(0:00) Part 1: Different Schenkerian Analytical Techniques
(0:25) Part 2: Examples for Beginning Students in Schenkerian Analysis
(1:46) Part 3: Examples for Intermediate Students in Schenkerian Analysis
(2:16) Part 4: Didn't Schenker Like Textbooks?
(2:59) Part 5: Why Did Schenker Write/Create A Textbook?
(3:51) Part 6: Purposes of Textbooks
(4:24) Part 7: Things That A Textbook Can't Tell You
(5:57) Part 8: How Does Prof. Laufer Teach Schenkerian Analysis?
(8:19) Part 9: Putting Analytical Notes below A Score
(9:57) Part 10: The Act of Writing on the Board
(12:22) Part 11: Flexibility of Schenker's Notations
(13:48) Part 12: Placing A Motivic Sketch Above A Sketch
(14:39) Part 13: Motives and Figures
(17:14) Part 14: A Comparison of Reti's and Laufer's Studies on Motive
(19:19) Part 15: Inversions in Mozart’s Work
(20:13) Part 16: One Figure Becomes Another in Mozart's K. 545
(22:14) Part 17: One Figure Becomes Another in Mozart's K. 280
(23:34) Part 18: One Figure Becomes Another in "Classical Compositions"
(25:26) Part 19: Appositions
(25:59) Part 20: Continuity/Connection between First and Second Subjects
(27:29) Part 21: Connections in Recapitulation
(28:28) Part 22: Motivic Revelation in Recapitulation
(29:30) Part 23: Dvořák Symphony No. 7
(30:35) Part 24: Three-key Expositions
(33:28) Part 25: Bruckner's Expositions
(34:45) Part 26: Rotational Form
(37:31) Part 27: Interruption in Schenkerian Analysis
(38:54) Part 28: Interruption in Post-tonal Context
(40:30) Part 29: Oster's Sketches
(41:52) Part 30: Laufer’s Sketches
(42:37) Part 31: Analytical Sketches and Recordings
(43:10) Part 32: Laufer's Notes (Drafts)
(43:56) Part 33: Regarding Laufer's File of Dvořák
(44:16) Part 34: An Overview of Laufer’s Graphs
(45:17) Part 35: Recapitulation in Laufer's Graphs
(46:04) Part 36: Motivic Featurse/Components
(47:50) Part 37: Features in the Second Subject
(48:41) Part 38: A Striking Feature: Parallel Fifths
(50:40) Part 39: Laufer’s Graph of Recapitulation
(55:33) Part 40: Rondo and the Recapitulation of Sonata
(58:59) Part 41: Dvořák’s Unusual Background Structure
(1:02:30) Part 42: I-VI-I Structure
(1:04:27) Part 43: Dvořák’s Formal Design