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| Preface | |
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| Introduction to Writing Analytical Essays | |
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| Introduction to Analytical Topics and Techniques | |
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| Rhythm, Meter, and Phrase | |
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| The Phrase Rhythm of Chopin's A-flat Mazurka, Op. 59, No. 2 | |
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| Hypermeter and Hypermetric Irregularity in the Songs of Josephine Lang | |
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| Pitch | |
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| Schenker's Conception of Musical Structure | |
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| "Learn to Draw Bob Hope!" Mort Drucker, Arnold Schoenberg, and Twelve-Tone Music | |
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| Form | |
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| Analyzing the Unity within Contrast: Chick Corea's "Starlight" | |
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| Form in Rock Music: A Primer | |
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| Musical Ambiguity | |
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| Introduction to Musical Ambiguity | |
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| Attacking a Brahms Puzzle | |
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| Model Essays: Text and Music | |
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| Figaro's Mistakes | |
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| Motive and Text in Four Schubert Songs | |
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| Isolde's Transfiguration in Words and Music | |
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| Meaning in a Popular Song: The Representation of Masochistic Desire in Sarah McLachlan's "Ice," | |
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| In Search of Purcell's Dido | |
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| Model Essays: Instrumental | |
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| Performance and Analysis | |
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| The Presto from Bach's G-Minor Sonata for Violin Solo: Style, Rhythm, and Form in a Baroque Moto Perpetuo | |
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| Dramatic Progression in Haydn, Sonata No. 46 in A-flat, Adagio | |
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| Form | |
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| Formal and Expressive Intensification in Shostakovich's String Quartet No. 8, Second Movement | |
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| Playing with Forms: Mozart's Rondo in D Major, K. 485 | |
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| Pitch | |
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| Two Post-tonal Analyses, Webern, "Wie bin ich froh!" from Three Songs, Op. 25; Schoenberg, "Nacht," from Pierrot Lunaire, Op. 21 | |
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| "This music crept by me upon the waters": Introverted Motives in Beethoven's "Tempest" Sonata | |
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| "Rounding Up the Usual Suspects?": The Enigmatic Narrative of Chopin's C-sharp Minor Prelude | |
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| Texture | |
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| Texture and Timbre in Barbara Kolb's Millefoglie for Chamber Orchestra and Computer-Generated Tape | |
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| Scores | |
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| Glossary | |
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| Selected Bibliography | |
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| Index | |