• Foreword Danuta Mirka; Part I. Communication and the Market: 1. Communication and verisimilitude in the eighteenth century Paul Cobley; 2. Listening to listeners Mark Evan Bonds; 3. 'Mannichfaltige abweichungen von der gewöhnlichen sonaten-form': Beethoven's 'Piano-Solo' op. 31 no. 1 and the challenge of communication Claudia Maurer Zenck; Part II. Musical Grammar: 4. Metre, phrase structure and manipulations of musical beginnings Danuta Mirka; 5. National metrical types in music of the eighteenth and early nineteenth centuries William Rothstein; 6. Schoenberg's 'Second Melody', or, 'Meyer-ed' in the bass William E. Caplin; Part III. Rhetorical Form and Topical Decorum: 7. A metaphoric model of sonata form: two expositions by Mozart Michael Spitzer; 8. Beethoven's op. 18 no. 3, First Movement: two readings, with a comment on analysis Kofi Agawu; 9. K331, First Movement: once more, with feeling Wye J. Allanbrook; 10. Dance topoi, sonic analogs and musical grammar: communicating with music in the eighteenth century Lawrence Zbikowski; Afterword Kofi Agawu.

Review of the hardback: 'Two editors have done a fine job of showcasing some of the most interesting voices in music scholarship today. Over the years, the sprightly, optimistic music of the late eighteenth century has fallen victim to some very dull analysis. Here, by contrast, lively ideas meet lively music, with a satisfying result.' Eighteenth-Century Music

• Foreword Danuta Mirka; Part I. Communication and the Market: 1. Communication and verisimilitude in the eighteenth century Paul Cobley; 2. Listening to listeners Mark Evan Bonds; 3. 'Mannichfaltige abweichungen von der gewöhnlichen sonaten-form': Beethoven's 'Piano-Solo' op. 31 no. 1 and the challenge of communication Claudia Maurer Zenck; Part II. Musical Grammar: 4. Metre, phrase structure and manipulations of musical beginnings Danuta Mirka; 5. National metrical types in music of the eighteenth and early nineteenth centuries William Rothstein; 6. Schoenberg's 'Second Melody', or, 'Meyer-ed' in the bass William E. Caplin; Part III. Rhetorical Form and Topical Decorum: 7. A metaphoric model of sonata form: two expositions by Mozart Michael Spitzer; 8. Beethoven's op. 18 no. 3, First Movement: two readings, with a comment on analysis Kofi Agawu; 9. K331, First Movement: once more, with feeling Wye J. Allanbrook; 10. Dance topoi, sonic analogs and musical grammar: communicating with music in the eighteenth century Lawrence Zbikowski; Afterword Kofi Agawu.

Review of the hardback: 'Two editors have done a fine job of showcasing some of the most interesting voices in music scholarship today. Over the years, the sprightly, optimistic music of the late eighteenth century has fallen victim to some very dull analysis. Here, by contrast, lively ideas meet lively music, with a satisfying result.' Eighteenth-Century Music

• Foreword Danuta Mirka; Part I. Communication and the Market: 1. Communication and verisimilitude in the eighteenth century Paul Cobley; 2. Listening to listeners Mark Evan Bonds; 3. 'Mannichfaltige abweichungen von der gewöhnlichen sonaten-form': Beethoven's 'Piano-Solo' op. 31 no. 1 and the challenge of communication Claudia Maurer Zenck; Part II. Musical Grammar: 4. Metre, phrase structure and manipulations of musical beginnings Danuta Mirka; 5. National metrical types in music of the eighteenth and early nineteenth centuries William Rothstein; 6. Schoenberg's 'Second Melody', or, 'Meyer-ed' in the bass William E. Caplin; Part III. Rhetorical Form and Topical Decorum: 7. A metaphoric model of sonata form: two expositions by Mozart Michael Spitzer; 8. Beethoven's op. 18 no. 3, First Movement: two readings, with a comment on analysis Kofi Agawu; 9. K331, First Movement: once more, with feeling Wye J. Allanbrook; 10. Dance topoi, sonic analogs and musical grammar: communicating with music in the eighteenth century Lawrence Zbikowski; Afterword Kofi Agawu.

Review of the hardback: 'Two editors have done a fine job of showcasing some of the most interesting voices in music scholarship today. Over the years, the sprightly, optimistic music of the late eighteenth century has fallen victim to some very dull analysis. Here, by contrast, lively ideas meet lively music, with a satisfying result.' Eighteenth-Century Music