| 摘要 | 第1-5页 |
| Abstract | 第5-6页 |
| Acknowledgements | 第6-8页 |
| Introduction | 第8-15页 |
| Chapter One Music as the Central Metaphor | 第15-28页 |
| ·Song of the Confined White | 第15-19页 |
| ·The Delighted and Bitter Song of Adolescent | 第15-18页 |
| ·The Voiceless Song of John Singer | 第18-19页 |
| ·Song of the Repressed Black | 第19-24页 |
| ·The Self-Motivated Songs of William, Portia and Berenice | 第20-22页 |
| ·The Singing Moan of Doctor Copeland | 第22-24页 |
| ·The Chorus of Blacks and Whites | 第24-28页 |
| ·Somber and Joyful Song of Chain Gang | 第24-25页 |
| ·Sweet and Queer Trio of Frankie, Berenice and Henry | 第25-28页 |
| Chapter Two Musical Form and Narrative Structure | 第28-42页 |
| ·Ternary Structure– External Structure of The Member of the Wedding and The Ballad of the Sad Café | 第28-34页 |
| ·Ternary Structure– External Structure of The Member of the Wedding | 第28-31页 |
| ·Ternary Structure– External Structure of The Ballad of the Sad Café | 第31-34页 |
| ·Fugue Structure– Internal Structure of The Heart is a Lonely Hunter | 第34-42页 |
| ·Independence of Each Voice | 第34-36页 |
| ·Imitations of Theme among Voices | 第36-38页 |
| ·The Pairing of Voices | 第38-39页 |
| ·Dissonance or Clashing of Voices | 第39-42页 |
| Chapter Three Musical Setting as Narrative Mood and Rhythm | 第42-54页 |
| ·Musical Setting as the Microcosm of the Twenty Century | 第42-44页 |
| ·Musical Setting as the Inner Rhythm of Character | 第44-52页 |
| ·Instrumental Music in Wunderkind | 第45-47页 |
| ·Vocal and Instrumental Music in The Heart Is a Lonely Hunter | 第47-49页 |
| ·Vocal and Instrumental Music in The Member of the Wedding | 第49-52页 |
| ·Musical Setting as Syncopated Rhythm | 第52-54页 |
| Conclusion | 第54-56页 |
| Works Cited | 第56-57页 |
