ABSTRACT
John Rahn is finely positioned to activate his special gift for uncovering, exploring, spinning a multidirectional array of subject-threads, each exploding an expansive, and revisonary perspective on the textual core. John's text creates a drama for an experience of Du. Creates it by building a palpable mental enclosure within which it accumulates an expansive and hence intensifying story of the character, contents, and substance of that experience and, hence, an intensity of experience of its own. John says every musical analysis is ontology. Repetition, like other writings by John, is no less than an effort to rehabilitate the urgency of music in one's lives, to intrude blatantly and unapologetically the issue and the need for that kind of urgency into the very structure of musical discourse rather than include a paragraph or two to remind oneself or reassure the consumers of ones abstruse animadversions of how spiritually indispensable music is, how significantly entrenched in everyone's socio-personal infrastructure.
