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| Preface | |
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| Music and Sound | |
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| Imagining the sound | |
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| Romantic paradoxes: the absent melody | |
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| Classical and Romantic pedal | |
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| Conception and realization | |
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| Tone color and structure Fragments | |
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| Renewal | |
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| The Fragment as Romantic form | |
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| Open and closed | |
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| Words and music | |
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| The emancipation of musical language | |
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| Experimental endings and cyclical forms | |
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| Ruins | |
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| Disorders | |
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| Quotations and memories | |
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| Absence: the melody suppressed Mountains and Song Cycles | |
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| Horn calls | |
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| Landscape and music | |
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| Landscape and the double time scale | |
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| Mountains as ruins | |
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| Landscape and memory | |
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| Music and memory | |
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| Landscape and death: Schubert | |
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| The unfinished workings of the past | |
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| Song cycles without words Formal Interlude | |
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| Mediants | |
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| Four-bar phrases Chopin: Counterpoint and the Narrative Forms | |
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| Poetic inspiration and craft | |
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| Counterpoint and the single line | |
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| Narrative form: the ballade | |
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| Changes of mode | |
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| Italian opera and J. S. Bach Chopin: Virtuosity Transformed | |
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| Keyboard exercises | |
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| Virtuosity and decoration (salon music?) | |
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| Morbid intensity Chopin: From the Miniature Genre to the Sublime Style | |
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| Folk music? | |
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| Rubato | |
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| Modal harmony? | |
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| Mazurka as Romantic form | |
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| The late mazurkas | |
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| Freedom and tradition Liszt: On Creation as Performance | |
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| Disreputable greatness | |
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| Die Lorelei: the distraction of influence | |
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| The Sonata: the distraction of respectability | |
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| The invention of Romantic piano sound: the Etudes | |
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| Conception and realization | |
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| The masks of Liszt | |
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| Recomposing: Sonnet no. 104 | |
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| Self-Portrait as Don Juan Berlioz: Liberation from the Central European Tradition | |
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| Blind idolaters and perfidious critics | |
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| Tradition and eccentricity: the idee fixe | |
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| Chord color and counterpoint | |
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| Long-range harmony and contrapuntal rhythm: the "Scene d'amour" Mendelssohn and the Invention of Religious Kitsch | |
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| Mastering Beethoven | |
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| Transforming Classicism | |
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| Classical form and modern sensibility | |
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| Religion in the concert hall | |
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| Romantic Opera: Politics, Trash, and High Art | |
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| Politics and melodrama | |
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| Popular art | |
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| Bellini | |
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| Meyerbeer Schumann: Triumph and Failure of the Romantic Ideal | |
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| The irrational | |
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| The inspiration of Beethoven and Clara Wieck | |
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| The inspiration of E.T.A. Hoffmann | |
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| Out of phase | |
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| Lyric intensity | |
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| Failure and triumph Index of Names and Works | |