2. The notions of stylistic stasis and pluralism are central to Meyer's second book, Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture (Chicago, University of Chicago Press, 1967; reprinted "with new postlude," Chicago: University of Chicago Press, 1994).
3. See SMT By-Laws II, 1-5.
4. Lee Rothfarb, "The 'New Education' and Music Theory, 1900-1925," in Music Theory and the Exploration of the Past," ed. Christopher Hatch and David W. Bernstein, 449-72; idem., "Music Analysis, Cultural Morality, and Sociology in the Writings of August Halm," Indiana Theory Review 16 (1995): 171-96; Pamela Potter, "Musicology Under Hitler: New Sources in Context," Journal of the American Musicological Society 49.1 (1996): 73-74. I should note that it was precisely music criticism of the type popularized by Kretzschmar that Halm was attempting to educate the public against.
5. See Robert N. Bellah, Richard Madsen, William M. Sullivan, Ann Swidler, and Steven M. Tipton, Habits of the Heart: Individualism and Commitment in American Life (New York: Harper and Row, 1986; originally published, Berkeley: University of California Press, 1985), 71-75. I cite the well-known older edition rather than the very recent updated edition (Berkeley: University of California Press, 1996).
End of Footnotes