IN HIS WINTER 1993 Perspectives article "Why Complexity?" James Boros presents a bipolar view of recent trends in new music with 'the school of complexity" pitted against the "new romantic" school, presenting the former as a musical savior and the latter as a "dungheap." It is absolutely unnecessary to begin an advocacy of one trend by first attacking a claimed, yet unqualified, antithesis. One tires of these Artusi/ Monteverdi, Hanslick/Wagner, Adorno/Stravinsky discourses where one school points its sword in the air, announcing the common enemy to all that is holy and sacred. Boros attempts to discredit the "new romantic" school by claiming that it fails "to explore the limitless inner spaces of the imagination, with the understanding that artistic creation is both life-affirming and lifethreatening." Here Boros not only borrows from antiquated Freudian