Reading, having read: Ethan Mordden's non-fictional work on opera, theater, and, in especial, his non-musician's Guide to Orchestral Music, which, along with certain remarks in Hans Keller's Great Haydn Quartets, has sent me into the long defensive funk I've been in lately over the ugliness, villainy, and preposterous fraudulence of twelve-tone (anti-overtone series) music. Here, after all, are people whom I like and respect, and whose fundamental opinions about most things are virtually identical with my own. Keller, for example, points out the unsettled tonality of the adagio of Opus 76, No. 6, showing it to have to correspond to the same unsettledness in the contemporary 'Representation of Chaos' at the beginning of the Creation--and throws the spanner that this "air from another planet" was just what Schoenberg was evoking in his creation of serialism.