The Classical Revolution studies the emergence of a new brand of classical music, one rooted in "pre-modern" tonal traditions. Through a series of polemical essays on the conflict between re-emergent tradition and the more academic, almost sterile, atonal traditions, Borstlap examines both the philosophical and aesthetic positions of these new classical composers, positions too often misunderstood because they lack the atonalities of modernist composition that performing culture has come to expect. As Borstlap points out, part of the problem is a profound misunderstanding of musical modernism itself. At the heart of his argument is the distinction between music and "sonic art," a distinction that renders the loaded labels of "progressive" and "conservative" in disputes over music superfluous. Engaging directly with questions of cultural identity, musical meaning, and the aesthetics of beauty, The Classical Revolution peers closely at the institutional biases of the modernist establishment and its all-too-solid grip on the production and reception of new music. By drawing attention to new classical composers in a traditionalist mold, Borstlap illustrates how their increasing success in the realm of performance-as opposed to that of academic study-bespeaks a broader set of trends in classical composition. The Classical Revolution is a simply written polemic for lovers of pre-modern and new traditional classical music. It should equally interest music directors, musicians, and music students.