¹ Earle, Ben, ‘The Politics of the New Music’, Music & Letters, 94 (2013), pp. 664–71CrossRefGoogle Scholar.

² In addition to the healthy performance schedules many of Nono's works now enjoy, there has also been, for example, a festival devoted to Nono's music at London's Southbank Centre (‘Luigi Nono: Fragments of Venice’, 2007–08), as well as a fascinating and perhaps more unexpected reincarnation in performance art. For more on the latter see Boyd-Bennett, Harriet, ‘Modernist Mise-en-scène: Luigi Nono and the Politics of Staging’, Journal of the Royal Musical Association, 140/1 (2015), pp. 225–35CrossRefGoogle Scholar.

³ ‘Utopian Listening. The Late Electroacoustic Music of Luigi Nono: Technologies, Aesthetics, Histories, Futures’ (23–26 March 2016; Tufts University, Medford, MA).

⁴ Nielinger-Vakil continually refers to Nono's contemporary significance and future importance: of Prometeo, for example, she argues that ‘this masterpiece may serve as a “musical-aesthetic manifesto” for generations to come’ (p. xvi).

⁵ Taruskin, , ‘Review: Speed Bumps’, 19^th-Century Music, 29/2 (Fall 2005), pp. 185–295CrossRefGoogle Scholar.