"Something Slightly Indecent": British Composers, the European Avant-garde, and National Stereotypes in the 1950s

Abstract

To Robert P. Morgan The more “advanced” composers of today seem to many people to be concentrating on writing music which the malcontents describe angrily as “cerebral”—a manipulation of notes for pure manipulation's sake, disregardful of any appeal to a public hungry for satisfaction of what it calls its “heart.” To most of this music, and the new values implied in it, the public has long put up, and still puts up, a stubborn resistance. I make no comment on that fact; I simply record it as a fact.1

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