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Preface.
During the last quarter of the twentieth century, it was evident that musical tastes were leaving the neoclassical realm that had been inhabited by the serialists, anti-Wagnerians, acoustic technicians, and others. A nostalgia for tonality haunted George Crumb's Macrokosmos, Tchaikovsky was back in favor, the later works of Richard Strauss were securing frequent performances and staging. Being a neoromanticist was no longer an anathema. This development accounts for changes in taste that are particularly evident in the case of Samuel Coleridge-Taylor and are reflected in the appearance of publications about and recordings of his music.
The chronological survey of ...
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Source: HighBeam Research, Preface.