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| List of music examples | |
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| Preface | |
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| Thirty-seven ways to write a twelve-tone piece | |
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| "Ultramodern" composers: | |
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| Adolph Weiss and "twelve-tone rows in four forms": Prelude for Piano, No. 11 (1927) | |
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| Wallingford Riegger and the serial/chromatic dichotomy: Dichotomy (1931-1932) | |
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| Carl Ruggles and "dissonant counterpoint": Evocations II (1941) | |
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| Ruth Crawford Seeger and rotational/transpositional schemes: Diaphonic Suite No. 1 (1930) | |
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| European immigrants: | |
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| Arnold Schoenberg and hexachordal inversional combinatoriality: Piano Concerto, Op. 42 (1942) | |
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| Ernst Krenek and modal rotation: Lamentatio Jeremiae Prophetae, Op. 43 (1942) | |
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| Igor Stravinsky and rotational arrays: "Exaudi," from Requiem Canticles (1966) | |
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| Stefan Wolpe and the "structures of fantasy": Form for Piano (1959) | |
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| Postwar pioneers: | |
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| Milton Babbitt and trichordal arrays: Danci for solo guitar (1996) | |
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| Elliott Carter and twelve-note chords: Cat�naires (2006) | |
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| George Perle and twelve-tone tonality: Six New Etudes, "Romance" (1984) | |
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| Aaron Copland and "freely interpreted tonalism": Inscape (1967) | |
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| Roger Sessions and "an organic pattern of sounds and intervals": When Lilacs Last in the Dooryard Bloom'd (1970) | |
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| An older generation (composers born before 1920): | |
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| Ben Weber and an "available form": Bagatelle No. IV from Five Bagatelles, Op. 2 (1939) | |
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| George Rochberg and "the spatialization of music": String Quartet No. 2, with soprano solo (1961) | |
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| Ross Lee Finney and "complementarity": Fantasy in Two Movements (for solo violin) (1958) | |
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| Barbara Pentland and "the emotional impact of line against line": String Quartet No. 3 (1969) | |
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| Roque Cordero and "the rhythmic vitality of our dances": Violin Concerto (1962) | |
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| Some serial neoclassicists, tonalists, jazzers, and minimalists | |
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| Arthur Berger and "neoclassic twelve-tone" music: Chamber Music for Thirteen Players (1956) | |
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| Irving Fine and "chords derived from the series and embellished": Fantasia for String Trio (1957) | |
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| Louise Talma and a twelve-tone style "more and more simple" Seven Episodes for flute, viola, and piano (1986-1987) | |
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| Samuel Barber and "a mixture of apparently antithetical elements": Piano Sonata, Op. 26 (1949) | |
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| Gunther Schuller and the "Third Stream": Transformation (1957) | |
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| Hale Smith and the African-American vernacular: Contours for Orchestra (1961) | |
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| Michael Torke and "a six-note tune": Ecstatic Orange (1985) | |
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| A middle generation (composers born between 1920 and 1940) | |
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| Charles Wuorinen and the "time-point system": Piano Concerto No. 3 (1983) | |
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| Donald Martino and "chain forms": Notturno (1973) | |
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| Ralph Shapey and "The Mother Lode": String Quartet No. 9 (1995) | |
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| Ursula Mamlok and pathways through the magic square: Panta Rhei (1981) | |
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| Peter Westergaard and "twelve-tone polyphony": Mr. and Mrs. Discobbolos (1966) | |
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| Leonard Rosenman and "what was going on inside characters' heads" The Cobweb, film score (1955) | |
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| Mel Powell and the "pitch tableau": String Quartet (1982) | |
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| A younger generation (composers born after 1940) | |
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| Joseph Schwantner and "free serialism": In Aeternum (1973) | |
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| Robert Morris and "compositional design": Fourteen Little Piano Pieces (2002) | |
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| Peter Lieberson and an "elegantly ordered world": Bagatelles for Solo Piano, I. "Proclamation" (1985) | |
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| Andrew Mead and "an ordered hexachordspace": Scena (Recitative, Aria, and Cabaletta for Oboe, or Soprano or Alto Saxophone)(1994) | |
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| Jeff Nichols and "the technique of analogies": " ... its darkening opposite, or Set Portrait in a Convex Mirror" (2008) | |
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| American twelve-tone music in context | |
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| The composition of twelve-tone music in America | |
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| The Myth of Serial Orthodoxy | |
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| The Myth of Serial Purity | |
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| The Myth of Non-Repetition | |
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| The Myth of Anti-Tonality | |
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| The Myths of Math and Overdetermination | |
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| The Myth of the Matrix | |
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| The Myth of Structural Incoherence | |
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| The history of twelve-tone music in America | |
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| The Myth of Serial Origins | |
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| The Myth of Integral Serialism | |
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| The Myth of Serial Tyranny | |
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| The Myth of Serial Demise | |
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| The Myth of the Academic Serialist | |
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| The Myth of Un-Americanness | |
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| The reception of twelve-tone music in America | |
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| The Myth of Imperceptiblity | |
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| The Myth of Theory | |
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| The Myth of Inexpressiveness | |
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| The Myth of Unnaturalness | |
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| The Myth of the Lost Audience | |
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| The Myth of Autonomy | |
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| Conclusion | |
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| Composing serially | |
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| The twelve-tone legacy | |
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| Index | |
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| Works cited | |
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| Index | |