There is a lot going on in the contemporary music field: an area that is far wider than you might imagine. Under the heading 'New Music' one obviously thinks of people like Stockhausen, but also in this category come Terry Riley, Tangerine Dream... even the Floyd. In this regular series Eddie Franklin-White, who looks after the experimental/electronic music section of a major London college, will be looking at every corner of the field. But this month he starts off rather more generally, with a personal view of exactly what it is that makes New Music so interesting...

For me 'New Music' simply means music in which people are doing interesting, and often strange, things that extend our experience and give us new things to listen to and (hopefully) enjoy. In order to enjoy, we are likely to have to give time to allow ourselves to open out and receive without saying "no", before we have given these offerings a chance.

In the Penguin Stereo Record Guide, Second Edition, you will find the statement "We are now well past the high noon of our great musical culture...". I do not believe this sort of judgement can be made when we are so close in time. If we adopt this viewpoint we are closing our ears to the flowering of exciting new happenings that have characterised music during our time, the mid 20th century.

Last year in London alone many varied things were happening, interesting and enjoyable now, several of which may well be of long term value.

There was Steve Reich's visit to the Roundhouse to give a series of concerts which included the earlier works Drumming and Clapping. It was a welcome opportunity to hear these works live, but, for many of us in the audience, the highlight was his new piece Music for 18 Musicians which received a taut, precise and richly emotive performance. A boxed set of discs of the earlier works is available from DGG in Germany (2740 106) and I understand that 18 Musicians is to be released shortly. For those of you not yet familiar with Steve Reich's music the closest readily available comparison is Terry Riley's In C, music concerned with repeated phrases that produce a delicate and at times almost hypnotic effect.

1977 was also the year in which Lol Creme and Kevin Godley left 10cc to explore the use of the Gizmo and went on to produce Consequences. Using a great variety of instrumental and electronic effects they produced a beautifully engineered three-record album. While I hope the success of Consequences does not provoke them to rush out another album too soon I very much look forward to hearing them explore this field of music in greater depth.

There was also Stockhausen at the London South Bank and in Bristol. Here is a powerful musical figure whose every new work is an attempt to explore new territory; from his early, precisely planned electronic and electronic/instrumental works, through to pieces where the interaction of the performer plays a large part. We are fortunate that many of his works are available on disc, directed by the composer in authoritative recordings, usually produced to a high standard.

This year's experiences have included Tim Souster and his group at Riverside Studios, billed as England's leading electronic music composer. However, I didn't feel that sub-rock drumming plus conventional (mainly keyboard) electronic sounds justified the claim. Possibly this was just an 'off night' and at least he gets out there and does it and that counts for a lot of theorising. I shall certainly go to hear him again.

Under 'new' music I should also like to include my first experience of hearing Bernard Haitink conduct Mahler's 9th live. Brought up on Bruno Walter, this performance showed me Mahler, fresh and crystal clear. One of the great experiences of this or any other year.

These are just some of the recent events that lead to my conviction that there is much going on that well rewards our attention. By all means let us enjoy discovering more about the past, but let's also enjoy the fact that music is still changing and evolving.

In future articles we will include visits to experimental music studios, future international events and suggestions for your collection of recordings of 20th century music: John Cage to Pink Floyd, Anton Webern to Brian Eno...

We would like to hear from you if there are performances, musicians, recordings, that you would like to bring to our attention; also your comments and ideas.