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| Table of Contents | |
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| Acknowledgements | |
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| Introduction | |
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| To Performers | |
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| To Music Theorists | |
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| To Composers | |
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| To Movement Professionals | |
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| To Music Therapists | |
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| Vitalizing the Musical Elements, One by One | |
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| Movement in the Studio and in Theory Teaching | |
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| Movement Becomes More Musical | |
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| Focusing and Refining Movement | |
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| Movement as a Schenkerian Discipline | |
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| Principles of Effective Movement | |
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| Movement Processes for Research and Teaching | |
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| Mobilizing Balance | |
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| Balance and Grounding | |
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| Resting Balance, Sitting | |
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| A Familiar Class Scene | |
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| Resting Balance, Standing | |
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| Activated Balance and Tonic | |
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| The Sitting Balance Process and the Standing Balance Process | |
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| Carlos | |
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| The Games of Where Are You? and Where Am I? | |
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| Activated Balance and the Cadential Tonic | |
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| Spinal Flexibility | |
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| Sitting Sways; Standing Sways | |
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| The Swaying Process | |
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| Luisa | |
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| Swaying and Melody | |
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| Core Support | |
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| Recognizing Core Support | |
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| Luke | |
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| Core Support in Playing Phrase | |
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| Weight-Throwing into Action | |
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| Arm Swings | |
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| Weight-Throwing with Regard to Measure and Beat | |
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| Reabsorption and Completion of Action: Juncture | |
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| Ending | |
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| The Game of Where Is It? | |
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| The Gracious Curve | |
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| Preliminary Experience | |
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| The Gracious Curve Process, Standing | |
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| The Gracious Curve Process, Sitting | |
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| The Gracious Curve Process and Playing Technique | |
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| Doing the Processes | |
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| Melody Awakened: Seven Stages for Embodying Its Contour | |
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| Singing | |
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| Finding the Main Melody | |
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| Contouring Melody | |
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| Laddering the Pitches and Intervals | |
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| Emphasizing Continuity | |
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| Emphasizing Melody's Shape | |
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| Engaging the Whole Body | |
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| Swaying, to Take Contouring into Playing or Singing | |
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| Embodying the Nuances of Melody | |
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| Melody's Affect | |
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| Resilience of Meter and Rhythm | |
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| Basics | |
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| Tony | |
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| Equality and Variety of Beats | |
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| Arm Swings, Side to Side | |
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| Tapping the Air | |
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| Metric-Levels | |
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| Meter and Phrase | |
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| Detailed Experiences of Ping and Lilt | |
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| Sonya, Part 1 | |
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| Balloon Tapping to Refine the Ping | |
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| Kendall | |
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| Ping Circles | |
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| Sonya, Part 2 | |
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| Soft-Springs | |
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| Hypermeasure Soft-Springs | |
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| Counting Aloud | |
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| Jonathan | |
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| Finding Rhythmic Clusters | |
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| Walking the Durations | |
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| Evelyn and Ricardo | |
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| The Integration of Structural Levels | |
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| Toward an Engaged Music Theory | |
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| Fundamental Attributes of Schenkerian Sound: Coalescence, Middleground Rhythmic Vitality, and Span | |
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| Coalescence as a Musical Quality | |
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| Kosta, Part 1 | |
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| Middleground Rhythmic Vitality as a Musical Quality | |
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| Rachel | |
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| Coalescence and Middleground Rhythmic Vitality as Movement: | |
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| Stepping | |
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| Eric | |
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| Kosta, Part 2 | |
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| Coalescence and Middleground Rhythmic Vitality in a Nonmusical | |
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| Context: Pole Vaulting | |
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| Jonathan | |
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| Other Contributors to Schenkerian Sound | |
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| Reluctance | |
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| Andrew | |
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| Shaping Phrase with Span and Climax | |
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| Span as a Musical Quality | |
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| Slow-Motion Sculpting | |
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| Span as Movement: Hand Stretch | |
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| Jonathan | |
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| Arcing with an Arm to Find Performance Phrases | |
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| Kathy | |
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| Arm-Arcing to Find Span and Climax | |
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| Stepping and Stretching Spontaneously | |
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| Amy | |
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| A Chain of Processes: "Daphne am Bach" | |
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| Meter | |
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| Middleground Rhythmic Vitality | |
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| Span | |
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| Synthesis | |
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| Letting Gesture Through: Reverberation | |
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| Juncture and Reverberation | |
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| Reverberation as Expression | |
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| Sophie | |
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| Reabsorbing | |
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| Cutting off Reverberation | |
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| Nathan and Melissa | |
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| Embodying Reverberation | |
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| Joints | |
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| Joint Awareness | |
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| Joints and Touch | |
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| Joint Dance | |
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| Spinal Flexibility and Tone Quality | |
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| Spinal Flexibility and Melody | |
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| "Listen!" | |
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| Jonathan and Valerie | |
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| The Movements of Juncture | |
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| Characterizing | |
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| Musical Character | |
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| Adrian, Part 1 | |
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| Movement for Characterizing | |
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| Adrian, Part 2 | |
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| Character-Rhythm | |
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| Jennifer | |
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| Tone of Voice | |
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| Notation and Tone of Voice | |
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| Musical Empathy | |
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| Arousing Tone of Voice | |
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| Descriptive Word | |
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| Vocal Inflection and Facial Response | |
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| Full-Bodied Gestural Response | |
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| Touch | |
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| Adjectives and Adverbs | |
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| Quick Starts | |
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| Gargoyles | |
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| Variety of Affects in a Single Phrase | |
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| Aldo | |
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| Balance and Calm as Reference Points | |
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| Leah | |
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| Characterizing Movement versus Tone of Voice | |
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| Tone of Voice and Structural Levels | |
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| The Spirit of Play | |
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| Practicing Play | |
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| Recollecting | |
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| Imitating | |
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| Parody | |
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| Games to Invite Play | |
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| Fluent Continuity of Melody: Spinning a Spider's Web | |
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| Ping and Lilt in Hypermeter: Alphabet | |
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| Span of Phrase: Opening-Closing | |
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| Articulation of Phrases and Contrast of Phrase and Juncture: | |
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| De Kooning Painting | |
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| Characterizing: Sweet Sixteenths | |
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| Ensemble and Showmanship | |
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| In a Nutshell | |
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| Aldo and Marta | |
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| Notes | |
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| Bibliography | |
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| Index of Topics and Concepts | |
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| Index of Names and Compositions | |