This article explores recent, radical developments in the ways in which new music is programmed and presented. It is contextualised by a brief survey of new music programming across the history of public concert-giving, and by several new interviews with industry professionals in the UK. These illustrate various rationales behind current practice including the dissatisfaction with traditional modes of concert-giving where appropriate. They also inform the author's conviction that different branches of new music benefit from different forms of presentation, acknowledging the importance of innovative forms to certain new styles.
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