Chapter 1. Introduction
I. Why is a New Theory of Tonality Necessary?
II. The Concept of Development and its Relationship to the Compositional Process
Chapter 2. Eleven-Pitch-Class Tonality
I. A new theory of symmetrical divisions underlying “key-centered” tonality
II. Eleven Pitch Class Systems Their Relevance and Application to Works in the Literature
Chapter 3. The Modal Gamut in the Sixteenth Century
The Modal Gamut in the Sixteenth Century
Chapter 4. Tonality and Systems in the 17th and Early 18th Centuries
Tonality and Systems in the 17th and Early 18th Centuries
Chapter 5. Tonality and Systems in the Mid- to Late-Eighteenth Century: The Classical Ideal
I. The Development of the Early Symphony – Vivaldi and the Ripieno Concerto, G. B. Sammartini
II.Viennese Symphonists of the Middle Eighteenth Century G.C. Wagenseil and G.M. Monn
III. Joseph Haydn and the Sonata Form – Definitions and Compositional Design Elements
IV. Joseph Haydn and the Developmental Process – Selected Compositions
V. Alternative Design Elements in Sonata Form movements – J. C. Bach and W. A. Mozart
Chapter 6. Nineteenth -Century Approaches to Eleven-Pitch-Class Systems Derived from the Viennese Classical Tradition
II. Eleven Pitch-Class Systems in the Music of Early Nineteenth-Century Romantic Composers
Chapter 7. Eleven-Pitch-Class Systems in the Music of Mid- to Late-Nineteenth-Century Romantic Composers
I. Felix Mendelssohn Piano Trio in D minor Op. 49 1st Movement
II. Robert Schumann Piano Quintet in E, Op. 44, 1st Movement
III. Johannes Brahms The Sextets, Op. 18 in B and Op. 36 in G
Chapter 8. The Romantic Avant Garde and the Rumblings of Modernism
The Romantic Avant Garde and the Rumblings of Modernism