An example of what it is and how it can be good is the third movement of Sinfonia. But that's from a time when the grad school composition consensus was just forming. I often hear Berio's concept reduced from the brilliant original the way making a copy of a copy of a copy distorts the original. New music from American composers who came out of grad schools is often full of references to things they've heard, like musical footnotes, and I've heard hardly anything the past twenty years that has impressed me beyond its citations,
I'm not familiar with "citations" in this context. Can you point me to something that illustrates it?
An example of what it is and how it can be good is the third movement of Sinfonia. But that's from a time when the grad school composition consensus was just forming. I often hear Berio's concept reduced from the brilliant original the way making a copy of a copy of a copy distorts the original. New music from American composers who came out of grad schools is often full of references to things they've heard, like musical footnotes, and I've heard hardly anything the past twenty years that has impressed me beyond its citations,
Thanks; I thought that might be what you were talking about.
Heard this, GG?
https://www.allmusic.com/album/steve-reich-music-for-18-musicians-live-in-budapest-mw0000137675
STUNNING once you hear you cannot go back.