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Despite taking sides with Schönberg, progress and the twelve-tone technique, Theodor W. Adorno’s Philosophie der neuen Musik proves to be a dystopia. The blind spots of both the European philosophical tradition with regard to the constitution of the subject and Adorno’s own blind spots with regard to the effect of war trauma on 20th century music play a role here, as does his idea of dealing with the musical material in a manner analogous to the mastery of nature. Rethinking the relationship to nature and focusing on the subject-subject relationship instead of the subject-object relationship can lead us out of the dead end of dystopia.

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Adornos Philosophie der neuen Musik – Analyse einer Dystopie

  • 章节

  • 发表日期：

    2025年

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  • Wolfgang-Andreas Schultz

摘要

Despite taking sides with Schönberg, progress and the twelve-tone technique, Theodor W. Adorno’s Philosophie der neuen Musik proves to be a dystopia. The blind spots of both the European philosophical tradition with regard to the constitution of the subject and Adorno’s own blind spots with regard to the effect of war trauma on 20th century music play a role here, as does his idea of dealing with the musical material in a manner analogous to the mastery of nature. Rethinking the relationship to nature and focusing on the subject-subject relationship instead of the subject-object relationship can lead us out of the dead end of dystopia.