the music Toop is interested in opens out into "a theatre of chaos and complexity"
it "[counterbalances] moves to rationalise music into finite, controllable sequences"
"a large proportion of music made during the past hundred years has implicitly or violently rejected absolutes: the absolutes of political or religious dogma; the expedient absolutes of copyright; the beginning and end of a piece; the distinction between composer and performer, performer and audience, music and surroundings; the rejection of absolute boundaries and standards with which one piece of music can be judged against another" (256)