Abstract
We diiscuss and analyse the musicological hypotheses underlying the work of Tntesean, by treating his various articles, transcriptions and musical realisations as a single corpus. We discuss the extent to which Tntesean in his musical realisations deviated from some of his own musicological principles, and the possible reasons for this.
The work is substantiated through the critical examination of a substantial number of concrete examples. Appropriate extensions and gen eralisations of this work are briefly discussed..