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| Eighteenth-Century Contrapuntal, Harmonic, and Formal Techniques | |
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| Eighteenth-Century Contrapuntal Techniques and Forms: The Invention and Fugue | |
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| The Invention | |
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| The Fugue | |
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| Eighteenth-Century Classical Style: A Profile | |
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| Eighteenth-Century Variation Techniques | |
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| Variations in the Baroque Era | |
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| Variations in the Classical Style | |
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| The Neapolitan Sixth and Augmented Sixth Chords | |
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| The Neapolitan Sixth Chord | |
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| The Augmented Sixth Chords | |
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| Mode Mixture and Chromatic-Third Relationships | |
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| Mode Mixture | |
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| Chromatic-Third Relationships | |
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| Modulation | |
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| Recognizing Tonal Changes | |
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| Methods of Modulating | |
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| Compund Ternary Form | |
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| Sonata Form | |
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| Descriptive Sonata Form | |
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| Analysis of Haydn's Piano Sonata, H. XVI:49 ("Gennzinger") | |
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| The Rondo | |
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| Description of the Rondo Form | |
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| The Five-Part Rondo | |
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| The Seven-Part Rondo | |
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| Nineteenth-Century Chromatic Practices | |
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| Enharmonic Use of Chords | |
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| The Enharmonic German Sixth Chord | |
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| The Enharmonic Diminished Seventh Chord | |
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| Expanded Tonicization and Harmonic Sequence | |
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| Expanded Tonicization | |
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| Harmonic Sequence | |
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| Linear Harmonies | |
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| Altered Dominants | |
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| Chord Mutation | |
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| The Embellishing Diminished Seventh Chord | |
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| The Dominant Ninth and Dominant Thirteenth Chords | |
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| Prolongued and Simultaneous Nonharmonicism | |
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| The Solo Song | |
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| Twentieth Century Techniques | |
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| New Musical Resources at the Turn of the Century | |
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| Analysis of Debussy's "Pour le Piano" (Sarabande) | |
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| New Pitch Bases | |
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| Harmonic Structures and Techniques | |
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| Early Twentieth-Century Tonal Music | |
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| Harmonies | |
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| Tonal Methods | |
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| Rhythmic Methods | |
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| Formal Process | |
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| Stravinsky, Bartok, and Messiaen | |
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| "Le Sacre du Printemps" (Introduction to Part 2, mm. 1-41) | |
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| "Mikrokosmos, Volume V" ("Boating") | |
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| "Quatuor pour la fin du temps" (I and VI) | |
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| Intervallic Organization | |
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| Atonality | |
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| Webern: "Funf Satze fur Streichquartett" (III) | |
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| Serial Procedures | |
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| The Twelve-Tone Method | |
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| Schoenberg: "Suite for Piano, Op. 25" (Trio) | |
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| Other Serial Procedures | |
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| Recent Musical Developments | |
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| Part 1 | |
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| New Industrial Sounds and Textures | |
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| Electronic and Computer Music | |
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| Minimalism | |
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| Consolidation and Integration | |
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| Voice Leading Guide | |
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| Popular Music and Jazz | |
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| Summary of Style | |
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| Glossary | |
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| Index | |