서양판 율려철학자(?), 당나귀 귀 가진 테오도르 아도르노의《신음악의 철학》, 《The sacred and the profane》

[석수]

The sacred and the profane
신성한 사람들 그리고 불경한 사람들

https://youtu.be/7_tVf5kUH70?si=W0kDhITHtPo4jYlC

《신음악의 철학》
Philosophy of New Music


Description

In this classic work of music theory Adorno critiques two major composers, Arnold Schoenberg and Igor Stravinsky, who he presents as dialectically opposed to one another in terms of their musical styles, techniques and directions.


Adorno's readings, especially of Schoenberg, continue to cause controversy and disagreement among musicians, music lovers and philosophers today.

As always with Adorno, a wide range of social cultural, philosophical and political questions are raised in the process of his critique making the reader see the form and function of music in startling new ways.

The book also covers other renowned composers including Wagner, Bach and Mozart.


This is landmark work of philosophy that has shaped the way we think about music today.

"New Music's philosophy" primarily refers to Theodor W. Adorno's Philosophy of New Music, which uses avant-garde music as a lens to critique society, and argues that the autonomy of music is a form of resistance against the culture industry.


In a broader sense, "new music philosophy" can also relate to philosophical inquiries into the nature of modern and contemporary music, its structure, and its meaning, often contrasting it with tradition and examining its social function.



Philosophy of New Music (Adorno)

Context: Written in post-WWII Europe, Adorno's work is a response to the social and cultural climate of the time.

Central argument: The philosophy argues that the compositional techniques of composers like Schoenberg and Stravinsky represent the struggle between human emancipation and barbarism in culture.

Critique of culture industry: Adorno believed the "culture industry" reduces audiences to passive consumers, and saw avant-garde music as a rare form of resistance because of its autonomous, non-functional nature.

Atonal music's resistance: The social value of atonal music, in this view, comes from its lack of easy accessibility and its "offensiveness," as it resists the total control and standardization of the industry.

Broader philosophical approaches to new music
Analysis of musical elements: One approach is to treat music itself as a philosophical object, analyzing its elements like harmony, rhythm, and structure to understand how it creates meaning.

Music's relationship to reality: Some philosophical views see music as a way to access a reality beyond words and conceptual thought, acting as a form of non-verbal experience or a "mind balancer".

Evolutionary philosophy of music: This approach examines the origins of music in human history and individual development, posing questions about why music persists and how we come to understand and produce it.
Music as a life philosophy: Another perspective views music not just as an art form, but as a source of life lessons, including creativity, discipline, collaboration, and living in the present moment.


＜신음악 Neue Musik＞ : 제1차 세계대전 후의 음악


서양판 율려철학자, 아도르노

T.아도르노는 그의 저서 《신음악의 철학》에서, 20세기 전반(前半)의 음악에 있어 주요한 조류로 쇤베르크와 스트라빈스키의 음악을 꼽고 있다.



아도르노에 있어 대중음악이란

특정한 음악적 표현의 성공은 상업적 목적으로 함몰되어 전체와 부분의 유기적 관계는 사라지고 기계적으로 ‘표준화’되어 표준화된 음악들을 생산해낸다.

대중음악은 ‘수동적’ 음악감상만을 조장한다. 일상의 수동적인 도피의 대비책으로 일회성 소비의 목적을 가진다. 그렇기에 단조롭고 건조한 문화소비의 습관을 조장한다.

대중음악은 현실 세계에서 일어나는 억압이나 착취에 대한 대중의 시선을 자신들에게 돌리게 함으로써 사회의 현상을 단단하게 유지하는 데에 ‘사회적 접착제’역할을 한다.


《신음악의 철학》은 독일의 철학자이자 음악학자인 테오도르 W. 아도르노가 쓴 책입니다.

이 책은 20세기 전반부의 음악, 특히 쇤베르크와 스트라빈스키의 음악을 분석하며, 당대의 음악사적 조류를 고찰한 중요한 작품입니다.

저자: 테오도르 W. 아도르노 (Theodor W. Adorno)
내용: 20세기 전반부의 음악사를 쇤베르크와 스트라빈스키를 중심으로 분석하고, 현대 음악의 철학적 의미를 탐구합니다.

특징: 아도르노는 철학자이기 이전에 음악 비평가로도 활동했으며, 《신음악의 철학》은 그의 음악 비평과 사회 이론이 결합된 중요한 저작으로 평가받습니다.