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| Abbreviations | |
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| List of Musical Examples | |
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| List of Tables | |
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| List of Figures | |
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| Prologue: Styles and Sources | |
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| Telemann and the German Mixed Taste | |
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| Genius in the Closet | |
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| The Overture-Suites | |
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| Acquiring a Mixed Taste: Telemann as "grand partisan de la musique Francaise" | |
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| Telemann as Lullist | |
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| Tradition versus Innovation | |
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| The Concert en ouverture and Concerto en suite | |
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| The Overture-Suite in Retrospect | |
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| Telemann's Mimetic Art: The Characteristic Overture-Suites | |
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| Characteristic Titles/Staging the Overture-Suite | |
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| The Civic Water Music/Images of Court and Country | |
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| Telemann's Wit: Burlesque, Parody, and Satire | |
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| The Concertos | |
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| "Niemals recht von Herzen gegangen"?: Telemann's Concertos | |
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| The Eisenach Concertos | |
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| Concertos for the Eloquent Oboe | |
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| Concertos alla francese | |
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| Telemann and the German Ripieno Concerto | |
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| The Late Frankfurt and Hamburg Concertos | |
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| Telemann's Orchestras | |
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| Bach's Debt Repaid with Interest: A Case Study of Transformative Imitation | |
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| Bach's Borrowing, Telemann's Model | |
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| Bach, Telemann, and the Eighteenth-Century Aesthetics of Musical Borrowing | |
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| The Sonatas | |
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| "Something for Everyone's Taste": Telemann's Sonatas to 1725 | |
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| Solos and Trios in the Italian Style | |
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| Trios alla francese | |
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| The "True Touchtone of a Genuine Contrapuntist": Quartets for Strings and Winds | |
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| When is a Quartet Not a Quartet? | |
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| Sonatas in Five to Seven Parts | |
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| Two Parisian Piracies | |
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| The Frankfurt Sonata Publications | |
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| Telemann and the Sonate auf Concertenart | |
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| Defining the Sonate auf Concertenart | |
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| Titles as Signifiers of Genre | |
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| Reimagining the Sonata (Concerto) | |
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| The Vivaldi Cult at Dresden and the Origins of the Sonate auf Concertenart | |
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| Telemann's Sonaten auf Concertenart | |
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| The "Sonate en concert" and French Vivaldisme | |
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| The Aesthetics of Mixed Genres | |
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| The Hamburg Publications | |
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| Telemann in the Marketplace: The Composer as Self-Publisher | |
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| Setting up Shop | |
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| Telemann's Subscribers | |
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| Production Methods | |
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| Closing Shop | |
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| Telemann fur Kenner und Liebhaber: The Music of the Hamburg Publications | |
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| Sonates sans basse | |
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| Essercizii musici | |
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| Reading the Faithful Music Master | |
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| Menuets and Marches | |
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| Quadri | |
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| Methodical Sonatas and Nouvelles sonatines | |
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| The Fantastic Style | |
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| Musique de table and Six ouvertures a 4 ou 6 | |
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| Divertimenti | |
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| XII Solos a violin ou traverseere | |
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| Six concerts et six suites | |
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| An Omaggio a Corelli? | |
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| Parisian Sonatas | |
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| Galanterien | |
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| Telemann's Polish Style and the "True Barbaric Beauty" of the Musical Other | |
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| "Gedancken fur ein gantzes Leben": Telemann in Poland | |
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| "A Country in the Moon": Poland, Pastoral, and the Past | |
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| Representing Poland Musically | |
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| Afterward | |
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| Glossary | |
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| Bibliography | |
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| Index of Telemann's Compositions | |
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| General Index | |