ELITES AND THEIR DISCONTENTS
Those anxieties can be sampled in the writings of Edward T. Cone (1917–2004), a Princeton colleague of Sessions and Babbitt, who although a composer by training had a wider impact as a theorist and critic. One of his most interesting and symptomatic writings was a contribution to a symposium on defining a “musical composition,” organized in 1967 by the editors of a journal, Current Musicology, that had been recently instituted by the graduate students at the Columbia University music department. The symposium was a response to a challenge lately issued by medievalists (most notably Richard L. Crocker of the University of California at Berkeley) to the conventional notion of a stable “piece of music.”35 Most of the contributors to the symposium reacted to the challenge with benevolent interest and good humor.
- Citation (MLA):
- Richard Taruskin. "Chapter 3 The Apex." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 24 Oct. 2016. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-003012.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 3 The Apex. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 24 Oct. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-003012.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 3 The Apex." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 24 Oct. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-003012.xml