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| Introduction | |
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| About the Companion Web Site | |
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| Mapping the Triadic Universe | |
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| Three Ways to Calculate Triadic Distance | |
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| Triads in Chromatic Space | |
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| Remarks on Syntax and Maps | |
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| Hexatonic Cycles | |
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| A Minimal-Work Model of the Triadic Universe | |
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| The Hexatonic Trance | |
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| Contrary Motion and Balance | |
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| Hexatonic Progressions, Tonnetz Representations, and Triadic Transformations | |
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| Near Evenness, Minimal Voice Leading, and the Central Role of Augmented Triads | |
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| Remarks on Dualism | |
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| Triadic Structure Generates Pan-Triadic Syntax | |
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| Triads Are Homophonous Diamorphs | |
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| Reciprocity | |
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| The Historical Emergence of Augmented Triads | |
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| Consonance/Dissonance Reciprocity | |
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| Two Early-Century Examples: Beethoven and Schubert | |
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| Three Late-Century Examples: Liszt, Rimsky-Korsakov, Faur� | |
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| Reciprocity in Weitzmann's Der Uberm�ssige Dreiklang | |
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| Weitzmann Regions | |
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| The Structure of a Weitzmann Region | |
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| Weitzmann Transformations and N/R Cycles | |
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| Remarks on the Tonnetz | |
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| Historical Origins of Weitzmann Regions | |
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| The Double-Agent Complex | |
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| Expanded N/R Chains | |
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| Weitzmann Regions without Sequences: Wagner and Strauss | |
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| A Unified Model of Triadic Voice-Leading Space | |
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| How Hexatonic and Weitzmann Regions Interact | |
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| Chromatic Sequences | |
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| Transformational Substitutions | |
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| Voice-Leading Zones | |
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| Remarks on Disjunction and Entropy | |
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| Navigating the Triadic Universe: Three Compositional Scripts | |
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| Neighborhoods and Pitch Retention Loops | |
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| Departure → Return Scripts | |
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| Continuous Upshifts | |
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| Dissonance | |
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| Four Eighteenth-Century Approaches to Dissonance | |
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| Reduction to a Triadic Subset | |
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| Hexatonic Poles in Parsifal | |
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| Vie Tristan Genus as Nearly Even Tetrachord | |
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| Circumnavigating the Tristan-Genus Universe | |
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| Scriabin's Mystic Species and Generalized Weitzmann Regions | |
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| Syntactic Interaction and the Convertible Tonnetz | |
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| Some Previous Proposals | |
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| The Diatonic Tonnetz | |
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| Horizontal Extensions | |
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| Vertical Extensions | |
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| The Convertible Tonnetz | |
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| Two Analytical Vignettes: Wagner and Brahms | |
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| Double Syntax and the Soft Revolution | |
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| A Summary Example from Schubert | |
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| Double Syntax and Its Skeptics | |
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| Code Switching and Double Determination | |
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| Cognitive Opacity | |
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| The Soft Revolution | |
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| On Musical Overdetermination | |
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| Glossary | |
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| Bibliography | |
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| Index | |