The Kübler-Ross model is usually associated with death and the surrounding grief, but Kübler-Ross herself intended it as a representation of how people deal with any catastrophic information. So if an avant-garde vocabulary/technique/philosophy really has the shock of the new, we should see the results greeted with those five little words:
Note that the Kübler-Ross stages don't have to happen in any particular order (although acceptance usually comes last). And some of these could be combined: denial and anger, for example (I'm insulted that you would try and make me think this is music).
So what do the stages look like in the field? Let's try everybody's favorite bugaboo, Arnold Schoenberg.
(The first four from, where else? Nicolas Slonimsky's Lexicon of Musical Invective.) In a similarly teutonic spirit, what about one of Schoenberg's favorites, Brahms?
...and so forth. I would guess that a scrapbook of Philip Glass reviews would yield five pertinent examples without too much trouble, and a survey of "respectable" reactions to the coming of jazz in the early 1900's would make a fine case study, as well.
I find it hard to believe that I'm the first person to think of this, but a quick web search didn't turn up anything similar. (I did find this article that analyzes Bartók's Concerto for Orchestra as a series of Kübler-Ross stages.) Anyone know if somebody out there has taken this beyond a mere blog post?