But the biggest new pieces in this vein - Carolyn Chen’s collaboration with the poet Divya Victor, and Anthony Cheung’s “The Echoing of Tenses” - would benefit from prudent trims. So was play with texts, including explorations of how singing and spoken word could share space in a musical context. Adaptations of folk music were in - including spirituals, the violinist Keir GoGwilt’s feathery fiddling renditions of Scottish ballads, and Aucoin’s hoedown “Shaker Dance.” Then what was the prevailing style? In keeping with the openness of many young artists now, it was broad. Hypercomplex Boulezian modernism wasn’t on offer this year: The composer Matthew Aucoin, who founded AMOC in 2017 with the director Zack Winokur, wrote witheringly in The New York Review not long ago about the “supersaturated sameness” of Boulez’s music.
Even the warning that a concert is about to begin isn’t the usual docile bells, but a spreading roar of electronics from “Répons” by Pierre Boulez, a tutelary spirit here for decades.