@inbook{10.1525/j.ctt1ppgvg.10,
 ISBN = {9780520268968},
 URL = {http://www.jstor.org/stable/10.1525/j.ctt1ppgvg.10},
 abstract = {A sense of malaise pervaded the world of contemporary classical music in the mid-1970s. One of the few beliefs uniting the otherwise fractious community of composers, critics, and audiences was that new music had entered a period of crisis. Signs of the genre’s troubles abounded. Statistics published by the research division of the Ministry of Cultural Affairs revealed a signifi cant decline in the production of “serious” music during the 1970s. The number of symphonic, chamber, and electroacoustic works registered with the Société des auteurs, compositeurs et editeurs de la musique (SACEM), the principal copyright protection agency in France, dropped},
 bookauthor = {Eric Drott},
 booktitle = {Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981},
 edition = {1},
 pages = {203--267},
 publisher = {University of California Press},
 title = {Contemporary Music, Animation, and Cultural Democratization},
 year = {2011}
}