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| Anthology Repertoire | |
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| Series Editor's Preface | |
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| Author's Preface | |
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| Baroque Music in Early Modern Europe | |
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| Defining "Baroque" | |
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| Humanism and Beyond | |
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| Political and Religious Conflict | |
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| Toward the Enlightenment | |
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| Baroque Music and Style | |
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| For Further Reading | |
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| Musical Expression and Innovation | |
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| Ancients and Moderns | |
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| Theory and Practice in the Age of Humanism | |
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| Inventing Opera Dramatizing the Madrigal: Il pastor fido | |
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| Moving the Passions with Song | |
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| From Performance to Print and Back Again | |
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| For Further Reading | |
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| Theatrical Baroque | |
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| Monteverdi's Mantua | |
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| Opera in Italy and Beyond | |
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| Other Varieties of Musical Theater | |
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| Exoticism | |
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| For Further Reading | |
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| The Art and Craft of Instrumental Music in the Early Seventeenth Century | |
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| The Practical Musician | |
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| Building Instruments for Sight and Sound | |
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| Patrons, Audiences, and Performers | |
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| Music, Rhetoric, and National Styles | |
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| Genre and Style in Seventeenth-Century Instrumental Music | |
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| For Further Reading | |
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| Music in Civic and Religious Ritual | |
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| Music, Faith, and Ideology | |
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| Religious Diversity and Stylistic Pluralism | |
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| Music and Paraliturgical Practices | |
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| For Further Reading | |
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| Musical Institutions | |
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| Opera in Venice and Beyond | |
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| Opera and the Venetian Republic | |
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| The Venetian Opera Industry | |
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| The Anatomy of an Opera: Monteverdi's L'incoronazione di Poppea | |
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| Staging Venetian Opera | |
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| Cavalli's Giasone | |
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| Beyond Giasone and Venice | |
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| Operatic Conventions in the Late Seventeenth Century | |
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| For Further Reading | |
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| Power and Pleasure at the Court of Louis XIV | |
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| Centralization of the Arts under Bourbon Rule | |
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| What Is So French about French Music? | |
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| Staging the Monarchy | |
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| The Burlesque as a Mirror of the Court: The Com�die-Ballet | |
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| The Tragic Ideal | |
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| The Power of the Sorceress: From Armide to M�d�e | |
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| For Further Reading | |
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| Music in Seventeenth-Century England | |
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| Music in the Jacobean and Caroline Ages | |
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| Music for the Church of England | |
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| The Interregnum | |
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| John Playford: Music Publishing from the Interregnum to the Restoration | |
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| Music during the Restoration | |
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| Henry Purcell | |
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| For Further Reading | |
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| Music and Education | |
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| Choirboys | |
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| Learning to Sing | |
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| Convents | |
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| Orphans and Foundlings | |
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| For Further Reading | |
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| Academies, Salons, and Music Societies | |
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| Singing at the Italian Academies | |
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| Women Patrons: The Salons | |
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| Professionalism: The Accademia Filarmonica of Bologna | |
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| Musical Entrepreneurs and the Rise of Public Concerts | |
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| For Further Reading | |
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| Musical Synthesis in the Capitals of Europe | |
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| Rome in the Age of the Arcadian Academy | |
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| Patrons and Composers in Eighteenth-Century Rome | |
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| Alternatives to Opera | |
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| The Arcadian Academy | |
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| Opera and the Arcadians | |
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| Corelli and the Cult of Instrumental Music | |
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| For Further Reading | |
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| Parisians and Their Music in the Eighteenth Century | |
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| Resisting the Monarchy: The Politics of the Italian Style | |
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| Pleasures in Paris | |
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| Fran�ois Couperin and Les gouts r�unis | |
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| The French Cantata | |
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| Paris during the Regency | |
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| For Further Reading | |
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| Music in City, Court, and Church in the Holy Roman Empire | |
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| A Domestic Music Scene in North Germany | |
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| Buxtehude in L�beck | |
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| Public Concerts in Hamburg and L�beck | |
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| Heinrich Biber in Salzburg | |
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| Vienna and the Imperial Style | |
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| For Further Reading | |
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| The London of Handel and Hogarth | |
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| Commerce and Politics in Eighteenth-Century London | |
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| Italian Music in London | |
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| Oratorio and the Apotheosis of Handel | |
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| For Further Reading | |
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| Postlude and Prelude: Bach and the Baroque | |
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| The Road to Leipzig | |
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| Music in Leipzig | |
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| Music for the Church | |
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| The Coffeehouse Composer | |
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| Beyond Genre: The Universal Bach | |
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| For Further Reading | |
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| Glossary | |
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| Endnotes | |
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| Credits | |
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| Index | |