This man has called George Rochberg his "paradigmatic postmodernist" and claimed that Bill Clinton's "participatory investment in music [was] higher than anyone's passive consumption of the classics" in a notable New Republic book review, though Susan McClary has criticized a recent project of his for ignoring African-American traditions such as jazz and hip-hop.  He criticized the "museum ideology" in a work asserting that the brisk tempos of quote-unquote "authentic" early music ensembles instead reflect modern tastes and preferences; and another work probed beyond the mythologizing of Robert Craft to reveal the extent to which his most famous subject used folk idi
This man has called George Rochberg his "paradigmatic postmodernist" and claimed that Bill Clinton's "participatory investment in music [was] higher than anyone's passive consumption of the classics" in a notable New Republic book review, though Susan McClary has criticized a recent project of his for ignoring African-American traditions such as jazz and hip-hop.  He criticized the "museum ideology" in a work asserting that the brisk tempos of quote-unquote "authentic" early music ensembles instead reflect modern tastes and preferences; and another work probed beyond the mythologizing of Robert Craft to reveal the extent to which his most famous subject used folk idioms and extolled "splendid, healthy barbarism" in a "biography of the works through Marva".  For 10 points, name this professor at UC-Berkeley, author of Text and Act, Stravinsky and the Russian Traditions, and the Oxford History of Western Music.
This man has called George Rochberg his "paradigmatic postmodernist" and claimed that Bill Clinton's "participatory investment in music [was] higher than anyone's passive consumption of the classics" in a notable New Republic book review, though Susan McClary has criticized a recent project of his for ignoring African-American traditions such as jazz and hip-hop.  
{Richard Taruskin}