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"Counterpoint texts tend to resemble one another in the underlying principles of voice-leading they espouse and in the kinds of orderings of rules they provide, but no one could accuse the harmony texts of, let us say, Heinrich Schenker and Hugo Riemann, or of Allen Irvine McHose and Walter Piston--or for that matter, of Arnold Schoenberg, Paul Hindemith, and Roger Sessions--of being mutually compatible, either in premise or in practice."
--
Harold Powers, "Is Mode Real", p.18,10.

 

Harold Powers

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Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning them into mutually exclusive sub-collections. The ordering principle is the basis of the twelve-tone system formulated by Schoenberg, the partitioning principle the basis of the system formulated around the same time by Hauer. In Schoenberg's compositional practice, however, the concept of a segmental pitch-class content is represented as well, as a basis for the association of paired inversionally related set forms. On the relation between Schoenberg and Hauer see Bryan R. Simms, "Who First Composed Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoenberg Institute X/2 (November 1987).

 

George Perle

 

"Rules of simultaneous ensemble constraint can't be assumed a priori to be the kinds of rules or rest on the same foundations as rules for constraint on succession. They may well be similar, but they may well not be similar also. It seems to me that ensemble constraints must first be understood in their own terms, within musical cultures individually and comparitively, looking to what appear to be basic principles in each in light of the others, I would call such a study "comparative counterpoint."

 

Harold Powers

 

It is apparently very congenial for some people who are professionally concerned with fictional texts to be told that all texts are really fictional anyway, and that claims that fiction differs significantly from science and philosophy can be deconstructed as a logocentric prejudice, and it seems positively exhilarating to be told that what we call "reality" is just more textuality. Furthermore, the lives of such people are made much easier than they had previously supposed, because now they don't have to worry about an author's intentions, about precisely what a text means, or about distinctions within a text between the metaphorical and the literal, or about the distinction between texts and the world because everything is just a free play of signifiers. The upper limit, and I believe the reductio ad absurdum, of this "sense of mastery" conveyed by deconstruction, is in Geoffrey Hartman's claim that the prime creative task has now passed from the literary artist to the critic.

 

John Searle

 

"We owe the Aboriginal peoples a debt that is four centuries old. It is their turn to become full partners in developing an even greater Canada. And the reconciliation required may be less a matter of legal texts than of attitudes of the heart."

 

Romeo LeBlanc

 

What a queer work the Bible is.
...Some texts are very funny. Deut. XXIV, 5: "When a man hath taken a new wife, he shall not go out to war, neither shall he be charged with any business: but he shall be free at home one year, and shall cheer up his wife which he hath taken." I should never have guessed "cheer up" was a Biblical expression. Here is another really inspiring text: "Cursed be he that lieth with his mother-in-law. And all the people shall say, Amen." St Paul on marriage: "I say therefore to the unmarried and widows, It is good for them if they abide even as I. But if they cannot contain, let them marry: for it is better to marry than to burn." This has remained the doctrine of the Church to this day. It is clear that the Divine purpose in the text "it is better to marry than to burn" is to make us all feel how very dreadful the torments of Hell must be.

 

Bertrand Russell