When the history of post-war American music is written, which history will it be? “A widely held belief asserts that during these years a band of rigorous, cutting-edge composers, mostly based in prestigious East Coast universities, seized the intellectual high ground and bullied their colleagues and students into accepting serial procedures as the only valid form of modernism. Yet another, quite opposite take on that period holds that the 12-tone composers never wielded much influence, that they themselves were the beleaguered minority group marginalized by the majority of composers, who continued to write music that was essentially tonal and far more popular.” – New York Times