“During the sixties, a number of important cultural transactions took place. The classical musical tradition (that is, new music being composed in the tradition of Beethoven and Mozart) finally collapsed under the weight of its own inanity. The fact that John Cage and Karl Heinz Stockhausen were at all taken seriously was a sign that the Schonberg/Adorno school had finally triumphed in its takeover of classical music. The operation was a success, but, once again, the patient died.” [E. Michael Jones, Dionysos Rising (San Francisco, CA: Ignatius Press, 1994), p. 160]
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