This is the author's final draft. The publisher's official version is available from: http://www.mtosmt.org/issues/mto.07.13.3/mto.07.13.3.murphy.htmlNotions of network recursion, as they have been designated in music
analyses, may be organized into five categories that range from exact self-similarity to
self-dissimilarity. This perspective reveals that Michael Buchler’s critique of network
recursion does not necessarily fully apply to analyses in all categories of network
recursion. An analysis of Bartók’s “Fourths” serves as an example of how network
recursion analysis can achieve significant results and avoid most of, if not all of,
Buchler’s critique
