Meta-Hodos and META Meta-Hodos
Tenney's application of Gestalt perception to musical form — a foundational text for thinking about how listeners organise sound into structure.
External source
James Tenney’s Meta-Hodos (1961) and its later supplement META Meta-Hodos (1975), collected in this Frog Peak edition, adapt Gestalt psychology to the perception of musical form — how a listener groups a stream of sound into elements, clangs, and sequences. For a studio concerned with instruments as systems and with the feedback between structure and perception, Tenney’s vocabulary is a durable analytic tool: it treats musical form as something the listener constructs, not merely something the score dictates.
The authoritative source is the publisher, Frog Peak Music — buy it there if you can. A scanned copy is available for reading at Monoskop; SARC links to it but does not host or mirror it.