In this 4th part of Bernstein's 6 harvard talks on Music and Linguitics he takes us from Berlioz, over Wagner to Debussy. Illustrating the progression of atonality that baned the way for the 'modern crisis' as he puts it. Systematically anylyzing each piece (respectively Berlioz' 'Romeo and Juliet, Wagner's 'Tristan' and Debussy's 'Faun') with the metods layed out in the previous three lectures, he shows how tonal ambiguity becomes increasingly prevalescent in the 19th century and decreasingly 'contained' by traditional diatonicism. Especially interresting is his analysis of Wagners use of the dimished 7th chord, and Debussy's use of the tritone and whole-note scale.

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