The conclusion Hewett draws in the "Multiplicities" chapter is striking to me, and it reflects my thoughts about the programming of classical concerts. The great diversity of aesthetic sensibilities we are constantly subjected to on a daily basis is mirrored in concerts that feature "new music," or music composed within the last 50-100 years. The only thread that unifies such works is the acceptance of them by institutions and new music connoisseurs, but as Hewett elucidates, each has developed its own private "language" or worldview that it uses to orient its materials. Even works by the same composer are given to dramatic differences in language, form and conception--so it's no wonder that concerts featuring such a scope of pieces not only at odds with themselves, but also their single unifying theme of modernity at odds with the aesthetics of music as a whole, become inaccessible.
Some possibilities for a Wikipedia article:
1. Puppet Showplace Theatre--though this isn't strictly music-related, this nonprofit I work at is one of the biggest performing arts organizations in Boston and does not have a decent Wikipedia page.
2. ALEA III--the new music ensemble in residence at Boston University; since 1980 they've held an International Composition Competition for composers under age 40.
3. Ruby Rose Fox--Local musician and singer-songwriter who has performed with a number of Boston theater organizations.