Kevin Puts

Two Mountain Scenes

            For over a century, now, and most especially for the last fifty years or so, there has existed a rather interesting difference between the receptivity of the lay public to contemporary visual art and to contemporary musical art.   Today, there is almost a commercial “bubble” in the prices of, let’s say, contemporary painting—no matter how avant-garde--while the latest in “serious” musical composition has to constantly fight for acceptance by audiences, and others, as well.   While the “bad boys” of the earlier twentieth century, composers such as Stravinsky, Bartók, Ives, or Varèse, and the like are now well within the fold of universal acceptance, the generation of composers in the decades following WWII has not fared as well—especially those employing the precepts