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| Foreword (2006) | |
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| List of Abbreviations of Cited Sources | |
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| Editors' Preface | |
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| Acknowledgments | |
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| Commentary | |
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| Schoenberg's View of Art | |
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| Schoenberg's Preface | |
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| The Musical Idea | |
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| Comprehensibility and Coherence | |
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| Theory of Form | |
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| The Constructive Function of Harmony | |
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| Conclusion | |
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| The Musical Idea and the Logic, Technique, and Art of Its Presentation | |
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| Preface and Overview | |
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| Preface | |
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| Title Page | |
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| Principles of the Presentation of the Idea | |
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| Plan of the Book | |
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| The Profundity of the Idea and Its Realization as a Standard | |
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| The Musical Idea and the Logic, Technique, and Art of Its Presentation | |
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| Idea (1 and 2) | |
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| The Idea in the Contrapuntal Art of Composition and Its Presentation | |
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| Principles of Construction | |
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| Comprehensibility | |
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| Laws of Comprehensibility | |
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| Coherence | |
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| The Laws of Musical Coherence | |
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| Elements of Form | |
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| The Parts of a Piece | |
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| Part | |
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| Elements of Form | |
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| Phrase | |
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| Gestalt | |
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| Grundgestalt and Motive | |
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| The Difference Between Gestalt and Phrase | |
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| Features of the Motive | |
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| Statement | |
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| Stable Formation | |
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| Loose Formation | |
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| Theme | |
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| Melody | |
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| Sonority as a Formative Element | |
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| Rhythm | |
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| Rhythm | |
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| Classification of Rhythms | |
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| Accentuation and Nonaccentuation | |
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| Formal Procedures | |
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| [Formal Procedures] | |
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| Articulation | |
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| Change, Variation, Variant, Varying | |
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| Kinds of Variation | |
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| Coherence of "New Components" | |
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| Mirror Forms | |
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| Close | |
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| Cadencing | |
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| Cadential Fall | |
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| Kinds of Connection | |
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| Technique of Joining | |
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| Condensation | |
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| Dissolution, Liquidation | |
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| Tendency of the Smallest Notes | |
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| The Structural Capacities of the Scale | |
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| Wave-shaped Progression | |
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| Contrasts (Contrasting Themes) | |
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| Digression from the Main Idea | |
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| Principal Idea, Subsidiary Idea | |
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| Subordinate Theme | |
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| Secondary, Tertiary, etc. Gestalten and Motives | |
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| The Shaping of Principal and Subordinate (Accompanying) Voices | |
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| Development Section | |
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| Sequences | |
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| Intensification | |
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| Does Repetition Have an Intensifying Effect? | |
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| Voice (Independent) | |
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| Introduction (1 and 2) | |
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| Preparation | |
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| Extramusical Means of Coherence | |
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| Fantasy | |
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| Description of All Forms | |
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| Miscellaneous | |
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| Performance and Gestalt | |
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| The Sense of Rit. and Accel. | |
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| Relaxation | |
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| Symmetry | |
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| Origin of Repetitions | |
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| Primitive Principles | |
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| Popular Music and Melody | |
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| Harmony | |
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| The Constructive Function of Harmony | |
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| Addendum | |
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| Keywords Still to Be Indexed | |
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| Keywords | |
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| Concordance of Terms | |
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| Descriptions of the Gedanke Manuscripts | |
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| Contents of Manuscript No. 10, Listed in Their Original Order | |
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| German Texts of Unpublished Gedanke Manuscripts Referred to in the Commentary | |
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| Notes | |
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| Bibliography | |
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| Index of Musical Examples | |
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| Name Index | |
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| Subject Index | |