The suggestion is made that what matters in survival is the future existence of someone with a personality similar to one's own. Professor Kagan then turns to the question, "what is it to die?". In answering this question, attention is first drawn to the bodily and mental functions that are crucial in defining the moment of death.

The personality theory is revised to state that the key to personal identity is having the same personality provided that there is no branching, that is, provided there is no transfer or duplication of the same personality from one body to another. Similar "no branching" requirements are added to the other theories as well. At the end of class, Professor Kagan suggests a shift from thinking about the survival of the soul in terms of "what does it take to survive?" to "what is it that matters in survival?"

The lecture focuses on the problems directly related to the personality theory as key to personal identity. The theory states that a person retains his or her individuality so long as he or she has the same ongoing personality. The main objection raised to this claim is the problem of duplication. The lecture explores cases in which the same personality has been transferred or exported to multiple bodies.

Two more views regarding the metaphysical key to personal identity are discussed: the body view and the personality view. According to the body view, an individual is identified in terms of his or her physical body. According to the personality view, an individual is identified by his or her unique set of beliefs, desires, memories, goals, and so on.

Professor Wright delves into sonata-allegro form in some depth in this lecture. He focuses especially on characterizing four types of music found within a sonata: thematic, transitional, developmental, and cadential. He then moves on to discuss a different form, theme and variations, which is accomplished through the use of examples from Beethoven's and Mozart's compositions. Professor Wright and guest artist Kensho Watanabe then conclude the lecture by demonstrating a set of theme and variations through a live performance of Corelli's La Folia.

A brief foray into the formal characteristics of contemporary popular music is used to launch this lecture on musical form. After a discussion of the "verse-chorus" form often used in popular music, Professor Wright proceeds to take students into the realm of classical music, focusing particularly on ternary form and sonata-allegro form. Throughout his detailed explanation of sonata-allegro form, he also elaborates upon some harmonic concepts describing, for example, the relationship between relative major and minor keys.

In this lecture, Professor Wright teaches students how to listen for bass patterns in order to understand harmonic progressions. He talks through numerous musical examples from both popular music and classical music, showing the way that composers from both realms draw on the same chord progressions. The musical examples are taken from Mozart, Beethoven, Rossini, Wagner, Gene Chandler, the Beach Boys, Badly Drawn Boy, the Dave Matthews Band, and Justin Timberlake.

Professor Wright explains the way harmony works in Western music. Throughout the lecture, he discusses the ways in which triads are formed out of scales, the ways that some of the most common harmonic progressions work, and the nature of modulation. Professor Wright focuses particularly on the listening skills involved in hearing whether harmonies are changing at regular or irregular rates in a given musical phrase. His musical examples in this lecture are wide-ranging, including such diverse styles as grand opera, bluegrass, and 1960s American popular music.

This lecture discusses melody and aesthetics; Professor Wright raises the question of what makes a melody beautiful, and uses excerpts from Puccini's Gianni Schicchi, Wagner's Tristan and Isolde and Mozart's Marriage of Figaro to explore this issue. Throughout the discussion, the foundations of classical phrase-structure and harmonic progressions are used to explain some of the choices these three composers made.

This lecture explores the basic nature of melody. Touching on historical periods ranging from ancient Greece to the present day, Professor Wright draws examples from musical worlds as disparate as nineteenth-century Europe and twentieth-century India, China, and America. Professor Wright puts forth a historical, technical, and holistic approach to understanding the way pitches and scales work in music. He concludes his lecture by bringing pitch and rhythm together in a discussion of Beethoven's Ninth Symphony.