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| Preface | |
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| Introduction | |
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| Music History, 1600-1750: Some Basic Ideas | |
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| Historical Background: Western Europe, 1600-1750 | |
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| Music in European History, 1600-1750 | |
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| The Place of Music and Musicians in Society | |
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| Performance Practices | |
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| A Sixteenth-Century Prologue: Motet and Madrigal | |
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| The Late-Renaissance Motet: Palestrina and Lassus | |
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| The Madrigal: Gesualdo and Monteverdi | |
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| Transistions around 1600 | |
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| Some General Developments | |
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| Instruments | |
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| Monody | |
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| Monteverdi and Early Baroque Musical Drama | |
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| Claudio Monteverdi | |
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| Monteverdi's Orfeo | |
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| The Combattimento di Tancredi e Clorinda | |
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| Venetian Opera | |
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| Lully and French Musical Drama | |
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| The French Style | |
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| Lully's Armide | |
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| Secular Vocal Music of the Later Seventeenth Century | |
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| Barbara Strozzi | |
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| Alessandro Scarlatti and the Later Cantata | |
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| English Vocal Music in the | |
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| Later Seventeenth Century | |
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| Seventeenth-Century Sacred Music | |
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| Sacred Music in Venice: Giovanni Gabrieli | |
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| Sacred Music in Germany: Heinrich Schutz | |
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| Seventeenth-Century Oratorio | |
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| Late Baroque Opera | |
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| Handel | |
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| Rameau | |
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| Late Baroque Sacred Music | |
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| Johann Sebastian Bach | |
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| Handel: Jephtha | |
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| Baroque Keyboard Music I: Toccata and Suite | |
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| Keyboard Instruments of the Seventeenth and Eighteenth Centuries | |
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| The Uses of Keyboard Music | |
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| Baroque Keyboard Music in Italy | |
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| Baroque Keyboard Music in France and Germany | |
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| Baroque Keyboard Music II: Fugues, Pieces, and Sonatas | |
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| Later Baroque German Keyboard Music | |
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| Eighteenth-Century Keyboard Music in France | |
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| Other Eighteenth-Century Keyboard Composers | |
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| Baroque Music for Instrumental Ensemble: The Sonata | |
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| The Chief Ensemble Instruments of the Baroque | |
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| Types of Baroque Music for Instrumental Ensemble | |
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| The Baroque Sonata | |
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| Biber | |
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| Corelli | |
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| The Baroque Instrumental Concerto | |
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| Corelli and the Concerto Grosso | |
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| The Solo Concerto | |
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| J.S. Bach and the Concerto | |
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| A Mid-Eighteenth Century | |
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| Epilogue: The Galant Style | |
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| The Galant Style | |
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| Telemann | |
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| Carl Philipp Emanuel Bach | |
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| Bibliography | |
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| Index | |