Schönberg's place in Adorno's Philosophy of new music
This article seeks to capture, from a critique of musical modernity, the dynamics that occur within the Philosophy of New Music between Schönberg and progress, as well as pointing to the need for a better delimitation of the roles assigned to them. What we seek to defend is that the Schönbergian cha...
| Autor: | |
|---|---|
| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Recursos: | Universidade Federal de Ouro Preto (UFOP) |
| Repositorio: | Artefilosofia |
| Idioma: | portugués |
| OAI Identifier: | oai:pp.www.periodicos.ufop.br:article/6923 |
| Acesso em linha: | https://periodicos.ufop.br/raf/article/view/6923 |
| Access Level: | acceso abierto |
| Palavra-chave: | Theodor Adorno. Progress. Arnold Schönberg. Philosophy of music. Theodor Adorno. Progresso. Arnold Schönberg. Filosofia da música. |
| Resumo: | This article seeks to capture, from a critique of musical modernity, the dynamics that occur within the Philosophy of New Music between Schönberg and progress, as well as pointing to the need for a better delimitation of the roles assigned to them. What we seek to defend is that the Schönbergian character only comes into play in the final part of the Adorno’s essay, where the composer is seen as an opposing force to progress. This breaking, which, as we will see, occurs in a very particular way, is what allows us to make explicit the inadequacy of mixing one with the other. Schönberg is not progress! |
|---|