At the beginning of his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin announced a challenge for musicology that still resounds in the present day. How should scholars most appropriately talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Characteristic of Franklin as a scholar, this challenge was not declared dogmatically. Rather, it was expressed dialogically, in the hope of generating fruitful debate ‘from which more significant conclusions might arise’. 1 His intent, as he put it, was to ‘provoke thought’, not to destroy reputations founded on established intellectual traditions. 2