Introduction, John Xiros Cooper * A Jazz-Banjorine, Not a Lute: Eliot and Popular Music before The Waste Land, David Chinitz * Culture, Race, Rhythm: Sweeney Agonistes and the Live Jazz Break, Kevin McNeilly * Raising Life to a Kind of Art: Eliot and Music Hall, Jonna Mackin * Protective Coloring: Modernism and Blackface Minstrelsy in the Bolo Poems, Jonathan Gill * Thinking with Your Ears: Rhapsody, Prelude, Song in Eliot's Early Lyrics, John Xiros Cooper * Part II: You are the Music; Eliot's Impossible Music, Brad Bucknell * Eliot's Ars Musica Poetica: Sources in French Symbolism, John Adames * Part III: Eliot and the Composers * The Pattern from the Palimpsest: Convergences of Eliot, Tippett, and Shakespeare, Suzanne Robinson * Movements in Time: Four Quartets and the Late String Quartets of Beethoven, David Barndollar * My God, What Has Sound Got to Do with Music?; Interdisciplinarity in Eliot and Ives, J. Robert Browning * Benjamin Britten and T. S. Eliot: Entre Deux Guerres and After, C. F. Pond * Reading Aloud and Composing: Two Ways of Hearing a Poem, David Banks * Orchestrating The Waste Land: Wagner, Leitmotiv, and the Play of Passion, Margaret E. Dana * A Tale of Two Artists: Eliot, Stravinsky, and Disciplinary (Im)Politics, Jayme Stayer * Checklist of Musical Settings of Eliot's Works, Brent Whitted and Andrew Shenton
