Of all the new musical developments in the years following the First World War, none has been entangled in more controversy than the claim made by Arnold Schoenberg, Anton Webern, and Alban Berg that their music, and ‘the method of composing with twelve tones related only to one another’ on which much of it was based (otherwise known as serialism), represented the culmination of the mainstream of the Austro-German tradition and thus, by implication, of the mainstream of music in general. All three composers maintained that theirs was the one true path, and drew on historical, national, and even metaphysical arguments to justify their claims. Schoenberg’s ‘National Music’ (1931) traced his lineage from Bach and Mozart, through Beethoven, Wagner, and Brahms, concluding, ‘I venture to credit myself with having written truly new music, which being based on tradition, is destined to become tradition’. In a series of lectures from 1932–3, Webern pushed the origins of ‘The Path to Twelve-Tone Composition’ back past the Netherlanders all the way to Gregorian chant; insisting on the historical inevitability and necessity of twelve-tone composition, he charted a progression from the breakdown of the system of the church modes, through to Wagner’s chromatic harmony, the end of tonality, and finally to twelve-tone composition, writing, ‘It’s my belief that ever since music has been written, all the great composers have instinctively had this before them as a goal.’