Abstract
Contemporary music which does not fit into the narrative of the post-war avantgarde, but which can be said to belong to the same tradition, is often marginalized by this movement. Through an analysis of the implications of an understanding of material in the context of the avant-garde, and a short investigation into the music of Chris Newman, the validity of the term avantgarde and the use of narrative are critiqued with respect to the exclusion of composers from the forefront of contemporary music practice.
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