In the number and quality of great composers, the present is probably as rich as any period in history. In quantity of untutored, incompetent, fourth-rate composers, it is even richer. Because the public needs time to appreciate first-rate music and because even competent listeners cannot always, at first hearing, tell a crackpot musician from a genius, the work of contemporary highbrow composers is unpopular. The public prefers familiar music of guaranteed workmanship.
Because of this public deafness, contemporary composers have been in danger of turning into mutes. To combat this deafness and muteness,...
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