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| Music In Classical Antiquity | |
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| Music in the Life and Philosophy of Ancient Greece | |
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| Music and the Doctrine of Ethos | |
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| Characteristics of Music | |
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| Greek Music Theory | |
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| Music in Ancient Rome | |
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| The Early Christian Period | |
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| The Growth of the Christian Church and Its Music | |
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| The Jewish Heritage | |
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| The Diversification of Practice | |
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| The Eastern Influence | |
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| Local European Practices | |
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| The Establishment Of A Catholic Tradition | |
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| The Political-Cultural Situation at the Beginning of the Ninth Century | |
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| The Roman Liturgy | |
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| The Divine Office | |
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| Mass | |
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| Aesthetic Considerations Regarding the Chant | |
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| The Musical Style of the Chant | |
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| The Music Theory of the Chant | |
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| Later Developments in the Liturgical Chant | |
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| The Trope | |
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| Liturgical Drama | |
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| Medieval Secular Song And Instrumental Music | |
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| Secular Music before the Eleventh Century | |
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| Latin Songs | |
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| Epics and Minstrels | |
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| Troubadours and Trouveres | |
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| German Court Music | |
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| Monophonic Songs in Other Regions | |
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| Italy | |
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| Spain and Portugal | |
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| Britain | |
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| Instruments | |
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| String Instruments | |
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| Wind Instruments | |
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| Percussion Instruments | |
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| Organs | |
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| The Use of Instruments | |
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| The Development Of Polyphony | |
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| The Significance of Polyphony | |
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| Carolingian Polyphony | |
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| Romanesque Developments | |
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| Free Organum | |
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| Rhythmic Independence | |
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| Florid Organum and Discant | |
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| Gothic Thinking and Style | |
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| Notre Dame Polyphony | |
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| Rhythmic Order in Organum: Leonin | |
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| Perotin | |
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| Cadences | |
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| The Motet | |
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| Late Thirteenth-Century Developments | |
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| New Developments in Rhythmic Notation | |
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| Hocket | |
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| Symbolic Values in Medieval Polyphony | |
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| Music In The Fourteenth Century | |
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| The Increasing Secularization of Culture | |
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| Ars Nova | |
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| Isorhythm | |
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| The Roman de Fauvel | |
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| Form in Secular Song | |
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| Guillaume de Machaut | |
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| Ars Subtilior | |
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| The Italian Trecento | |
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| Cadence Patterns in the Fourteenth Century | |
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| English Polyphony | |
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| Gymel and English Discant | |
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| Secular Music: Rota | |
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| Humanism And Music | |
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| The Rise of a Humanist World View | |
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| The Hundred Years' War and English Music on the Continent | |
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| John Dunstaple | |
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| The New Style on the Continent | |
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| Guillaume Du Fay | |
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| Gilles Binchois | |
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| Polyphonic Cadences | |
