Abstract

Much has happened in the development of music in the 30-plus years since Adomo's “The Aging of the New Music” was written. In that time, the type of music Adomo recognized as New Music (music composed in the tradition of twelve-tone, serial and expressionist related techniques) has indeed aged, perhaps to the point of senility, having long been overtaken by changes in musical material, in the technologies of music production and recording, and in the very way we now listen to music. Faced with isolation and changes in circumstance, the New Music changed structurally, even going so far as to discard the unfamiliarity of the new as its defining criterion.