OK, actually, when I wrote my last post I didn't recall enough of the central points of that PBS article in enough detail, but I said what I did bcz the music I spend most of my time with is broadcast on BBC Radio 3 (public broadcasting). Many of the commissions for composed works come from Radio networks throughout Europe, the Arts Council of those countries, but also certain privately established foundations (one of my favourite CDs I got hold of this year ws a series of recordings of the music of James Clarke, which ws funded by the Britten-Pears foundation). Its talked about in grand detail in academic journals, though the internet has opened up access to much of the music and discussion of it. Academia is also increasingly allowing space for composers to teach (there ws always some...much of the early electronic music ws developed in music centres at Universities in America and Publicly funded radio stations in Europe).

But as you say its a question of approach.

What you describe on (2) is interesting...I wonder whether a lot of avant-garde classical I like has that 'fool around' quality. Much of it comes in ready-made with a THIS IS IMPORTANT, then years later its all about the mistakes that were made as the music moves to its next important thing. I suppose its all about being ready to take the work with its flaws and strengths at the same time rather than going for one or the other in its sum total.