A survey of concert music from the middle of the twentieth century through the present day. During this time, Eurocentric models gave way to a dizzyingly diverse array of styles and attitudes, calling the very identity of concert music into question. Topics include high modernism; experimental explorations; noise and silence; technology; spirituality; music for film and dance; interculturalism and cultural appropriation; commodification; acoustic ecology; politics; and identity and diversity. We ask, where does concert music ‘fit’ in today’s cultural landscape? What is its nature, and where do its boundaries lie? And whose music is it?