This article develops a three-part argument with respect to the ongoing discussion in Germany whether the Digital revolution has been led to an extension or a dissolution or another change of the notion of music. The first part defines the original notion of New Music by four distinctions in respect to classical music, other arts, popular music and life-world experiences. The second part describes how and why these initial boundaries have been crossed in New Music’s history. The third part contends that the possibility to pass these borderlines does not result in an extended notion nor a dissolved notion of music but in a reflexive notion of art music.
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