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We love the Second Viennese School, but daughter's practice of Boulez's music is wearying us. How can we appreciate Boulez?

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We love and listen to the Second Viennese School like Berg, Schoenberg, Webern — even before my daughter was born! My daughter's studying music at university. To guard privacy, I don't want to write more details on her or our family.

But starting 2019, she's been practicing many pieces composed by Pierre Boulez — and this Ultraserialism is maddening my husband and I! It sounds like random notes and/or noise to us! We haven't confronted her, because she knows more about music, and we know Boulez is a world famous composer and conductor. Boulez conducted "Classical" and Romantic tonal music like Beethoven, Berlioz, Haydn, Mahler — so this emperor is wearing clothes??!?? Boulez doesn't look like a sham or phony, and we're taking Boulez's music in good faith.

But how can we learn Ultraserialism? Since 2019, we've watched Boulez's music on YouTube and listened to recordings. But like many others, we still can't "GET" Ultraserialism. When asked in 1999, why so few major pieces of the 1950s and 1960s had become repertory, Boulez replied

"Well, perhaps we did not take sufficiently into account the way music is perceived by the listener" (as cited in Alex Ross's The Rest is Noise, 2007, p. 571).

This is similar. But the issue here is not my daughter's practice, but THE ULTRASERIALIST COMPOSERS she's practicing.

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