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Abstract
The epilogue begins with a concise overview of the aesthetic, political, and economic shifts that have affected the festival since 1968. It then considers how “new music” is being defined and disseminated at the Warsaw Autumn today. The epilogue demonstrates that, although the old East-West divisions no longer apply in post-socialist Poland, new music at the Warsaw Autumn continues to be defined relationally. Some of these connections are with the present: festival organizers are increasingly willing to admit links between new music, society, and politics. Other relationships are with the past: the Warsaw Autumn is actively engaged in a self-reflexive exploration of its own history. The festival also continues to define contemporary music by what it is not: its marketing strategies and programming maintain a clear division between elite conceptions of new music and commercialized forms of popular culture.
Published Version
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