The remaining problem

Liberation of Integration, Universality and Concord (Part #28)

Such an outcome may well be satisfactory to those who favour the appearance of anarchy, however positively it is evaluated. The reality of the situation, as mentioned above, it that music of every type continues to have its adherents. In effect the musical goal of contemporary music has been 'detached' from the music and reappears in the search for increasing degrees of liberty which composers/performer/listener can be brought to share. This marks the achievement of the progressive liberation from the various forms of domination built into the harmonic goals noted above.

But, by now emphasizing the experimental styles of contemporary music, such a goal effectively aims at domination, by a particular 'liberating' style, of the other musical styles, each preferred by significant 'constituencies'. Any such stance of 'contemporary is best' inserts such music into a linear historical stream in which that dominating statement has been made at every stage. It does not face up to the atemporal reality of musical appreciation in society - and the corresponding range of preferences for forms and degrees of order and integration.

This of course epitomizes the dramatic problem in society today. Different models are preferred simultaneously (or as alternatives) whilst often being mutually incompatible. This was the point of departure of this paper. Are there any indications of the nature of the next level of integration which would respond to this paradox without introducing new forms of dominance?