Abstract
Part of the academic and musical world still blames the peripheral sociological role of “contemporary music” on the laziness of the audience. Yet, there is evidence to realise that the audience is not precisely the only entity to refer to in order to have an exhaustive view-point on the role of post-WW2 avant-garde on our musical horizon. In fact, what, in the last 60 years, most performers of the highest level have shown through their approach -or lack thereof- to new music, clearly reminds us of the necessity to scrutinise the reason of this stalemate from the joint perspective of two different and equally competent musical figures: performer and composer.
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