Today’s needull has been written by Sir Roger Scruton, one of the renowned philosophers in the field of aesthetics. He discusses recent developments that are going to impact the music that we will hear in future.
ALL THOSE FOUR DEVELOPMENTS are of the greatest musicological interest, and I do not deny that they can be used effectively, to produce works of real musical power. But it is also clear to my way of thinking that they are responsible for a growing gap between serious music and the audience on which it depends, not necessarily financially (since after all there is a massive machinery of subsidy that keeps the avant-garde in business), but at least spiritually. If avant-garde music is ever to step down from the world of concepts into the world of tones, then it will be because the audience exists in whose ears this transition can occur. Take away the audience and you take away the concrete reality of music as an art. You turn music into an arcane exercise in the acoustical laboratory, in which groups of patient instrumentalists pump out sounds according to formulae which mean nothing, since meaning lies in the ears that have fled from the scene. Of course, not here in Donaueschingen, where the distinctive physiognomy of the avant-garde ear is very apparent all around us.