[The language of the music of ancient Greece] is a uniquely simple language but one that can find endless possibilities of development. It easily accepts external influences - a new color, a new combination of intervals, a rhythmic pattern - and it has the capacity of continually renewing itself. Those composers who bought into the theory that this ever-evolving system was dead at the beginning of the 20th century were enthusiastic and passionate adolescents, almost all of whom later recanted and got back to writing music, having passed through their tantrum phase. Hindemith, Weill, Copland, Stravinsky, Schoenberg, Prokofiev, Bartok, Shostakovich - they all ended up in a very different place from their bang-on-a-can, yell-in-your-face entrance onto the international stage. We don't teach that version of history [today], mind you. We are meant to believe that classical music just got more and more complex and experimental — and continues to. But the only way to accept that idea is to eliminate the data, since this explanation of the 20th century describes a fraction of the music actually composed and listened to. If you were a physicist, and proposed a theory of the Universe that simply ignored 99% of perceivable information, you would be laughed out of the Academy.Yes indeed. Indeed you would. Read the whole article here.