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WE ARE ALL Of US to blame for the present state of music: composers, performers, musicologists, and public alike. Nor is it interesting to apportion the guilt equitably: we can all see the motes in each other's eye clearly enough while the beams in our own should make us weep with vexation. The trouble is, we are indeed so conscious of the universal responsibility that we are all waiting for the others to show a change of heart and start their good works. Meanwhile the isolation continues: performance, composition, and the history of music have little or nothing to do with each other. Performers, for the most part, refuse to play contemporary works until materially encouraged by the foundations. Composers, knowing that a work of any difficulty will be seldom, if ever, performed, have made the works even more difficult, both for the public and the performer, and are now turning to the electronic field, from which certainly the performer, and probably the public will be banished for good. The musicologists continue to teach the history of music without any concern for the relevance it can have for the music being written today. We can all blame the public, if we like, and they have their share of the heavy irresponsibility-but, after all, why should they buy tickets to hear works of contemporary music when the performances are as bad as they generally are. They do not, of course, buy tickets to the good performances, either, but how are they to know which ones are good when even the critics are mostly not able to tell them?
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