"Any musically aware listener will know of music that breaks out of established forms or syntax to profound effect ÷ my personal favourites include Beethoven'sEroica symphony, Wagner's Tristan und Isolde,Schoenberg's Erwartung, Debussy's Apres midi d'un faune. .. What is the most that we can ever say objectively about what those composers are discovering? What are the limits of objective description using science, mathematics and musical analysis? More generally, how do these structures in sound make sense? As of now, I see only very preliminary hypotheses in response to this last question, no possibility of much more given current understanding and techniques, and no consensus as to the ultimate constraints on such an answer."
Editor of Nature.