{"id":3757,"date":"2025-12-20T22:46:02","date_gmt":"2025-12-21T03:46:02","guid":{"rendered":"https:\/\/www.artsjournal.com\/uq\/?p=3757"},"modified":"2025-12-20T22:46:05","modified_gmt":"2025-12-21T03:46:05","slug":"the-music-of-the-future","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/uq\/2025\/12\/the-music-of-the-future.html","title":{"rendered":"The Music of the Future?"},"content":{"rendered":"
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The current issue of The American Scholar includes a long piece of mine suggesting a possible new direction for contemporary classical music \u2013 versus the \u201cmakeshift music\u201d that deluges our concert halls. I make reference to John Luther Adams, Charles Ives, Jean Sibelius, and Ferruccio Busoni. To read the whole piece, click <\/em>here.<\/strong><\/em><\/a> <\/strong>To sample it, read on:<\/em><\/p>\n\n\n\n

The American arts are receding and blurring. Cultural memory\u2014a prerequisite\u2014is fast disappearing. American orchestras, espousing the new, privilege a surfeit of makeshift eclectic music dangerously eschewing lineage. American opera companies flaunt new American operas that are here today and gone tomorrow. What is needed is an informed quest for orientation, for future direction.<\/p>\n\n\n\n

The Italian-born composer-pianist Ferruccio Busoni was a clairvoyant who will never cease to magnetize a coterie of adherents. In his Sketch of a New Esthetic of Music<\/em> (1907), Busoni proposed the notion of \u201cUr-Musik.\u201d It is an elemental realm of absolute music in which composers have approached the \u201ctrue nature of music\u201d by discarding traditional templates. Sonata form, since the times of Haydn and Mozart a basic organizing principle governed by goal-directed harmonies, would be no more.<\/p>\n\n\n\n

Half a century ago, Ur-Musik could be written off as a faint footnote to twin seminal 20th-century currents: Igor Stravinsky\u2019s neoclassicism and Arnold Schoenberg\u2019s serial rigor. But no longer. John Luther Adams, among the most esteemed present-day American composers for orchestra, embraces something like it. And his forebears include composers of renewed consequence: Jean Sibelius in his primordial tone poem Tapiola<\/em> (1926) and Charles Ives in his unfinished Universe<\/em> Symphony<\/em> (begun in 1915).<\/p>\n\n\n\n

Around the same time, before locking on his 12-tone rows, Schoenberg experimented with an unmoored nontonal style. He was concurrently corresponding with Busoni, who also conferred with Sibelius. In an email exchange, I learned from Adams that, while composing his Pulitzer Prize\u2013winning Become Ocean<\/em> (2013), \u201cthe only music I was listening to was Tapiola<\/em>.\u201d I brought up Ives\u2019s Universe<\/em> Symphony<\/em> and suggested that Adams was \u201cpost-Ivesian.\u201d He readily agreed. So there are dots\u2014big ones\u2014to connect.<\/p>\n\n\n\n

Might there not be lineage here?<\/p>\n\n\n\n

For much more on Busoni, click <\/em>here<\/a>.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The current issue of The American Scholar includes a long piece of mine suggesting a possible new direction for contemporary classical music \u2013 versus the \u201cmakeshift music\u201d that deluges our concert halls. I make reference to John Luther Adams, Charles Ives, Jean Sibelius, and Ferruccio Busoni. To read the whole piece, click here. To sample […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":{"0":"post-3757","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry","8":"has-post-thumbnail"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2QLHN-YB","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/3757","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/comments?post=3757"}],"version-history":[{"count":4,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/3757\/revisions"}],"predecessor-version":[{"id":3762,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/3757\/revisions\/3762"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/media?parent=3757"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/categories?post=3757"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/tags?post=3757"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}