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| List of Illustrations | |
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| Preface | |
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| The Transition from Baroque: Music to 1760 | |
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| The Background to Eighteenth-Century Thought | |
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| Art and the Philosopher | |
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| The Musician as Philosopher | |
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| The Importance of "Taste" in the Eighteenth Century | |
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| The Musician in Society | |
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| The System of Patronage | |
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| Printing and Publishing | |
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| The Beginnings of the Public Concert | |
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| Instructional Literature | |
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| Music for Private Performance | |
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| The Style Galant | |
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| Solo Sonata with Basso Continuo | |
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| The Trio Sonata | |
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| The Solo Keyboard Sonata | |
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| The Empfindsamer Stil | |
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| Other Keyboard Forms | |
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| The Song | |
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| Music for Public Performance | |
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| The Symphony | |
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| The Concerto | |
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| Words and Music on the Stage | |
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| The Theater as a Social Center | |
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| The Singers | |
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| The Dramatic Conventions | |
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| Italian Opera Seria | |
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| Recitative and Aria | |
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| Pastiche | |
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| Italian Opera Buffa | |
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| French Opera | |
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| Opera in Italy | |
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| Opera in German-Speaking Countries | |
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| Opera in London | |
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| Opera in Paris | |
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| Embracing the New Style: Music 1760-80 | |
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| The Social and Philosophical Milieu | |
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| The Beautiful and the Sublime | |
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| Literary Antiquarianism | |
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| Sturm und Drang | |
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| The Concept of "Classical" and its Opposites | |
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| The Musician's Livelihood | |
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| Concert Organizations | |
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| Music Publishing | |
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| Writings about Music | |
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| Music in the Home | |
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| Further Evolution of the Sonata with Continuo | |
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| The Keyboard Sonata | |
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| The Keyboard Sonata with Optional Accompaniment | |
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| The String Trio | |
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| The String Quartet | |
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| The String Quintet | |
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| Vocal Music | |
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| Concert and Church Music | |
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| The Emergence of the "Classical" Symphony | |
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| The Symphonie Concertante | |
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| The Solo Concerto | |
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| Music in the Service of God | |
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| Religious Music in Roman Catholic Europe | |
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| Church Music in Non-Catholic Europe | |
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| Opera | |
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| Serious Opera in Italy | |
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| The Changing Italian Opera Buffa | |
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| Serious Opera Outside Italy | |
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| Comic Opera in France | |
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| Comic Opera in London | |
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| Comic Opera in Germany | |
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| Haydn, the Developing Master | |
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| The Early Years: 1732-60 | |
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| Early Life | |
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| Compositions | |
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| The First Esterhazy Years: to 1770 | |
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| The Beginnings of Recognition | |
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| Compositions | |
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| The Great Stylistic Break: 1770-79 | |
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| Haydn's Duties at Esterhaza | |
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| Compositions | |
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| Mozart, Genius Apparent | |
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| The Wunderkind Years: 1756-73 | |
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| The First Tours | |
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| Back Home: Salzburg and Vienna | |
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| The Italian Tours | |
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| Early Style | |
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| The First Keyboard Works | |
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| String Quartets | |
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| Symphonies | |
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| Concertos | |
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| Operatic Works | |
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| Church Music | |
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| The "Colloredo" Years: 1773-31 | |
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| The Patron | |
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| The Products of Patronage | |
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| Broadening Expressivity | |
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| The Second Journey to Paris | |
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| The Salzburg "Employee" Once Again | |
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| The High Salzburg Style | |
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| Keyboard Works | |
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| Accompanied Sonatas | |
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| Chamber Music without Keyboard | |
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| Symphonies | |
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| Serenades and Divertimentos | |
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| Concertos | |
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| Operatic Works | |
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| Religious Music | |
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| The Classical Style at Its Apogee: 1780-1800 | |
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| Years of Revolution and Change | |
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| Science and Industry | |
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| The French Revolution | |
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| Changing Philosophies | |
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| The Changing Status of the Musician | |
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| Concert Societies | |
