Contents -- Preface -- Acknowledgments -- Introduction -- Part I. Ideological Criticism -- 1. The Role of Ideology in the Study of Western Music -- 2. Adorno's Diagnosis of Beethoven's Late Style: Early Symptom of a Fatal Condition -- 3. Why is Adorno's Music Criticism the Way It Is? Some Reflections on Twentieth-Century Criticism of Nineteenth-Century Music -- 4. Kant, Adorno, and the Self-Critique of Reason: Toward a Model for Music Criticism -- Part II. Stylistic Criticism -- 5. Musicology and Criticism -- 6. Evidence of a Critical Worldview in Mozart's Last Three Symphonies -- 7. Romantic Music as Post-Kantian Critique: Classicism, Romanticism, and the Concept of the Semiotic Universe -- 8. On Grounding Chopin -- Part III. Perspectives on Western Musical History -- 9. The Cultural Message of Musical Semiology: Some Thoughts on Music, Language, and Criticism since the Enlightenment -- 10. Tonality, Autonomy, and Competence in Postclassical Music -- 11. The Historical Structure: Adorno's "French" Model for the Criticism of Nineteenth-Century Music -- 12. Individualism in Western Art Music and Its Cultural Costs -- 13. The Challenge of Contemporary Music -- Notes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Z.