Preface
Acknowledgments
Permissions
About the companion website

Chapter 1 On Milton Babbitt, Schenkerian
Introduction
Goethe, Schenker, and Hierarchical Organicism
Babbitt and Schenker
The Implications of the Series
Analepsis and Prolepsis
Conclusion

Chapter 2 Construction, Cognition, and the Role of the Surface
A Way into Emblems
Rudolf Carnap and Phenomenalistic Construction
George Miller, Information Processing, and Memory
Babbitt's Cognitively Informed Compositional Techniques
Organicism as Cognitive Heuristic: The "Schenker Memorative Approach"
"The Requirements"--and Responsibilities--"of Cognitive Communication"
Conclusion: Babbitt's Psychology and the Analysis of His Music

Chapter 3 The Seam in Babbitt's Compositional Development: Composition for Tenor and Six Instruments
"My Most Difficult Piece"
Trichordal and All-Partition Arrays
"Nearly Divine" Proportions
Generative Polyvocality
Extending the Trichordal Array
The Arrays of Composition for Tenor and Six Instruments
"Invariants of Order Embedded in Invariants of Content"

Chapter 4 The Surface and the Series in Composition for Four Instruments

Chapter 5 Poetic Form and Psychological Portraiture in Babbitt's Early Texted Works
Introduction
"The Widow's Lament in Springtime"
Du
Two Sonnets
Vision and Prayer
Philomel
Conclusion

Chapter 6 Completeness and Temporality
Introduction
Over-, Under-, and Multiple Completeness
Signals and Verticality
Conclusion: "Sounds of Relations"

Chapter 7 Babbitt's Gestural Dialectics
Introduction: The First Measure of Post-Partitions
Sources of Embodied Energetics: Kinesthetic Empathy and Musical Forces
The Gestural Function of Virtuosity
Liminal Periodicity and the Threat of Discontinuity
Serial Anomalies and Text Setting
Rhetorical Closing Gestures in Three Late Piano Pieces
Conclusion: Babbitt's Gestural Music and Formalist Discourse

Afterword: "Anything Vital is Problematical"
Glossary
References