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| List of Illustrations | |
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| List of Musical Examples | |
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| Acknowledgments | |
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| Introduction: Laocoon Revisited | |
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| Lessing and Horace | |
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| Babbitt and Greenberg | |
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| Adorno | |
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| Apollo and Marsyas | |
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| Kokoschka's Morder, Hoffnung der Frauen | |
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| Hindemith's Morder, Hoffnung der Frauen | |
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| Aesthetic Paradoxes | |
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| Modernism, Historical and Transhistorical | |
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| Figures of Consonance among the Arts | |
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| Hieroglyph | |
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| Plotinus | |
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| Mozart's The Magic Flute | |
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| Perlocution and Epigram: Liszt and Wagner | |
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| Rapee's Dictionary of Silent Film Music and the Leitmotiv | |
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| Wagner and the Origin of Music | |
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| Eye Music | |
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| Stravinsky's Renard and Prokofiev's Semyon Kotko | |
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| Ideogram | |
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| Pound, Fenollosa, and the Chinese Character | |
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| Imagism | |
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| Noh | |
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| Pound, Fenollosa, Yeats, and Michio Ito | |
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| Unnatural Nature: Kleist and Mallarme | |
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| Structure of the Noh Play | |
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| Nishikigi | |
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| Pound's Tristan | |
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| The Pisan Cantos as a Noh Play | |
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| The Pisan Cantos as an Opera | |
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| Britten's Curlew River and Sumidagawa | |
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| Gestus | |
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| Dalcroze Exercises | |
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| Nijinsky, Nijinska, and The Rite of Spring | |
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| Lessing's Theory of Gestus | |
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| Rousseau and Gesticulation | |
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| Weill's Theory of Gestus | |
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| Brecht's Theory of Gestus | |
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| Farragoes: Mann ist Mann and The Threepenny Opera | |
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| Ruined Wishes: Jenny and Lilian | |
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| Inscriptive Tetrachords | |
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| Brecht's Photograms | |
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| Villonaud | |
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| Text-Embezzling in The Threepenny Opera | |
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| Pound's Le testament: Troubadour Imitations | |
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| Le testament: Speech as Music | |
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| Schoenberg's Erwartung and the Rejection of Sequence | |
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| Wagner on Schopenhauer | |
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| The Semantics of Erwartung | |
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| Le testament: Rhythmic Complexity, Melodic Simplicity | |
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| Noh, Again | |
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| Der Jasager: Teaching Acquiescence | |
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| Icons of Trudge and Gluck's Hell | |
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| Tragedy in Music: Plaint vs. Wall | |
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| The Chill of Hieroglyphs | |
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| Weill's Epitaph | |
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| Figures of Dissonance among the Arts | |
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| Loop | |
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| Parade: Whorls in Picasso's Designs | |
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| Circular Skits | |
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| Satie's Furniture Music as a Barrier against Expression | |
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| Phonometrography | |
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| Property Trees That Don't Convulse | |
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| Cocteau's Unspoken Text | |
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| Cube | |
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| Rimbaud's "Parade" | |
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| Cubism and the Letter K | |
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| Picasso's Managers: Life inside a Cubist Painting | |
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| Metaphors for Cubes in Satie's Music | |
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| Ballet realiste and Visual Collage | |
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| Intonarumori: Russolo and Boccioni | |
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| Loop, Again | |
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| Non-synchronicity in Silent Films | |
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| The American Girl's Spoof of The Perils of Pauline | |
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| Film Loops in Saint-Saen's L'assassinat du duc de Guise | |
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| Relache: Clair's Entr'acte cinematographique as a Film Loop | |
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| Relache: Segment Construction and Master Bars in Satie's Score | |
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| Antheil's Ballet Mecanique: The Big Foot | |
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| The Leger-Murphy Film of Ballet Mecanique: Cinematic Abstraction | |
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| Surrealism (Literature and Art) | |
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| Apollinaire's Coining of the Word Surrealism | |
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| Apollinaire's Les mamelles de Tiresias | |
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| Calligrams | |
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| Simultanism: Verbal Polyphony | |
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| Surrealism as a Codified Style: Breton's Land of Unlikeness | |
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| Lautreamont's Tryst of Sewing Machine and Umbrella | |
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| Headlessness | |
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| Surrealism (Music) | |
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| The Cocteau-Milhaud Le boeuf sur le toit: Nothing Happens | |
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| The Cocteau-Les Six Les maries de la Tour Eiffel | |
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| Dadaist Music: Schwitters and Duchamp | |
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| Allusion in the Music of Les maries de la Tour Eiffel | |
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| Stravinsky as Fagin | |
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| The Jacob-Poulenc Le bal masque | |
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| The Eluard-Poulenc Un soir de neige: Theft from Ravel | |
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| Poulenc's Setting of Les mamelles de Tiresias | |
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| Voice-Traning Lessons | |
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| Heaven | |
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| Temporal Images of the Timeless | |
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| Transfiguration in Strauss, Faure, and Elgar | |
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| Stein, Automatic Writing, and Dali | |
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| Stein's Early "Psychological" Style: The Making of Americans | |
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| Stein's Objective Style: Tender Buttons | |
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| Stein's An Elucidation: Discourse Vanishing into Visual Pattern | |
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| The Land of Unlikeness, Revisited | |
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| Stein's Landscape Style: Drama without a Story | |
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| Landscape Grammar | |
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| Four Saints in Three Acts: An Opera with No Acts | |
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| Heavenly Reconfigurings of Position | |
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| Counting for Counting's Sake | |
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| Thomson's Early Stein Settings: Susie Asado, Capital Capitals | |
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| Thomson's Discipline of Spontaneity | |
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| Four Saints: Consonant Harmony, Dissonant Syntax | |
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| Counting for Counting's Sake, in Music | |
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| Grosser's Scenario for Four Saints: Imposing Narrative on the Inenarrable | |
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| Stettheimer's Stage Set: The Knickknack Shelf Enlarged | |
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| Thomson's Theory of Incidental Music | |
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| Voice-Training Lessons, Again | |
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| Notes | |
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| Works Cited | |
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| Photo Credits | |
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| Index | |