In this lecture we conclude our exploration of early 20th-century modernism with Arnold Schönberg. He saw himself not as a revolutionary but as the next inevitable step in the history of German/Austrian music. To that end, we discuss the elements of German music from the Protestant Reformation through the 19th century. We explore and discuss Schönberg's "emancipation of dissonance" through which he attempted to free his music from the shackles of traditional tonality while maintaining the traditional elements he considered his birthright. As examples of Schönberg's "freely atonal" music, we discuss three songs from his seminal Pierrot Lunaire (1912).