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More than two weeks ago, at the beginning of this project, we asked readers to vote in an entirely unscientific poll of the most shocking artistic event of the past century. Sorry, Elvis’s swiveling hips, Lenny Bruce’s dirty mouth and Karen Finley’s chocolate-smeared body.The biggest outrage of the last hundred years, according to a full third of voters, was the 1999 “Sensation” show at the Brooklyn Museum.Many of the readers and writers for The New York Times who participated in this project agreed that shock is all about context.

Of course, music can be radical in other ways: rhythm, structure, texture, the use of instruments.That show, featuring the work of shock-seeking Young British Artists like Damien Hirst and Tracey Emin, got a harsh review from Mayor Rudolph W.Giuliani, who, singling out Chris Ofili’s painting of a black Madonna that included elephant dung, dismissed it as “sick stuff” and tried to cut off city funds for the museum.In its language and ambiguity, Beckett’s “Waiting for Godot” represents radical theater, but a good performance of this profound play should have the audience laughing, and comic actors have been its best interpreters. That a piece is shocking or radical does not in itself make it good.

Composers can easily be gratuitously shocking or self-consciously radical.

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