"The academic area of new music or modern music festivals is not something which attracts me at all"

Gavin Bryars, the noted British composer, reveals a sentiment that resonates with a more comprehensive discourse on the relationship between modern composers and the institutional frameworks surrounding modern music. The quote, "The academic area of new music or modern music festivals is not something which attracts me at all", recommends an intentional distancing from what some might perceive as the formalization and institutionalization of brand-new music within academic and celebration settings.

By "scholastic location", Bryars may be referring to the frequently stiff structures and theoretical frameworks that can pervade scholastic music departments-- environments where brand-new music is sometimes dissected, analyzed, and packaged according to scholarly norms. Such settings may prioritize innovation and complexity for their own sake, potentially sidelining other artistic values like psychological expression, ease of access, or conventional musicality. Bryars' absence of attraction to these "scholastic" elements might indicate a preference for a more organic, less constrained method to composition that prioritizes individual expression over adherence to modern trends or theoretical constructs.

Concerning "modern-day music celebrations", Bryars might be critiquing the commercialization or institutionalization of these occasions, where avant-garde and brand-new music are showcased often within parameters that prioritize novelty and innovation, which can in some cases alienate both artists and audiences. These festivals, while using visibility, might likewise impose particular expectations or pressures on authors to comply with modern tastes or ideological patterns that do not line up with personal artistic objectives.

Eventually, Bryars' declaration underscores a desire for autonomy in artistic expression, devoid of the possible restrictions of scholastic recognition or festival spectacle. It suggests an alignment with credibility and individual motivation over external recognition or the imperatives of academic and cultural organizations focused on the avant-garde. This viewpoint can influence discussion about the function and direction of modern music, challenging composers and listeners to reevaluate the values that underpin artistic production in the modern era.