• Part I. Cultural and Philosophical Frameworks: 1. The mechanics of sensation and the construction of the Romantic musical experience Leslie David Blasius; 2. F. W. J. Schelling's Philosophie der Kunst: an emergent semiology of music Ian Biddle; 3. Fétis and emerging tonal consciousness Thomas Christenden; 4. Romantic music under siege in 1848 Sanna Pederson; Part II. Hermeneutics, Analysis, Criticism: 5. Second immediacies in the Eroica Brian Hyer; 6. Plato – Beethoven: a hermeneutics for nineteenth-century music? Ian Bent; 7. Intersubjectivity and analysis: Schumann's essay on the Fantastic Symphony Fred Everett Maus; Part III. Rhetoric, Metaphor, Musical Perception: 8. The concept of développement in the early nineteenth century Peter A. Hoyt; 9. A. B. Marx and the gendering of sonata form Scott Burnham; 10. ... wie ein rother Faden: on the origins of 'Leitmotif' as critical construct and musical practice Thomas Grey; 11. Musical invariance as a cognitive structure: 'multiple meaning' in the early nineteenth century Janna K. Saslaw and James P. Walsh; Index.

'The project Bent has undertaken here is a large and admirable one, namely to demonstrate how musicians in the 19th century thought about and described music, and there are few people in this field who are better qualified to do this. Bent surveys the fascinating diversity of approaches to analysis of that century (ranging from the verbal, diagrammatic, tabular and notational to the graphic) and relates these to the equally manifold purposes for which analysis was then pursued …' Brio

• Part I. Cultural and Philosophical Frameworks: 1. The mechanics of sensation and the construction of the Romantic musical experience Leslie David Blasius; 2. F. W. J. Schelling's Philosophie der Kunst: an emergent semiology of music Ian Biddle; 3. Fétis and emerging tonal consciousness Thomas Christenden; 4. Romantic music under siege in 1848 Sanna Pederson; Part II. Hermeneutics, Analysis, Criticism: 5. Second immediacies in the Eroica Brian Hyer; 6. Plato – Beethoven: a hermeneutics for nineteenth-century music? Ian Bent; 7. Intersubjectivity and analysis: Schumann's essay on the Fantastic Symphony Fred Everett Maus; Part III. Rhetoric, Metaphor, Musical Perception: 8. The concept of développement in the early nineteenth century Peter A. Hoyt; 9. A. B. Marx and the gendering of sonata form Scott Burnham; 10. ... wie ein rother Faden: on the origins of 'Leitmotif' as critical construct and musical practice Thomas Grey; 11. Musical invariance as a cognitive structure: 'multiple meaning' in the early nineteenth century Janna K. Saslaw and James P. Walsh; Index.

'The project Bent has undertaken here is a large and admirable one, namely to demonstrate how musicians in the 19th century thought about and described music, and there are few people in this field who are better qualified to do this. Bent surveys the fascinating diversity of approaches to analysis of that century (ranging from the verbal, diagrammatic, tabular and notational to the graphic) and relates these to the equally manifold purposes for which analysis was then pursued …' Brio

• Part I. Cultural and Philosophical Frameworks: 1. The mechanics of sensation and the construction of the Romantic musical experience Leslie David Blasius; 2. F. W. J. Schelling's Philosophie der Kunst: an emergent semiology of music Ian Biddle; 3. Fétis and emerging tonal consciousness Thomas Christenden; 4. Romantic music under siege in 1848 Sanna Pederson; Part II. Hermeneutics, Analysis, Criticism: 5. Second immediacies in the Eroica Brian Hyer; 6. Plato – Beethoven: a hermeneutics for nineteenth-century music? Ian Bent; 7. Intersubjectivity and analysis: Schumann's essay on the Fantastic Symphony Fred Everett Maus; Part III. Rhetoric, Metaphor, Musical Perception: 8. The concept of développement in the early nineteenth century Peter A. Hoyt; 9. A. B. Marx and the gendering of sonata form Scott Burnham; 10. ... wie ein rother Faden: on the origins of 'Leitmotif' as critical construct and musical practice Thomas Grey; 11. Musical invariance as a cognitive structure: 'multiple meaning' in the early nineteenth century Janna K. Saslaw and James P. Walsh; Index.

'The project Bent has undertaken here is a large and admirable one, namely to demonstrate how musicians in the 19th century thought about and described music, and there are few people in this field who are better qualified to do this. Bent surveys the fascinating diversity of approaches to analysis of that century (ranging from the verbal, diagrammatic, tabular and notational to the graphic) and relates these to the equally manifold purposes for which analysis was then pursued …' Brio