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| List of music examples | |
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| Acknowledgements | |
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| Introduction: The special roles of Scotland and Germany | |
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| Function to origin: national identity and national genius emerge, c. 1700-1780 | |
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| High-middle-low as function: genre and style into the eighteenth century | |
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| The quest for origins begins | |
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| Scotland's profile comes forward on the international stage: the "Scotch" songs and tunes | |
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| David Rizzio versus James I: myths for their respective times | |
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| From pastoral to picturesque: nature, art, and genre in the later eighteenth century | |
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| Nature as genre: the pastoral and the Scottish before 1760 | |
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| Nature versus civilization: universalism and progress | |
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| Nature as the Other: the anthropologizing of music | |
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| Nature and "the folk": the "ancient and Oriental" come to Europe through Scotland | |
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| Nature in music: Jean-Jacques Rousseau | |
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| Nature and the picturesque: the noble savage in the Highland landscape | |
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| Genius versus art in the creative process: "national" and "cultivated" music as categories, 1760-1800 | |
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| The minstrels and bards of old | |
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| James Beattie and a new myth of origin: "national music" and the "people" | |
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| Revolution: Beattie's influence | |
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| "National" versus "cultivated" music as predecessors to "folk" and "art" music | |
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| Herder | |
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| The invention of folk modality, 1775-1840 | |
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| Before Burney | |
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| An ancient and Oriental modality | |
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| Today Scotland, tomorrow the world | |
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| Credibility and dignity: folk-modal study comes of age | |
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| The insider as outsider | |
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| The legacy: folk modality since 1850 | |
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| "Folk" and "tradition": authenticity as musical idiom from the late eighteenth century onward | |
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| Establishing tradition as part of oral culture | |
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| Theories of origin and theories of transmission in dissonance | |
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| From fixed texts to variant "sets": the conception of modern folk "works" | |
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| Tradition as social reaction: musical implications of the "folk" ideology | |
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| Authenticity as idiom | |
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| Werktreue and tradition: printed forms of the national music "work" | |
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| A final myth of origin for traditional music: the benefits of obscurity | |
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| Organic "art music" and individual original genius: aestheticizing the folk collective | |
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| Herder and German idealism: conceiving a new organic, synthetic "art" | |
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| Creative issues in aestheticizing the folk | |
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| A tale of two receptions, Part 1: the problem of originality | |
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| A tale of two receptions, Part 2: composing "as the folk" | |
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| Local nation and universal folk: the legacy of geography in musical categories | |
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| Ubiquitous categories: the geographical spread of folk and art music | |
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| Universalism as idiom: from "national music" to "national art music" | |
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| Between center and periphery: "northern" music | |
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| Some approaches to "national music" from the German center | |
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| Folk and art musics in the modern Western world | |
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| A final ripple: folk music and art music encounter popular music | |
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| Our current terminology | |
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| Implications for viewing the eighteenth century and before | |
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| Implications for viewing the nineteenth century | |
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| Implications for viewing the twentieth century, and for thinking about music in today's world | |
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| Index | |