If you go to hear the work of composers writing today you may notice a tendency to use tones within a set-up of acceptability: No particular dissonances, nothing to upset you, nothing to bring you out of your background into the light of a new kind of day.  
It is alarming.
Wouldn't it be better to have some truly provocative sounds that you might ponder, or even reject as irrelevant?  
Recently I attended a performance of Berlioz's Symphonie Fantastique, the best I had ever heard because the ensemble and its conductor had gone fearlessly into the grotesquerie of the Walpurgisnacht movement with slightly out of tune instruments,  battles between percussion and brasses.  The audience was on its feet, myself included.  The critic panned it. 
 
 


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