 ‘tonality idiomatic to the guitar’?

 Manchester School, Darmstadt

 Takemitsu, Burt, random qs
 review temporal phenomenology theory [John Zorn]
 programmatic music, sonata vs. concerto
 original sin
 finish Max MSP
 why Cambridge, why St John’s?
 musical aspirations, drive
 what new avenues at Cambridge?
 dialeciticism within music
 what other British composers? what drove the scene?
 Suzuki, anecdotal

Birtwistle continues to plough his own characteristic modernist furrow, Maxwell Davies has effected
a rich accommodation with tonal forms and genres, while Goehr has engaged in a uniquely subtle
way with a postmodern aesthetic.

[Geohr] The experience of Darmstadt and encounters with Boulez in 1955–6 were further significant
inspirations, with Goehr responding warmly to the spirit of adventurous demarcation of untried
limits. The confrontation of modernism with more conservative expectations of music-making
encountered in the débâcle of his Leeds Festival cantata Sutter’s Gold (1959–60), spurred on his
dialectical frame of mind to conceive of a synthesis of modernism with the no less valid lessons of
tradition.