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| The Idea of a New Music | |
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| The Spread Of New Musical Ideas And Practices To 1600 | |
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| The Growth of the Renaissance Musical Style in the North . | |
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| Johannes Ockeghem | |
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| The Next Generation of Franco-Netherlands Composers | |
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| Josquin des Prez | |
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| The Ascendancy of the Northern Style | |
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| Music for Social Use | |
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| Regional Variations of the Cosmopolitan Style in Secular Music | |
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| The French Chanson | |
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| English Music | |
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| German Music | |
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| Spanish Repertoires | |
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| The Italian Frottola and Madrigal | |
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| The Poetic Model for Musical Expression | |
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| Instrumental Music In The Sixteenth Century | |
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| The Place of Instruments | |
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| Instruments and their Combinations | |
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| Consorts | |
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| Broken Consorts | |
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| Plucked Instruments | |
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| Keyboard Instruments | |
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| Tablature | |
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| Instruments and Vocal Music | |
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| Instrumental Adaptations of Vocal Music and Genres | |
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| Instrumental Genres | |
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| Dances | |
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| Variations | |
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| Instrumental Pieces in the Style of Improvisations | |
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| The Reformation And Music | |
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| The Background of the Reformation | |
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| The Music of the Lutheran Reformation | |
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| The Calvinist Reformation | |
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| The Reformation in England | |
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| The Counter-Reformation | |
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| Palestrina | |
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| Tomas Luis de Victoria and Roland de Lassus | |
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| Faith, Music, and the Power of Words | |
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| The Close Of The Sixteenth Century | |
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| Italian Music at the End of the Sixteenth Century | |
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| Mannerism | |
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| The Italian Style in England | |
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| France | |
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| The Venetian Style | |
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| The Significance of Late Humanist Styles | |
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| Rationalism And Its Impact On Music | |
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| An Age of Reason | |
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| Aesthetic Considerations | |
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| The Doctrine of Affections | |
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| The Florentine Camerata | |
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| Monody and the Basso Continuo | |
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| Concertato | |
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| Seconda Pratica | |
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| Expression of New Ideas in New Styles | |
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| New Genres And Styles In The Age Of Rationalism | |
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| Three Styles | |
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| The Creation of Opera | |
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| First Experiments in Opera | |
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| Orfeo | |
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| Developments in Italian Opera | |
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| Stylistic Trends | |
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| Vocal Chamber Music | |
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| Texture and Form | |
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| Sacred Music | |
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| The Sacred Concerto | |
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| Oratorio | |
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| Seventeenth-Century Instrumental Music | |
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| The Fantasia | |
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| The Sonata | |
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| Sets of Variations | |
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| Dance Music | |
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| Improvisatory Instrumental Music | |
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| The Late Seventeenth Century | |
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| French Opera in the Seventeenth Century | |
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| Historical Context | |
