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There are two intellectual bugbears which do wreak some historiographical havoc. Mr Taruskin has a<br />

profound distaste for obscurity in all its forms; Schoenberg, in particular, seems to be <strong>the</strong> object of a<br />

personal vendetta. He also deeply mistrusts <strong>the</strong> system of patronage which has proved such a mixed<br />

blessing throughout music’s long history.<br />

The intellectual sources for <strong>the</strong>se prejudices are, however, impeccable. Mr Taruskin’s feeling about music<br />

is that it is nei<strong>the</strong>r pure entertainment nor pure formal play. Instead, he makes every effort to show <strong>the</strong><br />

degree to which music not only reflects life but participates in it. The misleading debate on “progress” is<br />

studiously ignored. The result is a refreshingly open-ended view of contemporary music-making that puts<br />

many of his predecessors, Burney among <strong>the</strong>m, to shame.<br />

Copyright © 2009 The Economist Newspaper and The Economist Group. All rights reserved.<br />

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