The reception of the second avant-garde in Poland was initiated, as is commonly agreed, in 1956 with the fi rst “Warsaw Autumn” festival, and consisted of two phases. The fi rst phase, lasting ten years until around 1966, was the most important, as during this phase Polish listeners became acquainted with avant-garde innovations, music from the Darmstadt and New York schools, and electronic music from the studios in Paris and Cologne. The second phase of the avantgarde reception in Poland began in the symbolic year of 1965 with St. Luke Passion by Penderecki. In this work, the composer recalled the heritage and values of traditional music together with innovations from a synthesis of avant-garde experiments and values. In my paper, I concentrate on articles published in Polish musical press from the late 1960s and early 1970s, where readers could deduce signs of turning away from affi rmative reception of the avant-garde. I con sider issues such as the function of avant-garde art, its new relationship with the listener, creative experimentation, all of which constitute the category of “novelty”. These issues were undertaken by outstanding Polish critics: Stefan Kisielewski, Bohdan Pociej, Zygmunt Mycielski, Marian Wallek-Walewski, and Krystyna Tarnawska-Kaczorowska. I select only a few texts as a representation of the body of the published discourse.