The truth is that this bookis shorton reasonedanalysisand long on animus, directed at eliteuniversities, at administrators, and more than anything else at the “professoriate,” as they call it.
That was in 1963, at a time when the classical-music establishment was still in thrall to the postwar professoriate of Austro-German composers and their foreign epigones who believed that the future of music lay not with traditional harmony but with Schoenberg-style serialism.