In fact that TLS issue has many fine things, including a review by Charles Rosen of a book on piano performance practice by Kenneth Hamilton, “After the Golden Age”, and Ian Bostridge’s assessment of volume 4 of Britten’s collected letters.
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*ISBN 978 0 520 24892 2

CalArts, yes, but UCSC has no experimental composers since Mumma retired, UCSD’s experimental years are way in the past, in the days of Erickson and Oliveros, and UCB has never had an experimental composer on the faculty. The closest one comes in the entire UC system might be Clarence Barlow in Santa Barbara.

What do you mean by “going through the experimental thing”?

You write that “students gravitate stylistically…”: an exciting aspect of composition today is that one does gravitate into the styles, aesthetics, and foci of ones work, rather than having that largely pre-determined by the circumstances of ones birth. While a diversity of biographical backgrounds is both good and necessary, more important is the diversity of aesthetic and stylistic concerns. Does you faculty include anyone who represents the American experimental tradition, for example?