This article seeks to clarify the aesthetic precedents for New Conceptualism generally, and Johannes Kreidler's work in particular. Pursuant to this end, I examine how Kreidler's approaches to musical and political material are ideologically indebted to his teacher, Mathias Spahlinger, whose dictum that New Music can be socially relevant without resorting to political clichés is taken by Kreidler into the digital age. Finally, by means of a conclusion, I attempt to provide a broad examination of how Kreidler's aesthetic concerns differ from – and sometimes radically conflict with – those other composers who are grouped under the New Conceptualism letterhead.

This article offers a short overview of the development of listening theories concerning Western art music since the end of the eighteenth century. Referring to Michel Foucault, I consider such theories as discourses which produce ‘power effects', such as the training of listening attitudes, or the construction of specific spaces, such as the Festspielhaus in Bayreuth. During the eighteenth century, predominant discourses considered musical pieces as orations and, since the nineteenth century, as complex organisms or structures. In the last third of the twentieth century a focus on sound, evinced for instance by the field of ‘sound studies', has produced a new configuration that dissolves the prevailing model of structural listening. This perspective may shed light on some technical features of contemporary compositional styles, which I examine by considering the use of melodies, gestures and loops in two compositions by Fausto Romitelli and Simon Steen-Andersen.

I have long been intrigued by the way James Saunders’ music is at home both in the more canonical new music contexts (such as the Darmstädter Ferienkurse, Donaueschinger Musiktage or Huddersfield Contemporary Music Festival) and in more underground, fugitive contexts. This may be because – unlike so many composers who tip the scales to one side or another – Saunders is equally interested in relationships between sounds and relationships between people. The following text explores the ways Saunders’ work has balanced these interests; it originated in an interview initiated by Simon Reynell to accompany the CD release of Saunders’ composition assigned #15, performed by Apartment House, on Reynell's Another Timbre label. We subsequently followed up with a second interview extending the discussion to more recent work.

Laurence Crane's music is often described as experimental or considered as a continuation of the English experimental tradition. In this first extended examination of Crane's music it is proposed that, instead of relying upon associations and aesthetic alignments, the music might be considered as experimental through a particularly experimental approach to performance. After a brief overview of Crane's output his position as a composer is considered within the context of the experimental music tradition. This tradition is then considered in relation to performance practice, both historical and contemporary. A selection of Crane's music is examined in the light of that practice, whilst aspects of the composer's approaches to tonality, instrumentation, form and notation are also highlighted.

After nearly 40 years of creating recorded electronic music, for the last 10 years Éliane Radigue has created music exclusively in collaboration with performers, using solely oral and aural transmission. Focusing on the details of this ‘scoreless’ working method, this article considers the performer's perspective on Radigue's Occam Ocean (2011–), a series of 22 infinitely combinable solos and over 20 chamber pieces. Through interviews with the performers and Radigue, a composite understanding of their collaboration is reached, focusing on the emergent ideas of virtuosity, memory, images, scores, hospitality and non-hierarchy. A typical transmission and collaboration is described, and a new lens for viewing this method is proposed, the living score. The article concludes with a brief discussion of how Radigue and her collaborators' non-hierarchical model of collaboration may offer an alternative compositional framework.

Jörg Widmann's work embraces everything music history – and beyond – has to offer: Lachenmann, Boulez, the poetry of Baudelaire, Rilke's Late Sonnets and the Screaming Pope paintings of Francis Bacon. His transformative re-imagining of traditional forms is seen nowhere better than in the Jagdquartett, the third in a cycle of five quartets that comprise the core of his œuvre. In the interview around which this article is based he discusses the Jagdquartett and its inspirations in detail, and the possibility of his music representing a kind of meta-modernism.

One important stimulus in attempting to apply Adorno's constellation of concepts on performance to Brian Ferneyhough's guitar music is that both display the influence of Walter Benjamin's thought. Benjamin's concept of mimesis influenced Adorno's theory of musical reproduction, however much Adorno may have reformulated it, and various Benjaminian topics are traceable in Ferneyhough's guitar music, especially Kurze Schatten II (1983–89) for solo guitar. Adorno claims that true reproduction is the X-ray image of the work of music, a rendition of all the aspects that lie hidden beneath the surface. By exploring the conceptual traces of Benjamin's thought in Kurze Schatten II, this article examines how performer's interpretative choices are likely to render the X-ray image of this music in performance, as seen through a gesture-based approach.

Martin Arnold is an experimental composer currently residing in Toronto, Canada. His unique approach to composition originates in the close relationship that he developed with Czech-Canadian composer Rudolf Komorous while Arnold was a doctoral student at the University of Victoria. Martin Arnold's desire to create music both familiar and unfamiliar, known and unknown, generates paradoxical listening experiences that reside on the edges of things. In this article, the author explores a number of these edges and meeting places, especially as they occur within the composer's very singular string quartet, Contact; Vault.

