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| Preface | |
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| Prelude: A Historical Introduction | |
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| Before World War I | |
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| The Inter-War Years | |
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| From 1945 to the late 1960s | |
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| The Late 20th Century | |
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| Twentieth-Century Chamber Music: An Introduction | |
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| A Musical Narrative: Arnold Schoenberg's Verklarte Nacht | |
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| Time Present and Time Past: Two Sonatas for Violin and Piano | |
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| Wheels Come Full Circle: Boulez's Le marteau sans maitre | |
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| Music and Literature I: Program Music | |
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| Narrative and Temporal Programs: Berg and Carter | |
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| Scenes outside Time: Debussy and Stravinsky | |
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| Hearing Time Stop: Messiaen | |
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| Musical Montage and Ambiguous Signs: Debussy | |
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| Music and Literature II: Vocal Chamber Music | |
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| Before World War I: Schoenberg and Others | |
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| Old and New after 1945: Stravinsky and Berio | |
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| After the 1950s: Chamber and Chamber-Theater Pieces | |
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| New Ensembles, New Works | |
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| Three Early Modern Works: Schoenberg, Stravinsky, Debussy | |
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| Contrasts and Duets: Contrasts: Bartok, Messiaen, Babbitt; Chamber Music with Percussion: Cage, Stockhausen, Carter, Bartok; Chamber Music for Performers and Tape; Duets for Live Performers | |
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| Sui Generis Ensembles | |
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| The Modern Sonata | |
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| The Modern "Baroque" Sonata: Bartok | |
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| The Modern "Classical" Sonata: Prokofiev, Ravel, Stravinsky | |
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| The Modern Sonata: Debussy, Bartok, Poulenc, Carter | |
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| The String Quartet | |
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| Before World War I: Ravel, Schoenberg, Webern, Stravinsky, and Ives | |
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| Schoenberg, Bartok, Shostakovich, Seeger | |
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| The Post-1945 Quartet in the United States | |
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| Selected Bibliography | |
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| Index | |