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Abstract:

A number of hypotheses about the nature of retrospective currents have emerged in music theory. These hypotheses recognize the impossibility of restoring the old metaphysical understanding of music as a particular instance of experience, incomparable to any other. The entire experience of the 20^th century is understood as the experience of an analytical reconstruc- tion of the institutions of music production and performance, from the set of musical instruments to the educational system. It is also recognized that any retrospective current in music will lead to the abolition of the division into old and new music that became fundamental after Th. Ador- no’s work, and also that these retrospective currents are not nostalgic but contribute to social critique. Yet versions of retrospective music differ. Some critics insist that K. Stockhausen’s work was already sufficient to establish the very principles of retrospectiveism in music and the emergence of various new kinds of Romanticism and Avant-Garde, while these kinds of Neo- romanticism and Neo-Avant-Garde themselves belong to the action of partly mechanized modes of production, such as instrumental aleatorics. Mechanization turns out here to be the main tool of distinction, so other critics link Neo-Avant-Garde currents in music with the transition of glitch art to sound art. French theory (A. Badiou, D. Cohen-Levinas) rethinks Adorno’s lega- cy, stripping it of its former discursiveness for the sake of a new understanding of labor, so that a metacriticism of Adorno’s constructions allows us to justify a positive sense of retrospective music. Finally, the new strands of philosophical ontology, above all the ontology of G. Harman, by criticizing previous notions of musical impact, contribute most to the metacriticism of musi- cology and the justification of a renewed musical Avant-Garde.

Кeywords: Neo-Avant-Garde, Neo-Modernism, art theory, music, sound studies, critical theory.