Avant-garde music
Avant-garde | |
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Stylistic origins | |
Cultural origins | Early to mid-20th century |
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Avant-garde music is music that is considered to be at the forefront of innovation in its field, with the term "avant-garde" implying a critique of existing aesthetic conventions, rejection of the status quo in favor of unique or original elements, and the idea of deliberately challenging or alienating audiences.[1] Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas experimental music lies outside tradition.
Distinctions
Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas experimental music lies outside tradition.
Although some modernist music is also avant-garde, a distinction can be made between the two categories. According to scholar Larry Sitsky, because the purpose of avant-garde music is necessarily political, social, and cultural critique, so that it challenges social and artistic values by provoking or goading audiences, composers such as Igor Stravinsky, Richard Strauss, Arnold Schoenberg, Anton Webern, George Antheil, and Claude Debussy may reasonably be considered to have been avant-gardists in their early works (which were understood as provocative, whether or not the composers intended them that way), but Sitsky does not consider the label appropriate for their later music.[8] For example, modernists of the post–World War II period, such as Milton Babbitt, Luciano Berio, Elliott Carter, György Ligeti, and Witold Lutosławski, never conceived their music for the purpose of goading an audience and cannot, therefore, be classified as avant-garde. Composers such as John Cage and Harry Partch, on the contrary, remained avant-gardists throughout their creative careers.[8]
A prominent feature of avant-garde music is to break through various rules and regulations of traditional culture, in order to transcend established creative principles and appreciation habits. Avant-garde music pursues novelty in musical form and style, insisting that art is above everything else; thus, it creates a transcendental and mysterious sound world. Hint, metaphor, symbol, association, imagery, synesthesia and perception are widely used in avant-garde music techniques to excavate the mystery of human heart and the flow of consciousness, so that many seemingly unrelated but essentially very important events interweave into multi-level structures and forms.[9]
Popular music
See also
- Lo-fi
- Danger music
- Industrial music
- Lowercase music
Contemporary/classical music
Popular/traditional music
References
- ^ a b "Avant-Garde Music". AllMusic.
- ^ David Nicholls, American Experimental Music, 1890–1940 (Cambridge [England] and New York: Cambridge University Press, 1990): 318.
- ^ ISBN 1-904041-70-1
- ISBN 9780674011632.
- passim.
- ISBN 0-415-93792-2.
- ISBN 978-0495572732.
- ^ ISBN 0-313-29689-8.
- ISBN 87-988955-0-8.
- ^ "Popular music". collinsdictionary.com.
- ^ Anon. Avant-Garde Jazz. AllMusic, n.d.
- ^ Michael West (April 3, 2015). "In the year jazz went avant-garde, Ramsey Lewis went pop with a bang". The Washington Post.
- ^ Murray, Noel (May 28, 2015). "60 minutes of music that sum up art-punk pioneers Wire". The A.V. Club.
- ISBN 978-0-7546-8803-7.
- ^ Cited in Chang, Jeff (2005). Can't Stop, Won't Stop. New York: St. Martin's Press. p. 410.
[hip-hop], the only avant-garde around, still delivering the shock of the new (over recycled James Brown compost modernism like a bitch), and it's got a shockable bourgeoise, to boot. [sic]
Further reading
- Gendron, Bernard. 2002. Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago: University of Chicago Press. ISBN 978-0-226-28735-5.
- ISBN 0-8076-1018-6.
- ISBN 1-8469-4179-2.