1938
    (29:31) Mrs. Forte's Aunt
    (30:00) Hindemith's Music and His Career
    (34:18) Prof. Forte's Graph and a Student's Paper
    (36:56) Prof. Forte's Unpublished Detailed Graph 1
    (41:39) Prof. Forte's Unpublished Detailed Graph 2
    (42:59) Harmonic Language
    (47:39) Prof. Forte's Detailed Unpublished Analysis 3
    (51:05) Prof. Forte's Detailed Unpublished Analysis 4
    (52:07) Prof. Forte's Annotated Score and Annotations
    (52:55) Prof. Forte's Collection of Manuscript
    (53:34) Prof. Forte's Analysis of Transcription
    (56:32) Prof. Forte's Notes on Genera
    (56:55) Transcription/Reduction, Set Analysis
    (57:30) Crossouts
    (58:37) Tables of Sets
    (59:18) Stories of Webern, Berg and Schoenberg
    (1:00:00) Leonard Stein
    (1:00:34) Gould and Steinway
    (1:02:02) Gould's Recordings

  • Professor Allen Forte giving the Keynote Address at the Inaugural Meeting of the Music Theory Festival 2005, at Hanyang University in Korea, on November 29, 2005.

  • (0:00) The Secret Teachings of All Ages 1
    (11:42) The Secret Teachings of All Ages 2
    (19:17) Letter from Oster to Forte in 1962 / English Translation of Der Freie Satz
    (23:05) The History of the Translation of Der Freie Satz
    (28:14) Oster, Mitchell, and Mitchell's Wife
    (30:47) Mitchell and Jonas
    (33:09) Forte's Notes for Working out "the Structure of Atonal Music"
    (35:48) Forte's Reconstruction of Sketches by Berg
    (38:11) Sets Related to Schoenberg's Work
    (39:41) Forte's Sketches of Berg's String Quartet
    (40:55) Annotations and Manuscripts
    (45:00) Forte's Interest in Webern's Unpublished Sketch / Webern and Schoenberg
    (49:17) Forte's Procedure of Set Analysis
    (51:16) Forte's Complicated Analysis of Webern's Works
    (52:30) Hindemith and Webern
    (53:59) Forte's Interests in the Final Chord in One of Webern's Short Pieces
    (56:03) Forte's Paper on Webern
    (57:11) Forte's Analysis of Webern's OP. 7 No. 2

  • (0:00) Introduction by Dean James Scott
    (1:16) Introduction by Moderator Dr. Deanna Bush
    (2:55) Forte’s Introductory Remark on “My Work on Cole Porter”
    (3:33) An Important Role of Porter’s Song
    (3:57) Porter’s Music as Keyboard Patterns
    (4:26) 1964, The Year of Porter’s Death
    (5:15) Porter As A Major Figure of American Music of the 20th Century
    (5:48) Dr. Bernado Illari's Introduction to Latin American and Popular Music
    (10:56) Illari's Tour of Salta, Argentina / Gustavo "Cuchi" Leguizamon
    (15:27) Zamba, a Dance Genre
    (27:18) Zamba / Bagualas
    (37:29) Dr. Bush's Conclusion Speech

  • (0:00) Forte Watches and Comments on Documentary of Forte
    (8:27) Forte Watches and Comments on His Analysis in the Documentary
    (11:50) Forte Watches Select Footages from Documentary of Forte
    (23:09) Forte’s Analysis of Schoenberg’s Row
    (25:59) Forte’s Analysis of Porgy Bess
    (32:32) The Origin of Modern Harmonic Species / Schoenberg / Jewish Composers
    (44:23) Schnabel / Forte Signing Jackson’s Book / Jewish Composers in the US
    (52:06) Pakistani Carpet / Non-typical Graph / Debussy / Ravel

  • (0:00) Teaching Figured Bass
    (4:44) Suzuki Approach
    (6:06) Teaching Music Fundamentals to Young Children
    (11:57) Teaching Figured Bass to Young Children
    (20:42) Forte’s Reading of Chord Symbols in Cole Porter’s “Every Time You Say Goodbye”
    (30:23) Should Classical Pianists Get Trainings in Jazz Improvisations?
    (34:21) Forte Plays the Song “Nice Day”
    (37:46) Forte Plays the Song “Dream Dancing”
    (39:34) Forte Plays and Talks about the Song “Just One of These Things”
    (49:15) Forte Plays Gershwin’s “Embraceable You” and Talks about Gershwin

  • (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