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https://doi.org/10.1093/gmo/9781561592630.article.01573
Published in print: 20 January 2001
Published online: 2001
In our own age the term is often used loosely to describe any artists
who have made radical departures from tradition, but it has also
been freighted with particular meanings, and these have supported a
more specific usage referring to art histories of the late 19th and
early 20th centuries, the era of cultural history usually labelled
‘Modernism’. Here an avant garde would be differentiated from an
ars nova and from an ars subtilior, neither of which need be period-
specific. Thus an avant garde shares with an ars nova its
experimental profile, and with an ars subtilior its élitist taste-public,
but it carries two additional burdens, both relatable to Saint-Simon's
use of the term. First there is a commitment to the idea of
continuous progress within a single, notionally unified culture
(underlying even its most anarchic manifestations), together with an
acknowledgment that such progress is barely compatible with any
suggestion of limits or boundaries to our knowledge and experience.
Secondly there is an active engagement – whether critical (as in
Adorno's interpretation) or reintegrative (as in Peter Bürger's) – with
a social world from which it feels itself separate. In both respects an
avant garde is historically contingent, and thus may have a defined
end as well as a beginning.
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with the so-called New German School, notably through the
programmes (and rhetoric) of Modernism – a ‘music of the future’ –
proposed by Wagner and the Liszt circle. This prepared the ground
of Schoenberg's blatant defiance of the cultural market-place. His
Society for Private Musical Performances represented a powerfully
symbolic moment in the development of the avant garde, closing off
the populace in the interests of preserving musical language from
further degeneration.
A very different face of the avant garde was the subversive, anti-
bourgeois protest associated with Dadaism and surrealism, given
musical expression by Satie, and further developed in the radical
aesthetic promoted by Cage and others in the aftermath of World
War II. For Bürger this was the true avant garde, distinguished
conceptually from Modernism through its rejection of the ‘institution
of art’ and of aesthetic autonomy (paradoxically it represented for
Bürger an attempt at reintegrating the aesthetic and social spheres).
Yet from today's perspective Bürger's position seems a development
of Adorno's rather than a major departure. More recent critical
theory has been compelled to go further, addressing a growing
perception (it may be disillusioning or cathartic) that any notion of a
single culture, on which modern art was predicated, is no longer
viable. Where music is concerned, those explosive tensions between
the polarized repertories (avant-garde, classical, commercial) of a
unified, albeit increasingly fragmented cultural world have been
defused with astonishing ease. Disparate musics can apparently co-
exist without antinomies or force fields.
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Within critical theory the responses to this ‘postmodern condition’
have ranged from Andreas Huyssen's cautious welcome of
postmodern art, provided its critical potential is acknowledged, to
Jürgen Habermas's proposal that Modernism remains an ‘incomplete
project’, now in search of a new communicative pragmatism.
Elsewhere, and especially outside the Adornian tradition,
postmodernism has been eagerly embraced by cultural theorists
such as Jean-François Lyotard, by musicologists such as Lawrence
Kramer, and by many composers for whom it seems to offer a
cathartic sense of release from the prohibitions of postwar
Modernism. In such a climate the fate of an avant garde is clearly
open to question. Arguably the concept can have only a narrow, and
perhaps a rather emasculated, definition within today's culture,
associated with a continuing but now decentred Modernist project.
That project is sanctioned rather than dissenting. It occupies a
single corner of a plural cultural field. It is neither threatened by,
nor threatens, the politics and aesthetics of mass culture.
Bibliography
T.W. ADORNO: Philosophie der neuen Musik (Tübingen, 1949; Eng.
trans., 1973)
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M. BRADBURY and J. MCFARLANE, eds.: Modernism 1890–1930
(Harmondsworth, 1976, 2/1986)
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