Jonathan Goldman points out that, over the decades, Boulez's writings addressed very different readerships: in the 1950s the cultured Parisian attendees of the Domaine musical; in the 1960s the specialised avant-garde composers and performers of the Darmstadt and Basel courses; and, between 1976 and 1995, the highly literate but non-specialist audience of the lectures he gave as Professor of the Collège de France.Goldman, 4. Much of Boulez's writing was linked to specific occasions, whether a first performance of a new piece, notes for a recording or a eulogy for a lost colleague. Generally he avoided publishing detailed analyses, other than one of The Rite of Spring. As Nattiez points out: "as a writer Boulez is a communicator of ideas rather than of technical information. This may sometimes prove disappointing to composition students, but it is no doubt a peculiarity of his writing that explains its popularity with non-musicians."Boulez (1981), 14.
jonathan goldman points out that over the decades boulez's writings addressed very different readerships in the 1950s the cultured parisian attendees of the domaine musical; in the 1960s the specialised avant-garde composers and performers of the darmstadt and basel courses; and between 1976 and 1995 the highly literate but non-specialist audience of the lectures he gave as professor of the collège de francegoldman 4 much of boulez's writing was linked to specific occasions whether a first performance of a new piece notes for a recording or a eulogy for a lost colleague generally he avoided publishing detailed analyses other than one of the rite of spring as nattiez points out "as a writer boulez is a communicator of ideas rather than of technical information this may sometimes prove disappointing to composition students but it is no doubt a peculiarity of his writing that explains its popularity with non-musicians"boulez (1981) 14