Unbinding Gentility: Women Making Music in the Nineteenth Century South By Candace Bailey. Urbana: University of Illinois Press, 2021.

Robin presents to me overwhelming evidence of Bang on a Can’s deep embrace of neoliberalism, but he never considers the impact of neoliberalism as an ideology that shapes music. This is especially striking given composers such as Cornelius Cardew and Ivan Tcherepnin and classmates of Lang, Gordon, and Wolfe are quoted in the book voicing sincere objections to capitalism. Robin, however, never deeply engages with such critiques. Race and gender are similarly considered here only with reference to Bang on aCan’s claim that, in relation to classicalmusicmore generally, they improved the racial and gender make-up of their programs. These are important issues that continue to trouble many in the field. A lack of stated aims beyond Robin’s descriptions of the book’s contents exacerbates these omissions. The resulting arguments may thus ultimately be frustrating to those searching for ways to imagine a better future for newmusic. In summary, Robin’s work presents a compelling account of Bang on aCan. It offers useful insights for researchers of classical music, especially those interested in new music, its funding, and its position in the recording industry in the late 1980s and 1990s. The book is eminently readable at the non-specialist level, suitable for undergraduates.