Cover -- Half-title -- Title -- Copyright -- Contents -- Music examples -- Figures -- Acknowledgments -- 1 Introduction -- Form and program -- Strophic variation -- 2 Preliminary examples and recent theories -- Simple cycles -- Questions of terminology -- Berlioz scholars on his penchant for strophic variation -- Programs -- Chœur de gnomes et de sylphes and Ballet des sylphes -- Ballet des sylphes -- Chœur de gnomes et de sylphes -- Marche des pèlerins from Harold en Italie -- 3 Form as metaphor -- The age-old program problem -- Poetic thoughts and programs -- Musical metaphor -- Precedents in French theories of imitation -- Lacépède -- Le Sueur -- Chabanon -- Form and metaphor -- 4 Mixing genres, mixing forms: sonata and song in Le Carnaval romain -- Sonata form? -- Precedents in French strophic song -- Convention and carnival -- The carnivalesque -- 5 The vague des passions, monomania, and the first movement of the Symphonie fantastique -- The maladies of the Symphonie fantastique -- Writing delirium into music -- Obsession -- Vacillation -- Self-creation -- 6 Love's emergence and fulfillment: the Scène d'amour from Roméo et Juliette -- Looking for Shakespeare in Berlioz -- Circularity as metaphor: the nocturnal music of the Scène's opening -- Musical labels and large-scale form -- The emergence of the love theme -- A into B and C -- B into C -- A, B, and C into D -- The fulfillment of the love theme -- Finishing an ending -- "Romeo's" theme becomes Romeo's theme -- Thematic illumination -- 7 Epilogue -- Berlioz and eccentricity -- Beyond strophic variation -- Beyond form -- Notes -- 1 Introduction -- 2 Preliminary examples and recent theories -- 3 Form as metaphor -- 4 Mixing genres, mixing forms -- 5 The vague des passions, monomania, and the first movement of the Symphonie fantastique -- 6 Love' s emergence and fulfillment -- 7 Epilogue.

Bibliography -- Index.