Marc Shulgold suggests Colorado is an exception to Josesph Horowitz's argument about the decline of American Classical Music:
I bring this up because the book arrived around the same time as the Colorado Symphony's season announcement. Even a casual glance at the 2005-06 lineup leads us to question Horowitz and others who warn that the sky is falling.
The Colorado Symphony Orchestra will play, among other contemporary works, Adams' Naive and Sentimental Music.
I haven't read the Horowitz book yet so I don't really know what his argument is. Although I'm clearly a "long tail" listener, living in a land of Cowell, Coltrane, Copland (and this week Roger Reynolds), I'm buried in American music I like. So much so that the amount of European "legacy" music I hear is dwindling. This may be one reason Euro-centric classical musical outlets be it KDFC radio or the San Francisco Symphony are increasingly irrelevant to me (especially the former, of course). I don't necessarily expect the abundance of niche musical choices available to me to continue, but for the moment, it's great...
Update: Greg Sandow talks about respectable, conservative classical musical institutions versus Warhol pop art, and it occurs to me that I have little interest right now in the "mainstream classical concert hall" (well, unless they play Adams). But fortunately, in my mind anyway, "classical music" doesn't just equate to "mainstream..."
And so where was pop art in classical music? You can find a few examples, here and there, but almost all of them would be in music not designed for the mainstream classical concert hall. So basically pop art never happened in classical music. And it especially never happened in the '60s, when Warhol was doing it.