ABSTRACT
In this chapter, I will offer my more specific, personal views about how I and a particular group of composers attempt to write music that corresponds to the limits on musical languages and musical meaning discussed in the last two chapters. This is the “how” question of the dialogue I imagined in the prelude: How can a modern composer hope to make a meaningful addition to an impossibly exalted corpus? Up until this point I’ve tried to argue in a somewhat general and abstract way about art and music, but this chapter will deal more specifically with contemporary composers, compositions, and techniques to serve as a case study of a possible application in artistic works of the ideas I have been discussing theoretically.
