The aesthetic fragment : I. Historically conditioned prominence of the fragment : II. Typologies of the Fragment : III. Schubert Fragments: Desideratum of a musical typology : IV. Completion and the fragment Schubert's piano sonata fragments : I. Schubert-Fragment Typology : II.Absence-centred fragmentology The early piano sonatas: 1815-1817 : I. Emergent form : II. The fragmentary sonatas: February 1815 to June 1817 D 154 and D 157 : I. Compositional history : II. D 154 and D 157 in Connection : III. A change in the elucidation of form : IV. A continous compositional process : V. A novel unconventionality : VI. Form in D 157/2 : VII. Cyclical projections : VIII. Integration fo the Menuetto and Trio in a large-scale cyclical form : IX. The first sonatas: a paradigm of the Sonata principle D 279 : I. Compositional history : II. Innovation : III. Early recapitulatory experiments : IV. D 279/2 ; Processes of Unification ; VI. Menuetto and Trio : VII. A lost movement or an unfinished work : VIII. Harmonic experimentation : IX. Fragmentation at a harmonically significant point D 459 and D 459A : I. Compositional history and sources : II. Cyclical fragmentation and formal projections in D 459 : III. D 459/2: Allegro : IV. The recapitulation of D 459/2 : V. Musical justifications for the Scherzo as a title for D 459/2 : VI. D 459A: An unknown sonata? : VII. D 459A: Intrinsic cyclical connections : VIII. Resonances between e major and c major as tonal centres : IX. Cyclical interconnections and the Fünf Clavierstücke : X. Conclusion: Musical plausibility as a united work D 566 : I. Schubert's view of Beethoven as a composer : II. Compositional background and publication history : III. Cyclical incompletion : IV. Alternate structures : V. Interpretative approaches to the fragmentary : VI. Coexistence of structural projections D 567 and D 568 : I. Compositional history : II. A comparison : III. Compositional processes : IV. Fragmentation and incompletion in D 567 A fruitful crisis: 1817-1818 : I. Compositional evolution in a chronological context : II. Jahre der Krise : III. A new type of sonata fragment D 571 and D 570 : I. Manuscripts and fragmentation : II. Cyclical unity : III. Motivic unity across structural areas in D 571 : IV A modality of cyclical fragmentation : Middle movements : V. Subdominant recapitulation : VI. Unfinished movements and fragment reception D 613 : I. Compositional history : II: Cyclical implications of harmonic structures : III. Enervation of form in D 613/1 : IV. Formal functions of mediant relations : V. Sources of fragmentation in D 613 D 625 : I. Fragmentation : II. Beethovenian influences : III. Consequences of internal fragmentation for D 625/1 : IV. Structure and motivic distinction in D 625/1 : V. Tripartite exposition forms : VI. A fragmentary aesthetic in D 625 : VII. Scherzo and Trio D 625/2 : VIII. Finale D 625/3 D 655 and D 769A : I. Compositional background : II. D 655 : D 769A D 840 : I. A new fragment type : II. D 840/4 : III. Fragmentation and completion in D 840/3 : IV Cyclical cohesion: D 840/2 : V. D 840/1: An aesthetic of the fragmentary and formal completion : VI. D 840/1: Generation of structure : VII. Harmonic duality and mediant relations in D 840/1 : VIII. Dissociation of the recapitulation in D 840/1 : IX. The coda of D 840/1 Conclusion : I. A new sonata form : Fragments approach the boundaries of form and compositional possibility Appendix: Unattched movements Bibliography : I. Primary sources : II. Secondary sources Index : Persons : List of works (other composers) : List of works (Franz Schubert) | 
