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| Antiquity and the Middle Ages | |
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| Music in Ancient Greece | |
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| Antiquity to the Middle Ages: Music in Rome, Jerusalem, and the Early Christian World | |
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| Chant in the Monastery and Convent | |
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| Music Theory in the Monastery: John of St. Gall and Guido of Arezzo | |
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| Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen | |
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| Troubadours and TrouvFres | |
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| Early Polyphony | |
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| Music in Medieval Paris: Polyphony at Notre Dame | |
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| Inside the Cathedral Close and University: Conductus and Motet | |
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| In the Parisian Master's Study: Music Theory of the Ars Antiqua and Ars Nova | |
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| Music at the Court of the French Kings: The Ars Nova | |
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| Fourteenth-Century Music in Reims: Guillaume de Machaut | |
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| Avignon, Symbolic Scores, and the Ars Subtilior | |
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| Musical Interlude 1: From Medieval Manuscript to Modern Performance | |
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| The Late Middle Ages and Early Renaissance | |
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| Music in Florence, 1350-1425 | |
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| Music at the Cathedral of Florence | |
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| Music in England | |
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| Music at the Court of Burgundy | |
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| Music at the French Royal Court | |
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| Music in the Low Countries | |
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| The Late Renaissance | |
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| Musical Interlude 2: Music in the Late Renaissance | |
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| Popular Music in Florence, 1470-1540: Carnival Song and Lauda, Frottola, and Early Madrigal | |
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| Josquin Desprez and Music in Ferrara | |
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| Musical Interlude 3: Music Printing During the Renaissance | |
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| Music in Renaissance Paris | |
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| Renaissance Instruments and Instrumental Music | |
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| Musical Interlude 4: Music Theory in the Renaissance | |
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| Music in Three German Cities: The Protestant-Catholic Confrontation | |
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| Rome and the Music of the Counter-Reformation | |
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| Music in Elizabethan England | |
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| Early Vocal Music | |
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| Music in Elizabethan England | |
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| Later Vocal Music and Instrumental Music | |
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| The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi | |
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| Baroque Music | |
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| Early Baroque Music | |
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| The Birth of Opera: Florence, Mantua, and Venice | |
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| The Concerted Style in Venice and Dresden | |
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| Religious Music in Baroque Rome | |
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| Musical Interlude 5: A Baroque Christmas in the Andes of South America | |
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| Instrumental Music in Italy | |
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| Instrumental Music in Germany and Austria | |
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| Music in Paris and at the Court of Versailles: Vocal Music | |
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| Music in Paris and at the Court of Versailles: Instrumental Music | |
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| Musical Interlude 6: From Ancient to Modern: Aspects of Baroque Music Theory | |
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| Music in London | |
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| Henry Purcell | |
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| Music in London | |
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| George Frideric Handel | |
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| Johann Sebastian Bach: Instrumental Music in Weimar and C�then | |
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| Johann Sebastian Bach: Vocal Music in Leipzig | |
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| The Enlightenment and the Classical Era | |
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| Music in the Age of Enlightenment: Opera | |
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| Music in the Age of Enlightenment: Orchestral Music | |
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| Music in the Age of Enlightenment: Keyboard Music | |
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| Classical Music in Vienna | |
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| Joseph Haydn: Instrumental Music | |
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| Joseph Haydn: Late Symphonies and Vocal Music | |
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| Wolfgang Amadeus Mozart: Instrumental Music | |
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| Wolfgang Amadeus Mozart: Vocal Music | |
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| The Early Music of Beethoven | |
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| Beethoven's Middle Period: 1802-1814 | |
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| After the Congress of Vienna: Beethoven's Late Music | |
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| Romanticism | |
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| Musical Interlude 7: Romanticism | |
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| Franz Schubert | |
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| Music in Paris Under Louis Philippe: Berlioz and Chopin | |
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| Leipzig and the Gewandhaus: Mendelssohn and the Schumanns | |
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| German Opera in the Nineteenth Century: Weber and Wagner | |
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| Opera in Italy: Rossini and Verdi | |
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| Nationalism and Virtuosity: Franz Liszt | |
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| Vienna in the Late Nineteenth Century: Brahms and Bruckner | |
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| Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky | |
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| Vienna at the turn of the Twentieth Century: Gustav and Alma Mahler | |
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| England at the End of the Romantic Period: Elgar and Vaughan Williams | |
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| Opera in Milan After Verdi: Puccini, Toscanini, and Verismo | |
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| Paris of the Belle Epoque: Debussy, FaurT, and Lili Boulanger | |
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| The Early Twentieth Century | |