Adolf Brune erwähnt Bruckner in einem ausführlichen Artikel in The Inter Ocean Nr. 262 (Chicago, Illinois) auf S. 37 (= S. 9 des Magazin-Teils):

"A Critical Study of Debussy's Methods and Style.

THE greatest difficulty in discussing Debussy is that his sincere followers seem to think that that which they claim as a great merit in Debussy–vagueness–is also advisable to them as regards the distinguishing features of his compositions. [... Grundlagen der klassischen Harmonielehre, Erweiterung duch Chromatik].

     The basis of modern composition is not the seven-tone diatonic scale, but a scale [...], so that the tonality is merely widened, not destroyed.

    Although the works of the great classis composers made the major and minor scales so predominant as to almost exclude the modes, still they never passed entirely out of use. Bach used them [... dorisch, Beethoven (lydisch) ... Buch von A. W. Ambros über Niederländer und Palestrina-Schule ... auch andere Autoren ...] made those works again accessible. Liszt was one of the most effective champions by his own compositions to reintroduce this neglected melodic element into modern music; any one acquainted with his works can easily verify this fact. Wagner, Caesar Franck and Anton Bruckner are his followers.

     The Gregorian chant has itself no rhythm which may be cast into our measures nor does it have that periodical construction which forces everything into the Procrustean bed of dance music, with its monotonous regularity of cadencing. [... über Akkorde ohne harmonische Funktion, leere Quinten, Liszts Neuerungen ... Debussys Stellung ...]."