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. 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.
Theodor W. Adorno (/əˈdɔːrnoʊ/ ə-DOR-noh; German: [ˈteːodoːɐ̯ aˈdɔʁno] ; born Theodor Ludwig Wiesengrund; 11 September 1903 – 6 August 1969) was a German philosopher, musicologist, and social theorist. He was a leading member of the Frankfurt School of critical theory, whose work has come to be associated with thinkers such as Ernst Bloch, Walter Benjamin, Max Horkheimer, Erich Fromm, and Herbert Marcuse, for whom the works of Sigmund Freud, Karl Marx, and G. W. F. Hegel were essential to a critique of modern society. As a critic of both fascism and what he called the culture industry, his writings—such as Dialectic of Enlightenment (1947), Minima Moralia (1951), and Negative Dialectics (1966)—strongly influenced the European New Left.
In an intellectual climate shaped by existentialism and logical positivism, Adorno developed a dialectical conception of history and philosophy that challenged the foundations of both, anticipating the divide that would later emerge between the analytic and continental traditions. As a classically trained musician, Adorno studied composition with Alban Berg of the Second Viennese School, influenced by his early admiration for the music of Arnold Schoenberg. Adorno's commitment to avant-garde music formed the backdrop of his subsequent writings and led to his collaboration with Thomas Mann on the latter's novel Doctor Faustus (1947), while the two men lived in California as exiles during the Second World War. Working at the newly relocated Institute for Social Research, Adorno collaborated on influential studies of authoritarianism, antisemitism, and propaganda that would later serve as models for sociological studies the institute carried out in post-war Germany.
Noise music (or simply noise) is a subgenre of experimental music that is characterised by its use of unwanted noise as a primary musical element. The genre has roots in early 20th century avant-garde music, but later drew influence from industrial music. It is characterized by a rejection of conventional music theory and traditional song structures, often featuring little or no melody, rhythm, or harmony. This type of music tends to challenge the conventional distinction between musical and non-musical sound.
"Noise as music" originated as an avant-garde music style in the 1910s through the work of Luigi Russolo an Italian Futurist, who published the manifesto The Art of Noises in 1913. Elements of noise music were later explored by artists in the Dada and Fluxus movements, as well as through electroacoustic music, modern classical and musique concrète. Composers such as John Cage, Edgard Varèse and James Tenney would explicitly use the term "noise" to describe some of their experimental practices. During the 1960s and 1970s, compositions such as Robert Ashley's "The Wolfman" (1964) and Pauline Oliveros "A Little Noise In The System" (1967) were among the earliest examples of contemporary noise music. While works by non-academic artists such as Lou Reed's Metal Machine Music were influential for later noise artists.
Kazi Nazrul Islam (24 May 1899 – 29 August 1976) was a Bengali poet short story writer, journalist, lyricist and musician. He was later honored with the title of national poet of Bangladesh. Nazrul produced a large body of poetry, music, messages, novels, and stories with themes, that included equality, justice, anti-imperialism, humanity, rebellion against oppression and religious devotion. Nazrul Islam's activism for political and social justice as well as writing a poem titled as "Bidrohī", meaning "the rebel" in Bengali, earned him the title of "Bidrohī Kôbi" (Rebel Poet). His compositions form the avant-garde music genre of Nazrul Gīti (Music of Nazrul).
Born in the British Raj period into a Bengali Muslim Kazi family from Churulia in Asansol,then in Burdwan district in Bengal Presidency (now in West Bengal, India), Nazrul Islam received religious education and as a young man worked as a muezzin at a local mosque. He learned about poetry, drama, and literature while working with the rural theatrical group Leṭor Dôl, Leṭo being a folk song genre of West Bengal usually performed by the people from Muslim community of the region. He joined the British Indian Army in 1917 and was posted in Karachi. Nazrul Islam established himself as a journalist in Calcutta after the war ended. He criticised the British Raj and called for revolution through his famous poetic works, such as "Bidrohī" ('The Rebel') and "Bhangar Gan" ('The Song of Destruction'), as well as in his publication Dhūmketu ('The Comet'). His nationalist activism in Indian independence movement led to his frequent imprisonment by the colonial British authorities. While in prison, Nazrul Islam wrote the "Rajbôndīr Jôbanbôndī" ('Deposition of a Political Prisoner'). His writings greatly inspired Bengalis of East Pakistan during the Bangladesh Liberation War.
