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| Preface | |
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| Acknowledgments | |
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| A Note on the Text | |
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| Introduction | |
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| Criticism | |
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| Problems in writing about music | |
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| Resistances to Britten's music: their psychology | |
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| National frontiers in music | |
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| Sport and art: the concept of mastery | |
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| Music and psychopathology | |
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| Composers and Their Music | |
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| Art as departure (Haydn) | |
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| New Music: Beethoven's Choral Fantasy | |
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| Schubert: tune and melody | |
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| Little known greatness (Mendelssohn and Mozart) | |
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| Schumann was a symphonist | |
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| Tristan and the realism of adolescence (Wagner) | |
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| Resistances to Brahms | |
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| Elgar the progressive | |
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| The unpopularity of Mahler's popularity | |
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| The sentimental violin (Glazounov) | |
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| The 'Lucky' Hand and other errors (Schoenberg) | |
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| Natural master (Schmidt) | |
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| Schoenberg: A Survivor from Warsaw | |
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| Film music: The Harry Lime theme (Karas and Weill) | |
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| M�ty�s Seiber 1905-1960 | |
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| Gloriana as music drama (a reaffirmation) (Britten) | |
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| Shostakovich's Twelfth Quartet | |
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| Stravinsky v. Stravinsky | |
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| The state of the symphony: not only Maxwell Davies's | |
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| Britten's last masterpiece | |
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| The Man and the Music (Simpson) | |
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| Towards a Theory of Music | |
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| Towards a theory of music | |
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| The musical analysis of music | |
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| Functional Analysis No. 9A: Mozart's Piano Sonata in A minor, K 310 | |
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| A slip of Mozart's: Its analytical significance (1956/57) | |
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| Knowing things backwards | |
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| Mozart's wrong key signature | |
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| Key characteristics | |
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| Strict serial technique in classical music | |
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| Schoenberg: the future of symphonic thought | |
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| Whose fault is the speaking voice? | |
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| Why this piece is about Billy Budd | |
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| Rhythm: Gershwin and Stravinsky | |
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| Principles of composition | |
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| Notes | |
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| Index | |