Abstract
N HIS BOOK Emotion and Meaning in Music, published in 1956,1 Leonard B. Meyer set forth an explanation of musical experience which drew upon the resources of modern psychological knowledge and his own background as a practicing musician and aesthetician. It was Meyer's purpose to present an account of meaning and communication in music based upon a systematic application of certain psychological theories to the phenomenon of musical responsiveness. These theories have to do with pattern perception, and the myriad ways in which the manipulation of patterns gives rise to affect and meaning. A few years later Meyer made Some Remarks on Value and Greatness in Music in the Journal of Aesthetics and Art Criticism.2 This essay was an attempt to carry some of the insights of his book (and others seemingly gained subsequent to the book's publication) to conclusions of a nature which seem to me far more fruitful than any he was able to draw previously. This essay will be dealt with in some detail, for it is felt that the conceptions contained in it are of great assistance in formulating a clear and
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