This dissertation critically examines the presentation of new music in live concerts by three Scottish orchestras.It considers what they have commissioned, what performed, the context in which the music has been programmed, and who was involved.The orchestras are the three which are established on a permanent basis and give regular subscription series in Scotland:the BBC Scottish Symphony, Royal Scottish National, and Scottish Chamber Orchestras.The study contributes to the debate around classical music programming of new music, taking these orchestras as examples.It asks how in practice some of those responsible for programming in the period from 1945 to 2015 have reconciled conflicting expectations and desires.On the one hand there is a vast heritage, an 'imaginary museum', of old music, and it is this which most audiences want to hear.On the other hand, living composers continue to write and some audiences want to hear their music performed.This is music which speaks of and to our own times.The dissertation asks about some of the factors which have influenced programmers' decisions and how those programmers have presented new music to the public — alongside the old, in special events, or in another way.It considers the advantages and disadvantages of each type of programming.Underlying these questions is the changing status in the west of western classical music.Even if it is not dying, as some commentators have stated, it is but one among many musics, with a relatively small market share.Given that situation, are orchestras, which are heavily dependent on public and/or private funding, still relevant to contemporary society?And if so, is part of their role to reflect aspects of that society by playing new music?
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