Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.661791
Title: Adorno's 'Philosophy of Modern Music' : music in the age of mechanical reproduction
Author: Sharma, B. R.
Awarding Body: University of Edinburgh
Current Institution: University of Edinburgh
Date of Award: 1997
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Abstract:
Theodor Adorno's depiction of Stravinsky and Schoenberg in the Philosophy of Modern Music has been a source of much controversy. Many have criticised the Frankfurt Scholar for his biased portrayals. A common tendency shared among commentators has been to interpret Adorno's text literally. Yet upon closer examination, one sees that Adorno's intention was to write not only a literal text, but also a poetic text. Following in the tradition of Karl Kraus, and Walter Benjamin, Adorno's text is laden with symbols, metaphors, allusions and allegories that encircle socio-cultural and historical issues. Stravinsky and Schoenberg are often caricatures, and their works a means to discuss kitsch and avant-garde art during the rise of fascism in Germany. Even Adorno's portrayal of art in Germany is symbolic; his insights into state capitalist culture during World-War Two are meant to act as an acidic and prophetic analysis of monopoly capitalist culture in the post-World-War II era. Adorno's Philosophy of Modern Music was meant to be a Flaschenpost, a 'message in a bottle', designed to remain rebarbative through time. This thesis suggests that when one applies his insights to late capitalist society, they seem more relevant than ever.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.661791  DOI: Not available
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