'Even discourse which does not acknowledge 'musical coherence' as 'intellectual communication' does not in fact succeed in treating it as anything else; it is only by locating their concerns in domains where the 'musical' aspects of music are peripherally or not at all involved that musical discourses can circumvent the fact that when the 'object of thought' consists of the contents of a musical composition just the recognition of the identities of any of these contents (or even of the undivided single identity of them taken all together as a 'unit') involves (to varying degrees) the same considerations that are involved in a discourse that explicitly--and hence with a better chance of cognitive particularity--regards such a composition as an instance of communicative thought.'