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| The Beginnings of French Opera | |
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| French Operatic Style | |
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| English Music in the Seventeenth Century | |
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| The First Stuarts | |
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| The Commonwealth | |
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| The Restoration | |
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| Italian Opera | |
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| |
| The Cantata and Other Vocal Chamber Music | |
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| German Musical Genres | |
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| Keyboard Music | |
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| Musical Drama | |
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| The Development of Instrumental Forms and Idioms | |
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| |
| Style Developments in Instrumental Music | |
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| Fugue | |
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| The Suite | |
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| The Ensemble Sonata | |
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| Concerto | |
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| The Early Eighteenth Century | |
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| |
| The Late Rationalist Period | |
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| |
| Opera Seria - Handel and Others | |
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| The Intermezzo | |
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| |
| Opera in France | |
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| Handel and the Oratorio | |
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| |
| Germany | |
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| |
| Johann Sebastian Bach | |
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| |
| Bach's Early Career | |
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| |
| The Court of Weimar | |
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| |
| The Court of Cothen | |
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| |
| The City of Leipzig | |
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| |
| Bach's Culmination of Stylistic Tradition | |
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| |
| |
| New Currents In The Early Eighteenth Century | |
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| New Directions in Thinking and Style | |
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| |
| The Development of the Tonal System | |
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| |
| The Idea of the Galant | |
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| |
| In France | |
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| Outside of France | |
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| |
| French and Italian Operatic Comedy | |
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| |
| La Guerre des Bouffons | |
| |
| |
| The empfindsamer Stil | |
| |
| |
| Carl Philipp Emanuel Bach | |
| |
| |
| Keyboard Instruments | |
| |
| |
| Song | |
| |
| |
| Structure in Early Eighteenth-Century Instrumental Music | |
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| |
| Developments in Instrumental Music | |
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| |
| |
| The Enlightenment And The Classic Style | |
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| |
| The Enlightenment | |
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| |
| The Classic Outlook | |
| |
| |
| Musicians in Late Eighteenth-Century Society | |
| |
| |
| Contrasting Careers for Classical Musicians: Haydn and Mozart | |
| |
| |
| Franz Joseph Haydn | |
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| |
| Wolfgang Amadeus Mozart | |
| |
| |
| Comic Opera in the Early Enlightenment | |
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| |
| Opera Seria and Opera Reform | |
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| |
| Instrumental Genres and the Sonata Plan | |
| |
| |
| The Symphony | |
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| |
| The String Quartet | |
| |
| |
| The Keyboard Sonata | |
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| |
| The Concerto | |
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| |
| The Divertimento | |
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| |
| The Sonata Form and Its Variants | |
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| |
| Harmonic Plan | |
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| |
| Thematic Plan | |
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| |
| Outline of Sonata Form | |
| |
| |
| Some Terminological Clarification | |
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| |
| Applications of the Sonata Procedure | |
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| |
| Expression and Function | |
| |
| |
| |
| The End Of The Eighteenth Century | |
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| |
| The Position of Haydn and Mozart | |
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| |
| Chamber Music | |
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| |
| Symphony | |
| |
| |
| Concerto | |
| |
| |
| Mozart's Mature Operas | |
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| |
| Opera Seria | |
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| |
| Singspiel | |
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| |
| Collaboration with Da Ponte | |
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| |
| A Finale in the Popular Theater | |
| |
| |
| A New Model for Expression | |
| |
| |
| The Enlightenment Beethoven | |
| |
| |
| Beethoven's Early Years in Bonn | |
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| |
| Beethoven's First Decade in Vienna | |
| |
| |
| The Music of Beethoven's First Vienna Period | |
| |
| |
| The American Colonies and the early United States | |
| |
| |
| |
| The Rise Of The Romantic Movement | |
| |
| |
| Philosophical Roots of Romantic Thought | |
| |
| |
| Politics, Economics, and Social Change | |
| |
| |
| The Concept of Organic Unity | |
| |
| |
