Skip to main navigation menu Skip to main content Skip to site footer
Logo Thémata

Aspects of the Aesthetic Theory of Theodor W. Adorno (Thémata 66)

No. 68

Against moderation: The problem in (musical) form in Theodor W. Adorno

DOI
https://doi.org/10.12795/themata.2023.i68.18
Submitted
February 28, 2023
Published
2023-12-30

Abstract

This essay seeks to reconstruct the development of the idea of musical form in Adorno's philosophy on the basis of three fundamental texts: "Evolution and Forms in the New Music", "Vers une musique informelle" and "Form in the New Music". From these texts, form is related to the idea of freedom, imagination and colour, in each case, to show the complexity of the term, as well as the relationship with other key aspects of his philosophy.

References

  1. Adorno, Theodor W. Dialéctica Negativa. Obra completa, 6. Madrid: Akal, 2008.
  2. —. Escritos musicales I-III. Obra completa 16. Trad. Alfredo Brotons Muñoz y Antonio Gómez Schneekloth. Madrid: Akal, 2006.
  3. —. Escritos Musicales IV. Obra completa, 17. Madrid: Akal, 2008.
  4. —. Escritos musicales V. Obra completa, 18. Madrid: Akal, 2011.
  5. —. Filosofía de la nueva música. Obra completa, 12. Madrid: Akal, 2003.
  6. —. Komposition für den Film. Der getreue Korrepetitor . Gesammelte Schriften 15. Frankfurt A. M.: Suhrkamp, 1976.
  7. —. Kranichsteiner Vorlesungen. Berlin: Suhrkamp, 2014.
  8. —. Monografías musicales. Obra completa, 13. Trad. Joaquñin Chamorro Mielke y Antonio Gómez Schneekloth Alfredo Brotons Muñoz. Madrid: Akal, 2008.
  9. —. Notas sobre literatura. Madrid: Akal, 2013.
  10. —. Teoría estética. Trad. Jorge Navarro Pérez. Madrid: Akal, 2004.
  11. —. Zur Lehre von der Geschichte und von der Freiheit (1964/65). Frankfurt a. M.: Suhrkamp, 2001.
  12. Borio, Gianmario y Hermann Danuser. Im Zenit der Moderne. Volumen III. Freiburg im Breisgau: Rombach, 1997.
  13. Born, Georgina. Rationalizing Culture. Ircam, Boulez, and the institucionalization of the Musical Avant-Garde. Los Angeles: University pof California Press, 1995.
  14. Boulez, Pierre. Orientations. Collected Writings. London: Faber und Faber, s.f. 1986.
  15. Dahlhaus, Carl. Schönberg und andere. Gesammelte Aufsätze zur Neuen Musik. . Mainz: Schott, 1978.
  16. Edwards, Peter. “Convergences And Discord In The Correspondence Between Ligeti And Adorno.” Music & Letters, vol. 96, no. 2, 2015, pp. 228–58. JSTOR, http://www.jstor.org/stable/24549937.
  17. Grant, Josephine Morag. Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Cambridge: Cambridge University Press, 2001.
  18. Hervás Muñoz, Marina. Pensar con los oídos: conocimiento y música en el pensamiento de Theodor W. Adorno. Barcelona: Universidad Autónoma de Barcelona, 2017.
  19. —. «Tiempo Y Espacio en el cruce entre filosofía y música en el pensamiento de Theodor W. Adorno en la década de 1960.» Agora. Papeles De Filosofía 38.2 (2019): 45-69.
  20. Metzger, Heinz-Klaus. «"Das Altern der Philosophie der neuen Musik".» Metzger, Heinz-Klaus. Musik wozu. Literatur zu Noten. Frankfurt a. M.: Suhrkamp, 1980. 61-89.
  21. Schönberg, Arnold. El estilo y la idea. Madrid: Taurus, 1963.
  22. Thomas, Ernst, ed. Form in Der Neuen Musik. Mainz: Schott, 1966.
  23. Zenck, Martin. «Ausirkungen einer "Musique Informelle" auf die neue Musik. Zu Theodor W. Adornos Formvorstellung.» International Review of the Aesthetics and Sociology of Music 10.2 (1979): 137-165.

Downloads

Download data is not yet available.