By Theodor W. Adorno
In his "Philosophy of contemporary Music", Theodor W. Adorno analyzes what he known as "radical music" and discusses intimately the cutting 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 topics, in order that person musical works are noticeable of their broadest political and sociological environment. whilst, the publication is still a learn of the works themselves, and as such is a vintage examine of significant twentieth century song. released for the 1st time in Germany in 1948, "Philosophy of recent Music" is a made from Adorno's exile within the usa, the place he wrote it whereas nationwide Socialism fell in his ecu fatherland.
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Extra resources for Aesthetic Theory (Athlone Contemporary European Thinkers)
Originally it meant simply that the will, conscious of itself, tested unknown or unsanctioned technical procedures. Fundamental to this idea of experimentation was the latently traditionalistic belief that it would automatically become clear whether the results were a match for what had already been established and could thus legitimate themselves. This conception of artistic experimentation became 24 SITUATION accepted as obvious at the same time that it became problematic in its trust in continuity.
Through the element of sensuous satisfaction the work's sine qua non, its appearance, is constituted. As Alban Berg said, it is a prosaic matter to make sure that the work shows no nails sticking out and that the glue does not stink; and in many of Mozart's compositions the delicacy of expression evokes the sweetness of the human voice. In ART, SOCIETY, AESTHETICS 15 important artworks the sensous illuminated by its art shines forth as spiritual just as the abstract detail, however indifferent to appearance it may be, gains sensuous luster from the spirit of the work.
Fetishization expresses the paradox of all art that is no longer self-evident to itself: the paradox that something made exists for its own sake; precisely this paradox is the vital nerve of new art. By exigency, the new must be something willed; as what is other, however, it could not be what was willed. Velleity binds the new to the ever-same, and this establishes the inner SITUATION 23 communication of the modern and myth. The new wants nonidentity, yet intention reduces it to identity; modern art constantly works at the Munchhausean trick of carrying out the identification of the nonidentical.
Aesthetic Theory (Athlone Contemporary European Thinkers) by Theodor W. Adorno