This is the last and also the longest of Mr. Bernstein's lectures in this cycle. He presents us with "sincerity" in music and whether the examples he plays are sincere or not and reminds us of Theodore Adorno's theory on the compositional dichotomy in the persons of Schoenberg and Stravinsky. For Adorno the latter is "a child of satan" full of heart-up-his-sleeve forms of expression, vacuous; in other words: artificial. Whereas Schoenberg represents the saintly, objective and direct expression of feelings; i.e. what is ART and what is ARTIFICIAL. How artificial can art be and still be art?