La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and performance artist recognized as one of the first American minimalist composers and a central figure in post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His compositions have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. While few of his recordings remain in print, his work has inspired prominent musicians across various genres, including avant-garde, rock, and ambient music.
Young played jazz saxophone and studied composition in California during the 1950s, and subsequently moved to New York in 1960, where he was a central figure in the downtown music and Fluxus art scenes. He then became known for his pioneering work in drone music (originally called dream music) with his Theatre of Eternal Music collective, alongside collaborators such as Tony Conrad, John Cale, and his wife, the multimedia artist Marian Zazeela. In 1964, he began work on his unfinished improvisatory composition The Well-Tuned Piano, iterations of which he has performed throughout subsequent decades.
Industrial music (or simply industrial) is a subgenre of experimental music inspired by post-industrial society, initially drawing influences from avant-garde and early electronic music genres such as musique concrète, tape music, noise and sound collage. The term was coined in 1976 by Monte Cazazza and Throbbing Gristle, with the founding of Industrial Records. Other early industrial musicians include NON and Cabaret Voltaire. By the late 1970s, additional artists emerged such as Clock DVA, Nocturnal Emissions, Einstürzende Neubauten, SPK, Nurse with Wound, and Z’EV, alongside Whitehouse who coined the subgenre "power electronics".
During the 1980s, industrial music splintered into a range of offshoots collectively labelled "post-industrial music", these included, EBM, new beat, hard beat, dark ambient, neofolk, power noise, industrial dance, electro-industrial, dark electro, aggrotech, industrial rock, industrial metal, cyber metal, Neue Deutsche Härte, martial industrial, industrial hip-hop and industrial techno. By the 1990s, elements of industrial music were made accessible to mainstream audiences through the popularity of acts such as Nine Inch Nails, Ministry, Rammstein, and Marilyn Manson, all of whom released platinum-selling records.
Pierre Henri Marie Schaeffer (English pronunciation: /piːˈɛər ˈhɛnriː məˈriː ˈʃeɪfər/ , French pronunciation: [ʃɛfɛʁ]; 14 August 1910 – 19 August 1995) was a French composer, writer, broadcaster, engineer, musicologist, acoustician and founder of Groupe de Recherche de Musique Concrète (GRMC). His innovative work in both the sciences—particularly communications and acoustics—and the various arts of music, literature and radio presentation after the end of World War II, as well as his anti-nuclear activism and cultural criticism garnered him widespread recognition in his lifetime.
Schaeffer is most widely and currently recognized for his accomplishments in electronic and experimental music, at the core of which stands his role as the chief developer of a unique and early form of avant-garde music known as musique concrète. The genre emerged in Europe from the utilization of new music technology developed in the post-war era, following the advance of electroacoustic and acousmatic music.
Pierre Louis Joseph Boulez (French: [pjɛʁ lwi ʒozεf bulɛz]; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war contemporary classical music.
Born in Montbrison, in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism in the 1950s, controlled chance music in the 1960s and the electronic transformation of instrumental music in real time from the 1970s onwards. His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces considered landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.
Giannis Klearchou Xenakis (also spelled for professional purposes as Yannis or Iannis Xenakis; Greek: Γιάννης "Ιάννης" Κλέαρχου Ξενάκης, pronounced [ˈʝanis kseˈnacis]; 29 May 1922 – 4 February 2001) was a Romanian-born Greek-French avant-garde composer, music theorist, architect, performance director and engineer.
After 1947, he fled Greece, becoming a naturalised citizen of France eighteen years later. Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic and computer music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances.