After 1951, the discourse surrounding both the Darmstadt courses in particular and European New Music more broadly shifted away from a dodecaphonic vocabulary in favour of concepts such as punctual music, post-Webern music, and static music, all collected under the newly-christened unity of the Darmstadt School.

This study proposes a genealogy of the Darmstadt School through the institutional influence and writings of Herbert Eimert. It demonstrates that Eimert's understanding of music history — whereby technical procedures are universalised as the acme of historical progress — was adopted as the institutional discourse of New Music in Europe, and remains central to both textbook and critical scholarly accounts which attempt to make sense of the avant-garde after World War II.