On May 26, 2007, at 12:00 PM, Dennis Bathory-Kitsz wrote:

At 09:14 PM 5/25/2007 +0200, shirling & neueweise wrote:
this kind of generalization about the state of
new music really disappoints me, and i have to
admit, i come across it more from americans than
any other population

This seems to be my experience. The differences are sometimes striking, ...

I don't have any answers, but there is a cultural shift that isn't limited
to the US.

IMO the cultural shift has been in the opposite direction. The fundamental antipathy among ordinary Americans toward classical music has its origins in the country's founding. In the 18th c., almost all classical music was commissioned by royalty or by the established church--both of which are outlawed in the US constitution. The American people, therefore, came to view this music as inherently elitist. By extension, its practitioners came to be regarded as effeminate, which is why Ives was so defensive about the matter, and also is one reason why such a high percentage of American composers 1890-1970 have been gay.

Prior to 1960, most Americans lived their entire lives without ever experiencing and opera, a ballet, or a symphony. TV has changed all that--and over the course of my lifetime I have definitely seen other forms of improvement that make the current situation, dismal as it is, much better than what it has been. I cannot, for example, imagine any American boy nowadays being denounced as a "fairy" because he played the clarinet. If "music" now means "pop music" and classical music requires a modifier, that is at least a realistic dichotomy, and is a clear improvement, IMO, over the immediately preceding usage in which popular music was called "contemporary," while anything old was "classical." At least the newer usage allows for the possibility that there might be such a thing as contemporary classical music, or antique pop.

Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/

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