| Acknowledgments | |
| Prologue | 3 |
| 1 | Milton Babbitt's Compositional World | 5 |
| The Twelve-Tone System | 9 |
| Babbitt's Pitch Structures | 20 |
| Babbitt's Rhythmic Structures | 38 |
| 2 | Mapping Trichordal Pathways (1947-1960) | 54 |
| A Wellspring of Possibilities: The Composition for Four Instruments | 55 |
| Realizing the Implications of the Composition for Four Instruments | 76 |
| Additional Compositional Strategies | 105 |
| 3 | Expansion and Consolidation (1961-1980) | 124 |
| Effects of All-Partition Arrays | 127 |
| A Brief Venture into Comparative Anatomy | 162 |
| Two (Short) Analyses | 171 |
| 4 | The Grand Synthesis (1981-) | 204 |
| Superarray Structure and Projection | 209 |
| Superarray Compositions | 210 |
| Concerted Superarray Compositions | 226 |
| Trichordal Arrays and Superarrays | 239 |
| Miniatures, Pieces D'Occasion | 243 |
| New Departures | 252 |
| Epilogue | 264 |
| Catalog of Compositions by Milton Babbit | 267 |
| All-Partition Arrays | 271 |
| Notes | 295 |
| Bibliography | 305 |
| Discography | 315 |
| Index | 319 |
