It's almost as if out of paranoia, after Igor Stravinsky single-handedly tore the twentieth century from the nineteenth with THE RITE OF SPRING, that every composer following that event felt that the only way to be original was to abandon the present tonal scape and create a new one. I find the rules of serial too rigid and confining. I prefer the randomness of emotion to motivate my direction. Serial composition is not about melody. There are specific rules dictating how one can construct melody as opposed to the natural inclination of randomness brought about by pure emotion. There is plenty of room here to demonstrate intelligence in craft, form, balance, orchestration, cohesion and bringing one's intent to fruition.
At the same time that this etude was politically gaining steam, the technological revolution allowed greater access for anyone to present their ideas as well as receive them. What had always been an accessible tonal language in the classical world found itself choosing to become more and more oblique for the sake of exclusivity regardless of how it would affect the audience, who ultimately would be left out of the equation altogether.
Obviously, a conceptionalist should stretch the envelope in the process of creating; always growing, trying not to repeat himself. The creation may, ultimately, be beyond the grasp of immediate comprehension. But, if there is absolutely no attempt to communicate, and the experience is repeatedly a demonstration of one's own intellectual self-involvement, the experience will fall upon deaf ears and eventually, no ears at all.
Intellectualism, for its own sake, had all but created a plethora of musical compositions in the past seventy years that sound as if they were written by the same composer. The audience, who has been very patient, has drifted away feeling the indifference. The truly devoted are inevitably dying out and no attempt has been made to generate a new audience. It's no surprise that orchestras are closing all over America. Programming should be constructed in such a way as to introduce new musical compositions amongst standard repertory.
Music is a language like any other language needed in communicative skills. If the desire is to communicate, then every effort should be made to create a tangible platform for hypothesis. It is the intercourse of ideas that creates synergy. But unless there is common ground for understanding, then nothing will be accomplished.
Granted, there is tremendous subjectivity here, and one should always push the limits of creative development.
It is my belief that a renaissance is at hand and now lives. Those of us who recognize within ourselves the necessity to fulfill what has been ordained, now live to synergistically propel our generation into the next millennia.
To the new classicism!
Hayden Wayne, 1998