Composers from Wagner to Boulez who claim to be the avant-garde think about music in a more or less 'progressive' way, and the New German School is undoubtedly an indispensable reference to understand the starting point of such progressive philosophy.By taking‘progress’ in music as the background issue and concentrating on the New German School in the 19th century as the research object, this article explores how they constructed historical legitimacy for ‘avant-garde’ with the progressivim as the core of historical philosophy and aesthetics from the perspectives of history, aesthetics and form.
From Dalhaus to Taraskin,the spiritual inheritance relationship between the New German School and 20th century music has been mentioned repeatedly.This article attempts to find the specific manifestation of this relationship:What is the connection between the historical-aesthetic concepts of the New German School and modern music? What are the noteworthy reflections between the ‘future’ of the 19th century and the actual future that is happening? The thought of the New German School could be regarded as the prehistory of the concept of modern Western music,and also laid the clues to the fatal problems of its postmodern music.Clarifying this connection is the topic that the ariticle is mosty concerned about