The predominant ideology in composition today, across all genres, is rooted in pastiche. Most composers in the new music community aren’t consciously thinking about this, but we’re involved all the same. I mean, just look at the names: new complexity, neo-romanticism, post-minimalism—three of the broadest trends in contemporary music, all with echoes of pastiche baked right into their labels. Of course not everyone is writing “in the style of” or explicitly quoting other pieces, but the desire to build perceptible bridges between musical traditions is nearly universal.
And it’s not just in classical composition. Virtually all of the most celebrated new art of our time, across genres and disciplines, whether high art or populist entertainment, relies to some extent on pastiche. You will find a healthy serving of the stuff in everything from the music of Jennifer Higdon to Nico Muhly to Thomas Adès, not to mention Taylor Swift, the Star Wars movies, and the memes in your Facebook feed. Pastiche clearly strikes a chord with the cultural zeitgeist of the moment.