Composer/musicologist Robert Carl gives his perspective of the “new common practice”, a term which attempts to describe the current state of compositional and performance practices. I first heard that term from Alvin Curran, a composer who indulges (most successfully) in a wide variety of musical practices. And the term appears now to be generally accepted by contemporary musicians and music journalists as a way to give a name to this historical moment in music history.

That’s great but Carl’s book goes beyond mere academic musical history and invites listeners of all stripes to experience and engage with these interesting, increasingly divergent practices. His lucid writing gave this reviewer marvelous insights into the current “scene”, the variety of music and performances that adventurous listeners will encounter.

Professor Carl’s earlier publication presented a comprehensive analysis (the last word in this writer’s opinion) of Terry Riley’s manifesto of minimalism, “In C”. That book provided me with insights to a work I thought I knew well. Well, I like it even more after reading that book. And his friendly, knowledgeable writing is very much evident in this most recent tome from one of the finest writers on the subject.

Robert Carl (1954- ) is a prolific composer and a wonderfully readable scholar of music. His music partakes creatively from a wide variety of musical practices so, in that time honored adage, he “writes what he knows”. His passion for new music feeds directly to my insatiable curiosity for what the heck they’re all doing these days. It is an adventure worth your time and Carl is a dutiful docent, offering context and analysis for the eternally curious. You will not be disappointed.