By Robert Winston Witkin
Adorno is among the prime cultural thinkers of the 20th century. this can be the 1st particular account of Adorno's texts on track from a sociological point of view. In transparent, non-technical language, Robert Witkin courses the reader throughout the complexities of Adorno's argument concerning the hyperlink among tune and morality and among musical works and social constitution. It was once principally via those works Adorno proven the suitable of the humanities to be said as an ethical and important strength within the improvement of a latest society. by means of improving them for non-musicologists, Witkin provides immeasurably to our appreciation of this colossal of twentieth-century concept
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Extra info for Adorno on Music
Szondi's theorising of what he calls the 'drama of modernity', which came into being in the Renaissance, seeks to identify it in terms of a clear set of structural characteristics. These can be seen to echo those established in the other arts, in painting, music and architecture, for example. However, in drama there is a more direct and obvious simulation of social action. Writers have frequently used theatre as a metaphor for social life and sociologists have appropriated its terminology to describe social life.
The body of the individual and its 'needs' come to assume a special significance in the instrumentalisation of all life. The body can be made to 'feel', to register the implosive force of a stimulus. In contrast, true sociality is always expressive . It is the spark of reciprocity through which the subject, immersed in social relations, brings social life bodying forth 'from within'. Instrumentalism reverses the direction of force in the sensuous life; it delivers the subject into the power of a totalitarian and external collective; it is de-sociating and, as such, reduces the sensuous life of the individual to a 'manufactured' affectivity - that is, to an abstract subjectivity.
When Adorno rails against the products of the culture industry, against jazz and popular music, he is thinking of them in some such relationship to the individual, as manifestations of objective and external force, as oriented to the bringing about of affects in the body of the subject and as undermining the subject at the level of the latter's expressive agency. 24 M USICA MORALIA Nominalist philosophies and individuated societies The line of social development in Adorno's sociology is consistent with the dominant ideas of classical sociology.
Adorno on Music by Robert Winston Witkin