1. INTRODUCTION (figs. 1-13)

I. Introduction

II. Idiomatic practice (figs. 1-6)

III. Essence and Appearance – Intent and Realization (figs. 7-13)

2. TRANSLATION, CLARIFICATION, AMPLIFICATION (figs. 14-29)

3. SEGMENT ANALYSIS (figs. 30-33)

4. UNISONO AND DOUBLING

I. Unisono and Doubling

II. Linear and Split Unison (figs. 34-37)

III. Perfect Unison (figs. 38-39)

IV. Octaves (figs. 40-41)

V. Parallel Doubling (figs. 42-50)

VI. Partial Doubling and Heterophony (figs. 51-57)

VII. Reverberation, Echo, Resonance and Acoustic Reflection (figs. 58-71)

5. FOREGROUND AND BACKGROUND – MELODY AND ACCOMPANIMENT (figs. 72-91)

I. Part 1 (figs. 72-81)

II. Part 2 (figs. 82-91)

6. ACTIVE HARMONY (figs. 92-104)

7. ORCHESTRAL IDIOMS AND MASS EFFECTS AFTER WORLD WAR II (figs. 105-113)

8. POLYPHONY AND VOICE LEADING (figs. 114-128)

9. DYNAMICS AND BALANCE (figs. 129-141)

I. Dynamics and Balance

II. Chords (figs. 129-141)

10. DYNAMICS AND NOTATION

11. ARTICULATION (figs. 142-145)

12. TIMBRE, SOUND COMBINATIONS AND IMITATION (figs. 143-162)

13. DISPOSITION OF FORM (figs. 163-175)

14. ORCHESTRA SIZE AND SETTING (figs. 176-178)