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The concept of music as autonomous form is one which has been explored by a number of philosophers, most of whom have taken the stance that form is the be-all and end-all of music’s meaning. Leonard Meyer, however, takes an alternate position: that expressionism and referentialism are not inextricably united, and that “absolute expressionism” need not be a contradiction in terms. To explore Meyer’s position to any satisfying degree, it is first necessary to expound on his definitions for such terms as “referential” and “absolute” within the context of his broader theories. Referential, as the word’s literal meaning suggests, describes extra-musical meaning that is tied to outside experiences and ideas. C