Mike Leghorn wrote:

>In short, evolution doesn't mean improvement; it means adaptation to
>change.

But doesn't in this context adaption is pretty much the same as
improvement?

>Forms that are best suited to the environment thrive, while less suitable
>forms die off.

This raises a question, which I couldn't find an answer to: Why do
certain periods have certain forms? Why did the central Europe of the late
18th century create the sonata form? What was the driving force behind
that? And why didn't the late romantics come up with something new?

>Our cultural environment is much different than is was 500 years ago,
>thus, our music is much different also.

Does this mean that the music from 500 years ago is irrelevant today, or
does it mean that the music that was performed 500 years ao is irrevelant,
whereas contemporary perofrmances of 500 year old music are relevant? In
either case, recordings of Furtwangler or Carosu are completely irrelevant,
aside from giving a view into the society of 50 or 100 years ago.  Did I
misunderstand you, or did you try to imply this?

Jan