ACKNOWLEDGEMENTS -- TABLE OF CONTENTS -- LIST OF ILLUSTRATIONS -- INTRODUCTION -- The Legacy of Gould -- Musicology on Gould -- Historical and Local Hermeneutics -- Research Material -- Research on Gould -- Structure of the Book -- CHAPTER ONE -- Musicology Without Musicians -- History Viewed Through Ethnography -- Music That Does Not Speak -- Musicians Considered Musicologically -- CHAPTER TWO -- Who Owns the Music? -- Gould's Rejection of Tradition -- Authenticity in Gould's Interpretation of Music -- The Priority of Structure in Music -- The Ahistorical Aesthetics of Works of Music -- Gould the Postmodern? -- CHAPTER THREE -- High Fidelity - To What? -- Agency in Recordings -- Gould's Phonographic Ideal of Musical Interpretation -- The Anonymity and Ahistoricity of Technology -- Re-creative Listener -- Benjamin's Technological Democracy -- The Aura of a Musical Work -- Vattimo and "Homeless Artworks" -- Gould and McLuhan -- Gould's Technological Ethics -- Gould's Ideas in the Present -- CHAPTER FOUR -- Musical Interpretation as Criticism: Philosophical Perspectives on Gould's Music-Making -- Four Adornian Windows -- The Culture Industry -- Music as a Private Art Form -- The Challenge of the Modern -- Schoenberg and Stravinsky -- The Idea of Criticism -- Gould's Criticism at Work: Case Mozart -- CHAPTER FIVE -- The Ethics of Isolation - The Idea of North as a Hermeneutic Window on Gould's Musical Thinking -- Meanings of North in Canada -- Gould's Construction of the North -- The North in Music -- Arctic Resonances -- The Shadow of Hanslick -- Gould's North as an Aesthetic Category -- CHAPTER SIX -- The Afterlife of Gould -- "Glenn Gould" as a Representation -- Who's Playing the Goldbergs for Me - Gould or Hannibal? -- "Gould's" Story in Literature -- Gould in Poetry -- "Glenn Gould" as a Novel Character -- Conclusions -- EPILOGUE.

Did He Get it Right 50 Years Ago? -- BIBLIOGRAPHY.