| Romantic Art | |
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| |
| Themes in Romantic Art | |
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| |
| Techniques of Romantic Art | |
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| |
| The Romantic Movement in the History of Musical Style | |
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| |
| Beethoven from 1802 | |
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| |
| Beethoven and the Artist as Hero | |
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| |
| Beethoven's Heroic Style | |
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| |
| Beethoven's Sketchbooks | |
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| |
| Beethoven's Personal Life in His Middle Period | |
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| |
| Beethoven's Last Period | |
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| |
| Beethoven's Influence on Nineteenth-Century Music | |
| |
| |
| The Romantic Lied | |
| |
| |
| Franz Schubert | |
| |
| |
| Early Nineteenth-Century Italian Opera | |
| |
| |
| Gioacchino Rossini | |
| |
| |
| Opera in France | |
| |
| |
| German Romantic Opera | |
| |
| |
| The Social Context for Music in the Nineteenth Century | |
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| |
| |
| Developments In Romanticism To 1850 | |
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| |
| The Context for Romanticism to the Middle of the Nineteenth Century | |
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| |
| Composers' Lifestyles | |
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| |
| Composers' Literary and Artistic Activities | |
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| |
| Romantic Lyricism in Italian Opera | |
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| |
| Style | |
| |
| |
| Performance Practice | |
| |
| |
| Giuseppe Verdi | |
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| |
| French Grand Opera | |
| |
| |
| The Cult of Virtuosity | |
| |
| |
| Some ""Serious"" Performers | |
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| |
| Lyricism and Virtuosity - Chopin | |
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| |
| Salons and Drawing Rooms | |
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| |
| Instrumental Genres in Romantic Music | |
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| |
| Piano Music | |
| |
| |
| Orchestral Music | |
| |
| |
| Romantic Musical Style | |
| |
| |
| Expansion of Sound Vocabulary | |
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| |
| Romantic Harmony | |
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| |
| Form in Romantic Music | |
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| |
| Recognition of the Musical Heritage | |
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| |
| The Midpoint of the Nineteenth Century | |
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| |
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| The Second Half Of The Nineteenth Century | |
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| |
| The New German School | |
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| |
| The Artwork of the Future | |
| |
| |
| Wagner's Music Dramas | |
| |
| |
| Wagner's Librettos | |
| |
| |
| Wagner's Musical Style | |
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| |
| Wagner in Social and Political History | |
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| |
| Late Romanticism | |
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| |
| Austria | |
| |
| |
| France | |
| |
| |
| Italy | |
| |
| |
| Influences of the New German Style | |
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| |
| Progressives in Vienna | |
| |
| |
| Richard Strauss | |
| |
| |
| Alexander Skryabin | |
| |
| |
| Realism in Late Nineteenth-Century Opera | |
| |
| |
| Exoticism | |
| |
| |
| Late Nineteenth-Century National Styles | |
| |
| |
| Bohemia | |
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| |
| Russia | |
| |
| |
| Nationalism in Other Countries | |
| |
| |
| The Situation at the End of the Nineteenth Century | |
| |
| |
| |
| The Arrival Of The Twentieth Century | |
| |
| |
| A Turning Point in Artistic Ideas and Styles | |
| |
| |
| Impressionism | |
| |
| |
| Claude Debussy | |
| |
| |
| Diffusion and Limits of Impression | |
| |
| |
| The Aesthetics of Ugliness | |
| |
| |
| Primitivism | |
| |
| |
| Expressionism | |
| |
| |
| Arnold Schoenberg | |
| |
| |
| Alban Berg | |
| |
| |
| Advantages and Problems in Atonal Expressionism | |
| |
| |
| An American Original: Charles Ives | |
| |
| |
| |
| Modernism And The Period Between The World Wars | |
| |
| |
| Modernism | |
| |
| |
| A Period of Readjustment | |
| |
| |
| The Twelve-Tone Method of Composition | |
| |
| |
| Schoenberg after 1920 | |
| |
| |
| Adaptations of the Twelve-Tone Method | |
| |
| |
| Toward Serialism | |
| |
| |
| Artistic Objectivity | |
| |
| |
| Neoclassicism | |
| |
| |
| France | |
| |
| |
| Stravinsky's Neoclassic Music and Thought | |
| |
| |
| Germany | |
| |
| |
| New Tonal Theory | |
| |
| |
| The Influence of Regional Musics | |
| |
| |
| The Music of Socialist Realism in the Soviet Union | |
| |
| |
| The United States | |
| |
| |
| Jazz | |
| |
| |
| Incorporating Jazz into Traditional Genres | |
| |
| |
| The Avant-Garde | |
| |
| |
| American Experimentalists | |
| |
| |
| |
| In The Second Half Of The Twentieth Century | |
| |
| |
| History and Contemporary Music | |
| |
| |
| Composers in Late-Twentieth-Century Society | |
| |
| |
| Total Control | |
| |
| |
| The Exploration of New Timbres: Extended Techniques | |
| |
| |
| Electronic Music | |
| |
| |
| Computers | |
| |
| |
| The Performer | |
| |
| |
| Indeterminacy | |
| |
| |
| Indeterminacy, Performers, and Computers | |
| |
| |
| Aesthetic Issues | |
| |
| |
| Postmodernism | |
| |
| |
| Postmodernism in Music | |
| |
| |
| Postmodern Composer and Listener | |
| |
| |
| Diversity in Styles Based on the Western Tradition | |
| |
| |
| Juxtapositions and Fusions with Non-Western Musics | |
| |
| |
| Minimalism | |
| |
| |
| Mixed-Media and Performance-Oriented Music | |
| |
| |
| Jazz and Popular Music | |
| |
| |
| Jazz | |
| |
| |
| Rock Music | |
| |
| |
| The Situation at the Dawn of the Twenty-first Century | |
| |
| |
| Appendix: Timeline | |
| |
| |
| Index | |