Historically, new music has sought to confront general audiences with unexpected sounds and forms. The present, however, sees the milieu of new music splintered into factions, each with its own loyal but marginal audience. One is more likely to find these groups at odds with one another than in dialogue, and many groups congratulate themselves for being the most marginal or esoteric. These divisions within the new music community foreclose on its original mission of confronting traditional audiences, as the factionalized groups that most new music now attracts already support and expect the work in question. All of these groups believe that they have meaningful formulas for creating provocative work, but what good is that work if no one outside the communities where it is generated has access to it? In order for new music to remain a meaningful category of cultural production, it requires successful strategies for cultivating newer and bigger audiences.