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I am writing a book on developments in American music since minimalism, covering the period from 1978 to the present. Relying on hundreds of unpublished scores ranging from artrock to the Bang on a Can festival, I will chart the perilous course composers born in the 1940s and ‘50s have navigated between their training in serialism - perceptually fascinating but arguably elitist and increasingly irrelevant - and their vernacular culture in pop music, which they have embraced in sympathy without imitating directly. In the 1980s and ‘90s, tonality returned, but rhythm took on a whole new complexity, springing forward from the multitempo conceptions of Henry Cowell and Conlon Nancarrow. This music is long overdue for public explication.