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| List of Recorded Excerpts | |
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| Introduction | |
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| Literacy | |
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| The Romantic Revolution | |
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| Canonism and Classicism | |
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| Progress or Adaptation | |
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| Serendipity | |
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| Musical Rhetoric | |
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| Authenticity as a Statement of Intent | |
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| "Scare-Quotes" for Authenticity | |
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| The End of Early Music | |
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| Musicking | |
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| Terminology and Concepts | |
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| Performing Styles | |
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| When You Say Something Differently, You Say Something Different | |
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| "Style Is That Which Becomes Unstylish" | |
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| Innovation | |
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| Eating the Cookbook | |
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| Chronocentrism: "Music as Tradition" | |
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| The Rise of Pluralism: Matching Style to Period | |
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| Mind the Gap: Current Styles | |
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| Three Abstractions: Romantic, Modern, and Period Styles | |
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| Romantic Style: An Absolute | |
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| Recordings That Document the Heart of Romantic | |
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| Practice | |
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| Prophets of the Revolution: Dolmetsch and Landowska | |
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| The Authenticity Revolution of the 1960s | |
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| The Advent of Period Instruments and "Low Pitch": "Strange and Irregular Colors" | |
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| Chain Reaction | |
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| Guru Style: Rhetoric without the Name | |
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| Mainstream Style: "Chops, but No Soul" | |
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| Modernism and Modern Style | |
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| The Performance Practices of Romantic Style and Modern Style Compared | |
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| Vibrato, the MSG of Music | |
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| Children of Modernism | |
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| Period Style Compared to Modern Style | |
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| Click-Track Baroque | |
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| Strait Style and Modernism | |
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| Strike Up the Bland: Strait Style Described | |
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| How Romantic Are We? | |
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| Classical Music's Coarse Caress | |
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| The Musical Canon | |
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| Charles Burney and the Beginnings of Musical History | |
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| Why Did the Romantics Call Music "Classical"? | |
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| What Conservatories Conserve | |
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| Absolute Music (the Autonomy Principle) | |
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| Pachelbel's Canon Becomes Canon | |
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| Originality and the Cult of Genius | |
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| Attribution and Designer Labels | |
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| Repeatability and Ritualized Performance | |
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| The Transparent Performer | |
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| Composer-Intention ("Fidelity to the Composer") | |
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| What Is a Piece of Music? | |
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| Werktreue (Work-Fidelity): The Musical Analogue of Religious Fundamentalism | |
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| The Urtext Imperative and Text Fetishism | |
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| Untouchability | |
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| The "Transparent" Performer and "Perfect Compliance" | |
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| The Romantic Invention of the Interpretive Conductor | |
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| The Maestro-Rehearsal | |
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| Changing Meanings, Permanent Symbols | |
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| Changing Meanings, Permanent Symbols | |
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| Descriptive and Prescriptive Notation | |
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| The Incomplete Musical Score | |
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| Written Music's Oral Element | |
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| Writing Only the Essential in Rhetorical Music | |
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| Implicit Notation | |
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| Strait Style and the Neutral "Run-Through" | |
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| Style versus Interpretation | |
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| "Saying Bach, Meaning Telemann": Composer-Intention before the Romantic Period | |
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| Anachronism and Authenticity | |
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| Original Ears | |
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| Vintage Compared with Style | |
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| Seconda Pratica | |
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| Past Examples of Authenticity Movements | |
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| The Difference between an Art Fake and a Period Concert | |
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| How Historical Musicology and HIP Differ | |
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| Romantic and Baroque Audiences Compared | |
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| Period Musicians in Victorian Outfits | |
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| Ways of Copying the Past | |
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| Emulation and Replication: Two Renaissance Approaches to Imitation | |
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| The Emulation Principle | |
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| The Replication Principle | |
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| Imitation in the Canonic System | |
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| Style-Copying and Work-Copying | |
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| "Talking to Ghosts" and Work-Copying | |
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| The Kon-Tiki Observation | |
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| "What Really Happened" in History | |
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| Beyond History: The Shelf Life of Historical Evidence | |
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| What's Wrong with Anachronisms | |
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| The Medium Is the Message: Period Instruments | |
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| The Instrument Trade-off | |
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| The Influence of Instruments on Performing Style | |
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| The Violins of Autumn | |
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| Period Instruments: Hardware and Software | |
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| Measuring the Makers | |
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| "Faults" in an Original | |
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| The Lefebure: More Than a Style-Copy | |
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| A Plea for More "Correctly Attributed Fakes" | |
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| "Don't Fix It if It Ain't Broke" | |
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| What Makes Baroque Music "Baroque"? | |
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| Baroque Expression and Romantic Expression Compared | |
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| Rhetoric: Beyond Communication | |
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| Once More, with Feeling: The Affections | |
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| Persuasion: Winning Over the Listeners | |
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| Declamation / Expression / Vortrag | |
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| Commitment: The Baroque Performer "Himself in Flames" | |
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| Romantic Expression: The "Autobiography in Notes" | |
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| Rhetoric Abandoned by the Romantics: An Art "Broken to Service" | |
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| Rhetoric Overwhelmed by Beauty (= AEsthetics) | |
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| The Rainbow and the Kaleidoscope Romantic: Phrasing Compared with Baroque | |
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| Figures and Gestures | |
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| Examples of Melodic Figures | |
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| Gestures as the Antiphrase | |
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| Orders or Levels of Meaning: Gesture and Phrase | |
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| Inflection (Individual Note-Shaping) | |
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| The End of "Early" Music | |
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| Passive and Active Musicking: Stop Staring and Grow Your Own | |
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| The Cover Band Mentality | |
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| Playing in the Wind | |
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| Gracing: The Border between Composing and Performing | |
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| Improvisation: The Domain of the Performer | |
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| Style-Copying in Composing | |
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| Roll over Beethoven | |
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| Thoughts on the Genius Barrier | |
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| Two Examples of Present-Day Period Composing | |
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| Designer Labels | |
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| Our Own Music | |
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| Perpetual Revolution | |
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| "The Musick of Fools and Madd Men": Limits to What Taste Will Accept | |
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| The Illusion of an Unbroken Performing Style from Mozart's Time to Ours | |
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| Beethoven Lite and Manifest Destiny | |
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| "Perpetual Revolution" and Changing Taste | |
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| HIP Is Anti-Classical | |
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| Default Style | |
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| Historians of Necessity | |
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| Trying to See over the Horizon of Time | |
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| The Pursuit of Authenticity | |
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| Notes | |
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| Bibliographic Abbreviations | |
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| Bibliography | |
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| Index | |