Muzyka nowoczesna jako sztuka radykalna – filozoficzne ujęcie autorstwa Theodora W. Adorno
Abstract
The Modern Music as a Radical Art: Theodor W. Adorno’s Philosophical Approach
The subject of this article is philosophical reflection on the modern music based on Theodor W. Adorno’s considerations. It discusses, among others, the issue of music as a niche and difficult branch of philosophy because of the technicality of problems associated with the art of music, and the matter of the problematic situation in music as the result of breaking with the tonal system.
The upheaval in music opened a range of new opportunities in organizing musical material and constructing forms. The purpose of Adorno’s philosophical reflection on new music was the detection, using the dialectic method, of the relationships between the ideas inherent in the works of opposed programs. Because Adorno considered Arnold Schoenberg and Igor Stravinsky as the most consistent and radical composers of the twentieth century, he modelled the dialectical philosophy of music on them.
Theodor W. Adorno’s reflection on modern music did not end with Schoenberg and Stravinsky, however. The author of the “Negative Dialectics” also analyzed creative actions of the younger composers of modernism, after which he announced the ageing of the new music and the crisis of dodecaphony. In a broader context, he formulated the role of the twelve-tone technique in the overall dialectic of art, referring to Hegel.
The consequences of Adorno’s philosophy of modern music go far beyond the music itself. These results refer to the society oppressed by a totalitarian system, to the struggles of an individual who is sacrificed to the collective, and to the crisis of the European culture which came after the Second World War.
Keywords: Adorno, philosophy of music, modern music, Schoenberg, Stravinsky, dodecaphony, neoclassicism, dialectic of art, critical theory of art.
The subject of this article is philosophical reflection on the modern music based on Theodor W. Adorno’s considerations. It discusses, among others, the issue of music as a niche and difficult branch of philosophy because of the technicality of problems associated with the art of music, and the matter of the problematic situation in music as the result of breaking with the tonal system.
The upheaval in music opened a range of new opportunities in organizing musical material and constructing forms. The purpose of Adorno’s philosophical reflection on new music was the detection, using the dialectic method, of the relationships between the ideas inherent in the works of opposed programs. Because Adorno considered Arnold Schoenberg and Igor Stravinsky as the most consistent and radical composers of the twentieth century, he modelled the dialectical philosophy of music on them.
Theodor W. Adorno’s reflection on modern music did not end with Schoenberg and Stravinsky, however. The author of the “Negative Dialectics” also analyzed creative actions of the younger composers of modernism, after which he announced the ageing of the new music and the crisis of dodecaphony. In a broader context, he formulated the role of the twelve-tone technique in the overall dialectic of art, referring to Hegel.
The consequences of Adorno’s philosophy of modern music go far beyond the music itself. These results refer to the society oppressed by a totalitarian system, to the struggles of an individual who is sacrificed to the collective, and to the crisis of the European culture which came after the Second World War.
Keywords: Adorno, philosophy of music, modern music, Schoenberg, Stravinsky, dodecaphony, neoclassicism, dialectic of art, critical theory of art.
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