By Theodor W. Adorno
In his "Philosophy of contemporary Music", Theodor W. Adorno analyzes what he known as "radical music" and discusses intimately the leading edge paintings of Mahler, of Schoenberg and his disciples, and the early compositions of Stravinsky. As in all his writings, Adorno brings a big selection of cultural and social subject matters to undergo on those matters, in order that person musical works are visible of their broadest political and sociological environment. while, the ebook is still a learn of the works themselves, and as such is a vintage research of great twentieth century song. released for the 1st time in Germany in 1948, "Philosophy of contemporary Music" is a fabricated from Adorno's exile within the usa, the place he wrote it whereas nationwide Socialism fell in his eu native land.
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Those needs do, just as was prognosticated, find satisfaction, but this satisfaction is itself false and robs humans of their human rights. Today it would be fitting to approach art, in Kantian fashion, as a given; whoever pleads its cause manufactures ideologies and makes art one of them. If thought is in any way to gain a relation to art it must be on the basis that something in reality, something back of the veil spun by the interplay of institutions and false needs, objectively demands art, and that it demands an art that speaks for what the veil hides.
The great epics, which have survived even their own oblivion, were in their own age intermingled with historical and geographical reportage; Valery the artist took note of how much of their material had yet to be recast by the formal requirements of the Homeric, pagan-Germanic, and Christian epics, without this reducing their rank vis-a-vis drossless works. Likewise tragedy, which may have been the origin of the idea of aesthetic autonomy, was an afterimage of cultic acts that were intended to have ART, SOCIETY, AESTHETICS 7 real effects.
All the same, nothing is more damaging to theoretical knowledge of modern art than its reduction to what it has in common with older periods. What is specific to it slips through the methodological net of "nothing new under the sun"; it is reduced to the undialectical, gapless continuum of tranquil development that it in fact explodes. There is no denying the fatality that cultural phenomena cannot be interpreted without some translation of the new into the old, yet this implies an element of betrayal.
Aesthetic Theory (Athlone Contemporary European Thinkers) by Theodor W. Adorno