The Way Forward (and Backward)
It is my hope that the project of this book is continued, and that its extensions will stray from the modest tools I have proposed for zooming into the micro detail of the musical surface: drive analysis and neofunctional metaphoric-metonymic rotation. Equally, I hope that the tools for analyzing this turbulent music will undergo their own cybernetic autopoiesis through future refinement and probable release from their psychodynamic genesis (though there will always be an operative trace of their origin). It should be clear that, although the creative disruptive force of the turn of the twentieth century embodies a particularly heated concentration of the applicability of these tools, the theory has wider scope. This is true beyond the already expanded parameters of that concentrated moment in the first few chapters, which I opened up in both directions (Wagner in the 1850s, Copland in the 1950s). Even within this frame, there are far more potential applications than those that I could rehearse. Substitute Bruckner for Wagner, and we might well find (analyzing the passages of, say, the Eighth Symphony as Miguel ...
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