Clips
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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) 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.
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(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