Readers, are you aware of the neverending argument which started somewhere, I’m guessing,  after the 40s, 1940s that is.  Scholars have exacted their theories in a fashion that could be described as pseudoscience.  I say that because the scholars are treating amaranth music as if it were a concrete form to be placed in a controlled envirement.  I have contacted fellow composers regarding this and hope to bring you a conversation or two on the topic.