This article addresses the phenomenon of New Conceptualism, otherwise known as conceptual music, or Konzeptmusik, and locates it within the German new music scene of the last decade. It is suggested that conceptual music may perhaps be a contradiction in terms, representing a nostalgic desire for the semantic strength of conceptual art. In particular the article focuses on Johannes Kreidler's 2009 work, Fremdarbeit, and scrutinises the composer's claim to have ‘outsourced’ the composition of the work to India and China. The significance of this – whether actual or fictional – as an example of globalisation is examined and set within its political and economic context.

This analysis of Helmut Lachenmann's Salut für Caudwell (1977) for guitar duet is intended to add to the small amount of English literature that directly examines Lachenmann's music. A description of Salut's construction is offered, decrypting the extended techniques employed and outlining the work's formal design. The concept of ‘musical ruins’, namely degenerative yet familiar material, is deployed as a means to discuss specific moments of the music, and it will be demonstrated that moments of ‘musical ruin’ are inherently linked to aspects of instrumental technique as well as the musical form, making them critical to the reception of Salut. Other analyses of Lachenmann's work are used as methodological models and comparisons, providing a framework within which to examine unfamiliar musical territory, and placing Salut within the repertory of Lachenmann's more thoroughly documented music.

This edited transcript of a public pre-concert discussion with composer, theorist and critic Benjamin Boretz not only touches on early personal encounters with Babbitt but also ranges over issues of reception of his music, listening experiences, transformations of music's temporality, connections to Schoenberg, Webern, Cage, and postmodernism, stylistic changes over Babbitt's career and composerly poetics, as well as motivations and consequences for precompositional structures and systems. The discussion took place on 22 November 2015, at the first of three recitals during the 2015–16 concert season at Spectrum, in New York City, in which Augustus Arnone for the second time performed all of Milton Babbitt's solo piano works, this time in honour of the composer's centenary.

Michael Tippett's Fourth Symphony opens with the striking sound of an intake of breath, a gesture, which – according to the composer – describes the very nature of existence. Such statements are not uncommon from Tippett, yet nevertheless this is a broad claim, which naturally poses more questions than it answers. This article explores whether such a claim has any validity, presenting a philosophically led reading of the opening breath motif in an attempt to understand whether art can really shed new light on the well-rehearsed arguments of metaphysical enquiry.

The music of John Adams has grown far away from its roots in Minimalism, but even in complex works like American Berserk (2001) and the Saxophone Concerto (2013) one can detect the working of a compositional mind conditioned by procedures relating back to earlier periods of the composer's output. A feature of Adams recent work is a continuing concern with various repetition strategies but in a far more veiled and multilayered manner. Another feature of both works is the deployment of ‘pushing up’ and ‘pushing down’ material manipulated rhythmically and raised to a structural level. Two strategies are adopted and adapted to investigate these features. The first, is from Rebecca Leydon's ‘Towards a Typology of Minimalist Tropes’, which considers the qualities of repetition in Minimal music, and the second is an idea borrowed from David Osmond Smith's monograph on Berio's Sinfonia, Playing on Words, where he considers ‘levels of obliteration’ of an underlying text (Mahler 2 Scherzo ‘In Ruhig Fliessender Bewegung’) in the third movement of the Sinfonia.

John Croft's ‘Composition is Not Research’ (TEMPO Vol. 69, No. 272 (2015), pp. 6–11) argues that, ‘the very idea that musical composition is a form of research is a category error’ (p. 6). My response argues that Croft's analysis is borne of a widespread, misguided and essentialist attempt to reduce all research to the paradigm of scientific method, and that he accepts this paradigm uncritically. Whilst asserting that ‘composition is research’ does not entail a category mistake (as the whole point about research is that it is not delimited in any way), assuming that all research must be reducible to the scientific paradigm of method does entail the requisite reification to constitute such a mistake. The imposition of this reductionist paradigm has a distorting impact on the Humanities more generally and, whilst these distortions are particularly acute with musical composition, that is no reason to single it out for persecution. I argue that where the tenets of scientific method are adopted outside of science, this constitutes, more often than not, superficial pseudo-science (or scientism), whereby the tenets of scientific method are fetishized and applied divorced from the complete scientific method and scientific objectives. I conclude that the Humanities would do better to develop its own paradigms – paradigms that are better suited and intrinsic to its respective disciplines.

Gottfried Michael Koenig (b. 1926) is a seminal figure in the history of electronic music. He contributed important technical and musical ideas at WDR studio in Cologne from 1954 to 1964. He was then the director of the Institute of Sonology in Utrecht, Netherlands until 1986. Since 1986, Koenig has continued to compose, to develop complex computer systems, and to edit, translate, and publish his extensive corpus of theoretical writings.1 This conversation, which aims to foster further English-language scholarship on Koenig and his music,2 took place in English in May 2015 at the Institute of Sonology, now located in The Hague, Netherlands.