Cover -- Half-title -- Title -- Copyright -- Contents -- Notes on contributors -- Introduction -- Notes -- PART I: Communication and the market -- 1 Communication and verisimilitude in the eighteenth century -- Modelling communication -- Communication and the public -- Music and the public sphere in the later eighteenth century -- Communication, genre and verisimilitude -- Conclusion -- Notes -- 2 Listening to listeners -- Notes -- 3 'Mannichfaltige Abweichungen von der gewöhnlichen Sonaten-Form': Beethoven's 'Piano Solo' Op. 31 No. 1 and the challenge of communication -- The genesis of Opus 31 -- The humorous in music around 1800 -- Friedrich AugustWeber 1792/1800: species of the humorous -- Carl Friedrich Michaelis 1807: means of the humorous -- Op. 31 No. 1: analysis of the first movement -- The reception of Op. 31 No. 1 -- Final remarks -- Notes -- PART II: Musical grammar -- 4 Metre, phrase structure and manipulations of musical beginnings -- Changing metre -- Changes of Taktteile in compound measures -- Changes of Taktteile in double measures -- Change of Taktteile and perceptual factors -- Changes of Taktteile in compound measures -- Playing with metre -- Notes -- 5 National metrical types in music of the eighteenth and early nineteenth centuries -- I -- II -- III -- IV -- V -- VI -- Appendix: exceptions inMozart to the 'downbeat rule' for the accento comune -- La finta semplice, K51 (1768) -- Mitridate, Re di Ponto, K87 (1770) -- Ascanio in Alba, K111 (1771) -- Il sogno di Scipione, K126 (1771) -- Lucio Silla, K135 (1772) -- La finta giardiniera, K196 (1774-5) -- Il re pastore, K208 (1775) -- Idomeneo, K366 (1781, revised 1786) -- L'oca del Cairo, K422 (1783) -- Lo sposo deluso, K430 (1783) -- Le nozze di Figaro, K492 (1786) -- Don Giovanni, K527 (1787) -- Cos`ı fan tutte, K588 (1789) -- La clemenza di Tito, K621 (1791) -- Notes.

6 Schoenberg's 'second melody', or, 'Meyer-ed' in the bass -- Notes -- PART III: Rhetorical form and topical decorum -- 7 A metaphoric model of sonata form: two expositions by Mozart -- The theory -- 1 Articulation -- 2 Sentence and liquidation -- 3 Mapping from phrase-level to exposition -- 4 Structural liquidation -- (i) Second subject as goal of 'thematic liquidation' -- (ii) Second subject as head of 'cadential liquidation' -- 5 Summary: 'material' and 'syntactic' second glances -- (i) Material transformations -- (ii) Syntactic transformations -- String Quintet in C major, k515/i -- Sentence -- Transition -- Second Group -- 1 Thematic liquidation -- 2 Cadential liquidation -- The 'Jupiter' Symphony, k551/ -- Thematic liquidation -- Cadential liquidation -- Of metaphor: rhetoric, philosophy, cognition -- Notes -- 8 Beethoven's Op. 18 No. 3, .rst movement: two readings, with a comment on analysis -- First reading: tonal models -- Bridges to free composition -- Second reading: topics -- Conclusion -- Notes -- 9 Mozart's k331, first movement: once more, with feeling -- Appendix: Analyses of the theme of k331/i (in chronological order, grouped by author) -- Meta-analyses -- Notes -- 10 Dance topoi, sonic analogues and musical grammar: communicating with music in the eighteenth century -- Musical grammar and composing for the dance -- Function and form in language and music -- Analogizing dance -- Musical construction grammar -- Musical communication in the eighteenth century -- Joseph Haydn, String Quartet Op. 76 No. 4, Finale -- The bourree of the French court and eighteenth-century instrumental music -- Haydn's Finale -- Bars 25-34 of the Finale -- Bars 64-82 of the Finale -- Bars 106-132 of the Finale -- Conclusion -- Notes -- Afterword -- Notes -- Bibliography -- Index of concepts -- Index of names and works.