Disc 1 (ca. 46 min.). Deborah Jowitt introduces the panel members and their respective relationships to Horst; Jowitt speaks about Horst's life and contribution to the dance community; Sophie Maslow discusses Horst's perception of modern dance; how he was interested in and inspired by other art forms; Jean Erdman discusses Horst's teachings regarding dance and musical structure; sources of new movement; Horst's interest in tonality and modes and how they relate to form and structure in dance composition; Janet Soares discusses the transposition of aspects of contemporary music, such as atonality and dissonance, to dance; additional discussion on form and creative discipline; Horst's feelings about music from the Romantic era; Ted Dalbotten quotes Horst regarding the synthesis of dance and music; the use of flute and percussion in dance accompaniment; the importance of the relation between dance and musical rhythm and structure; how dance can enrich music; Jowitt briefly mentions the primitive qualities that are found in both Martha Graham's choreography and Horst's compositions; the panel discusses Horst's philosophy of form and dynamic rhythm.
Disc 1 (ca. 46 min.), cont. Soares discusses Pina Bausch's use of movement and music in relation to Horst's teachings; further discussion of form and structure by the panel; comparing the craft of Isadora Duncan to that of subsequent choreographers; importance of visual style and developing an individual dance vocabulary; Horst's view of ballet and modern dance in relation to design; Erdman discusses her work with Horst as composer on Transformations of Medusa.
Disc 2 (ca. 39 min.). [Begins abruptly.] Discussion of the manipulation of musical rhythm in dance composition; how choreographers and composers can inspire each other; further discussion of music of the Romantic era; Horst as a composer and his view that music should serve dance; Soares quotes Lincoln Kirsten on Horst; Dalbotten demonstrates excerpts from a dance study entitled Pavane to explain Horst's elements and devices for organizing movement [music is played, and it appears that Dalbotten is dancing the Pavane study; applause followed by an abrupt break]; Soares and Dalbotten discuss structure and adaptation; Maslow discusses the theme and reworking of a trio she choreographed in 1942 that was originally performed by Maslow, Jane Dudley and William Bales [dancers are asked to the stage to perform; abrupt break]; Erdman speaks about the story and inspiration for her work Transformations of Medusa [dancers are asked to the stage; abrupt break].
Disc 3 (ca 23 min.). The panel answers questions from the audience. Dalbotten and Soares briefly discuss additional choreographic devices and options; Soares briefly discuses the concept of musical dissonance and how it relates to dance composition; Dalbotten discusses Horst's four preliminary studies; further discussion on dissonance and how it is manifested in Graham's choreography and technique; the panel discusses artists and philosophers that may have influenced Horst and Graham, in particular Mary Wigman; briefly mentions Horst's distress regarding the lack of appreciation in Europe of Erik Satie; Horst's contribution to the field of music; more on Horst's thoughts on woodwinds and string instruments as dance accompaniment; brief mention of lecture-demonstrations in Europe of the Pre-Classic dance forms by Isadora Duncan's sister [Elizabeth Duncan?]; more on Horst's contribution to the dance field; Jowitt thanks the panelists and dancers [ends abruptly].