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| Preface | |
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| Writing About Music | |
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| Words About Music: Why? | |
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| Choosing an Audience | |
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| Kinds of Writing | |
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| History and Biography | |
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| Style Study | |
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| Analysis | |
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| Performance Study | |
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| Organological, Archival, and Source Studies | |
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| Criticism | |
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| Marxist Criticism | |
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| Soviet Pseudo-Marxist Criticism | |
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| Cultural Criticism | |
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| Gender Studies in Music | |
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| Postcolonial Criticism | |
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| The Author's Opinion: Clarity and Restraint | |
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| Writing About Music by, and for, Those Who Cannot (Necessarily) Read it | |
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| What You Can and Cannot Do | |
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| The Concert Review | |
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| Reporting on a News Event | |
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| Artistic Evaluation | |
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| Promoting Community Interest in Music | |
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| Popular and World Musics | |
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| Crossing the Cultural Divide | |
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| Writing Music Analysis | |
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| Analysis and Its Uses | |
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| Analytical Content vs. Play-by-Play | |
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| Analysis Without Musical Examples | |
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| Technical Terminology | |
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| Two Analytical Excerpts with Commentary | |
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| Organizing Analytical Writing | |
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| Three Kinds of Practical Writing | |
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| Program and Liner Notes | |
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| Biographical Background | |
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| Cultural Context | |
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| Style and Affect | |
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| Summaries and Abstracts | |
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| The Summary | |
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| The Abstract | |
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| The Press Release | |
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| Belief Into Words: Opinion and the Writing of an Effective Essay | |
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| Presentation and Tone | |
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| Organization | |
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| Confrontational Writing | |
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| Stylistic Excess | |
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| The Writing Process: From Outline to Final Draft | |
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| "Benefits of the Suzuki Method" | |
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| "Skryabin's Mystical Beliefs and the Holographic Model" | |
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| Hints on Beginning | |
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| Research in Music | |
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| The Purposes of Research | |
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| Choice of Topic | |
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| Locating Sources | |
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| Kinds of Written Sources | |
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| Non-English Sources | |
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| Reference Sources | |
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| Books | |
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| Journal and Magazine Articles | |
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| Other Web-Based Sources | |
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| Recording Liner Notes | |
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| Musical Scores | |
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| Use of Sources | |
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| Optimizing Research Time | |
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| Don't Believe Everything You Read! | |
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| Scholarly vs. Textbook Sources | |
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| Relative Age of Sources | |
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| Authorial Perspective | |
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| Dependability of the Source Itself | |
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| Special Difficulties in Using Musical Sources | |
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| Citing Your Sources | |
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| To Quote or to Paraphrase? | |
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| Turning Research Into Writing | |
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| The Foundations of Your Research | |
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| On Being Derivative | |
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| Whose Ideas? | |
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| Choice of Sources | |
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| The Opening Paragraph | |
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| Conclusions | |
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| A Sample Research Paper in Music | |
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| "Gershwin's French Connection" | |
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| Commentary on the Margoles Paper | |
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| Style in Writing | |
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| The Meaning of "Style" | |
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| Academic Style Traits | |
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| Complex Sentence Structure | |
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| Obscure Words | |
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| First Person Plural | |
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| Passive Voice | |
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| Traditional Academic Organization | |
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| Fashioning Clear Sentences | |
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| Taste | |
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| Gender-Neutral Wording and the Pronoun Problem | |
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| Transitions | |
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| Variety | |
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| Punctuation | |
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| Colon, Semicolon, and Comma | |
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| A Note on Hyphens and Centuries | |
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| Specifically Musical Uses of Punctuation | |
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| Accuracy in Wording | |
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| Ill-Advised Upgrades | |
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| Beat, Meter, Rhythm | |
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| That and Which | |
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| Accuracy in Spelling and Punctuation | |
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| Aggregate Titles | |
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| Awkward Wording | |
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| Toward a Personal Style | |
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| The Final Manuscript | |
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| General Format | |
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| Binding, Paper, Duplication | |
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| Word Processing | |
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| Copies | |
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| Title Page | |
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| Spacing and Margins | |
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| Block Quotations | |
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| Bibliography | |
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| Abbreviations | |
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| Latin Abbreviations and Terminology | |
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| Musical Abbreviations | |
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| Titles of Musical Works | |
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| Musical Examples and Captions | |
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| Production of Examples | |
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| Captions | |
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| The Citation Process | |
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| Footnotes or Endnotes? | |
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| Parenthetical Citation Format | |
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| Incomplete Citations | |
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| Abbreviated Citation Form | |
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| Sample Citations | |
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| Explanatory Footnotes | |
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| Musical Scores | |
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| Last-Minute Corrections | |
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| Index | |