Abstract: The object of research in the article is the cult music of Simeon ten Holt Canto ostinato (1976-79), which is considered using the optics of metamodernism. The authors of the concept of metamodernism were the Dutch Timotheus Vermeulen and Robin van den Acker, who created the manifesto of metamodernism (2010), another manifesto was subsequently created by the Briton Luke Turner (2011). This music, as well as the whole concept of metamodernism in music, represents one of the concepts of culture-after-postmodernism and proclaims the return of affect, semantic oscillation as a constant oscillation between direct utterance and irony, a new actualization of the meta-narratives devalued by postmodernism, which replaced postmodern total irony with post-irony. The novelty of the stated perspective is that for the first time in Simeon ten Holt's opus "Canto ostinato" such tendencies of musical metamodernism as new simplicity, the return of melody and tonality, the actualization of song and dance, the flickering affect of melancholy and euphoria, the purpose for the listener of a new type and the features of "sentimental minimalism" are revealed. Despite the fact that this music was created long before the Fourth Industrial Revolution, which became the cause of metamodernism, one can see such obvious features of metamodernism in it that one would like to see in this opus a manifesto of the musical metamodern looking into the future.