For me... the notion of an intimate relationship between music and society functions not as a distant goal but as a starting point of great immediacy, and not as an hypothesis but as an assumption. It functions as an idea about a relationship which in turn allows the examination of that relationship from many points of view and its exploration in many directions. It is an idea that generates studies the goal of which (or at least one important goal of which) is to articulate something essential about why any particular music is the way it is in particular, that is, to achieve insight into the character of its identity.
Rose Rosengard Subotnik (1987). "On grounding Chopin", Music and Society: The Politics of Composition, Performance, and Reception. Cambridge: Cambridge University Press. ISBN 0521379776.
This shared concern with continuity accounts for a good part of the affinity I feel with Schoenberg, an affinity I have openly claimed in drawing from him both the title and the subtitle of the present volume. To me, as to Schoenberg, such continuity constitutes important evidence that the essentially aesthetic act of constructing a 'text,' whether on paper or in one's professional life, has been subjected to rational restraints, in all the Kantian senses of 'rationality.' From this viewpoint, continuity is valued as a sign that a text has been carefully constructed to meet rigorous standards not only of formal coherence but also of logical precision and, espeically crucial, of moral scrupulousness.
Subotnik, Rose Rosengard (1991). Developing Variations: Style and Ideology in Western Music, p.xx. Minneapolis: University of Minnesota Press. ISBN 0816618739.