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| Music Publishing: The Beginning of an Industry | |
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| The Virtuoso | |
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| The Musician as Author | |
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| Solo and Chamber Music | |
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| The Decline of the Continuo | |
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| From the Harpsichord to the Fortepiano | |
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| The Accompanied Keyboard Sonata | |
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| Chamber Music for Strings | |
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| Music for Voice and Piano | |
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| The Preeminence of the Symphony and the Concerto | |
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| The Symphony in Vienna | |
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| The Concerto | |
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| The Various Faces of Musical Theater | |
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| The Opera Seria | |
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| The Flourishing Opera Buffa | |
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| The Tragedie Lyrique | |
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| The Effect of the Revolution on the Opera Comique | |
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| The Singspiel | |
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| Operatic Entertainment in London | |
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| Haydn, the Acknowledged Master | |
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| The Last Years at Esterhaza: 1780-90 | |
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| Daily Life and Responsibilities | |
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| The Solo Keyboard Sonatas | |
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| The Accompanied Keyboard Sonata | |
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| The String Quartet | |
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| Songs | |
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| Symphonies | |
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| Concertos | |
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| The Operas | |
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| Church Music | |
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| Freedom at Last | |
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| Haydn in London | |
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| Return to Vienna | |
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| Back to London | |
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| The Final Return | |
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| The Last Compositions | |
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| Mozart, Genius Achieved | |
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| The Last Ten Years: 1781-91 | |
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| Breaking with Colloredo | |
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| Mozart's Marriage | |
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| An Ideal Realized: Die Entfuhrung | |
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| Life in Vienna | |
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| Mozart and Da Ponte | |
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| Financial Problems | |
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| The Great Works of the Final Decade | |
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| The Late Piano Works | |
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| Sonatas for Violin and Piano | |
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| The Piano Trios | |
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| The Piano Quartets | |
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| The Piano Quintet | |
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| Chamber Music for Strings Alone | |
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| The Song | |
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| The Symphony | |
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| The Concertos | |
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| Serenades, Divertimentos, and Dances | |
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| Operas | |
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| Church Music | |
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| Beethoven: 1770-1827 | |
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| The Giant Astride the Centuries | |
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| The Beginnings in Bonn | |
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| The Early Years in Vienna | |
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| Recognition and Success | |
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| Enlightened Patronage and Other Sources of Income | |
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| The Last Years | |
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| The Entire Oeuvre | |
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| The First Style Period to 1802 | |
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| Sonatas for Piano Solo | |
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| The Sonatas for Piano with One Instrument | |
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| The Trios and Larger Works with Piano | |
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| The String Quartet | |
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| Music for Larger Chamber Ensembles | |
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| The Concertos | |
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| The Symphonies and Orchestral Music | |
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| The Second Style Period: 1803-14 | |
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| Piano Sonatas | |
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| Sonatas for Piano and One Other Instrument | |
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| Piano Trios | |
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| String Quartets | |
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| The Symphonies | |
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| Concertos | |
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| Fidelio | |
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| The Third Style Period: 1816-27 | |
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| Solo Piano Works | |
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| Cello Sonatas and Songs | |
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| The String Quartet | |
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| The Ninth Symphony | |
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| The Missa solemnis | |
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| The Eighteenth-Century Heritage at Work in the Early Nineteenth Century | |
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| Post-Revolutionary Changes in Society and the Arts | |
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| Napoleonic Power and its Consequences | |
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| Eclecticism in the Arts | |
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| Philosophic Commentary on the Arts | |
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| The Business and the Institutions of Music | |
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| Concert Organizations | |
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| Music Publishing | |
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| Musical Writings | |
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| The Paris Conservatory | |
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| Chamber Music in the Concert Hall | |
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| The Transformation of the Sonata | |
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| The Changing Role of the Piano | |
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| The Piano in Large Chamber Ensembles | |
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| String Music and Virtuosity | |
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| Large Chamber Ensembles | |
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| The Loss of Intimacy: Performance Triumphant | |
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| Haydn's Legacy | |
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| The Virtuoso Concerto | |
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| The Persistence of the Operatic Tradition in Italy | |
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| Choral Music at the Start of a New Tradition | |
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| Epilogue | |
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| Bibliography | |
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| Index | |