I. Instruments: History and background ; Action and technique ; Stringing ; Sound modification ; Versatility ; The piano's sound -- II. Influences: Character 1: background ; Character 2 : emotionalism ; Character 3 : personification ; Character 4 : the past ; Character 5 : other topics ; Received forms 1 : the minuet (and scherzo) ; Received forms 2 : the rondo; Received forms 3 : the solo sonata ; Received forms 4 : variation; Received forms 5 : the concerto. 1 background & presentation of material ; Received forms 6 : the concerto. 2 the solo ; Received forms 7 : the concerto. 3 other movements ; Vernacular 1 : general ; Vernacular 2 : inclusion ; Vernacular 3 : regional styles ; Improvisation 1 : general; Improvisation 2 : types-- III. Integration : Accompaniment 1a : chamber music. 1 classical ; Accompaniment 1b : chamber music. 2 romantic ; Accompaniment 2a: song 1 ; Accompaniment 2b : song 2 ; Accompaniment 3 : piano duet & duo ; Didacticism and dissemination ; The dance

Charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music for which it was written. Both the piano and piano music were very much the product of the intellectual, cultural and social environments of the period and both were subject to many influences, directly and indirectly. These included character (individualism), the vernacular ('folk/popular') and creativity (improvisation), all of which are discussed generally and with respect to the music itself. Carew surveys the most important pianistic genres of the period (variations, rondos, and so on), showing how these changed from their received forms into vehicles of Romantic expressiveness. The piano is also looked at in its role as an accompanying instrument