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首页 阿多诺 论音乐 Adorno - Essays On Music

阿多诺 论音乐 Adorno - Essays On Music.pdf

阿多诺 论音乐 Adorno - Essays On Music

红日0809
2009-06-08 0人阅读 举报 0 0 暂无简介

简介:本文档为《阿多诺 论音乐 Adorno - Essays On Musicpdf》,可适用于人文社科领域

essaysonMUSICSELECTED,WITHINTRODUCTION,COMMENTARY,ANDNOTESBYrichardleppertNEWTRANSLATIONSBYSUSANHGILLESPIEtheodorwADORNOOntheSocialSituationofMusicthisismadepossiblethroughorganizationsofartistsamongthemselveswhoarehardlycapableofbearingtheeconomicburdenorthroughinternationalmeetingsofpoliticalflavorthatprovefictiveintermsbothofthepositiontakenbytheindividualnationstowardcurrentmusicalproductionandoftheirinterestin"spiritualexchange,"andwhosecontributioncannolongerbepredictedSuchmeetings,byclingingliberalisticallytothefunctionofconsumptionand"exchange"foreconomicreasons,havesacrificedanymutuallybindingeffectorresponsibilitythroughthecompromisesinvolvedinthepoliticsoftheirprogram,evenfromtheperspectiveofmusicalimmanenceTheconsumers'consciousnessofofficialmusicallifecannotbereducedtoanysimpleformulaAnycommentupontheideologicalcharacterofbourgeoismusicalconsumptiondemandsexplanationItisincorrecttobelievethatnoactualneedliesatthebasisoftheconsumptionofmusicasthoughallmusicallifewerenothingbutsometypeofresoundingculturalbackdrop,erectedbybourgeoissocietyfortheconcealmentofitsowntruepurposes,whileitsauthentic,economicpoliticallifetakesplaceoffstageRegardlessofthedegreetowhichmusicallifeassimilatessuchfunctionsandnomatterhowgreatitsshareintherepresentationofthespecifically"social,"namely,inmattersdivorcedfromactualmusicalneeds,thesefactorsalonedonotofferthecompletepictureItisratherthattheideologicalpowerofmusicalconsumptionisallthegreater,thelessitistransparentasmereillusionandasathinsurfaceglossandthemorepreciselyitcommunicatesintermsoftrueneeds,doingso,however,insuchawaythata"falseconsciousness"istheresultandthattheactualsocialsituationishiddenfromtheconsumerTheneedformusicispresentinbourgeoissocietyandthisneedincreaseswiththeproblematicsocialconditionsthatcausetheindividualtoseeksatisfactionbeyondimmediatesocialreality,whichdenieshimthissatisfactionThissatisfactionis"ideologically"providedbymusicallifethroughitsacceptanceofthebourgeoistendencydialecticallyproducedtofleefromsocialrealityandtoreinterpretthisrealityforthembyprovidingthemwithcontentswhichsocialrealityneverpossessedoratbestlostlongagoTheclingingtothesecontentsinvolvestheobjectiveintentionofthwartingchangewithinsociety,whichwouldnecessarilyunmaskthetrueidentityofthesecontentsTheideologicalessenceof"musicallife"isitsabilitytosatisfytheneedsofthebourgeoisieadequatelybuttodosobymeansofaformofsatisfactionwhichacceptsandstabilizestheexistingconsciousness,ratherthanrevealingthroughitsownformsocialcontradictions,translatingthemintoformandcognitionregardingthestructureofsocietyWhenNietzscheMusicandMassCulturecondemnedthe"intoxication"whichmusicproducesasanunproductiveintoxication,incapableofactivation,impureanddangerous,hecorrectlyrecognizedtherelationbetweenthesatisfactionofneedsandideologicalobscurementthebasiclawofbourgeoismusicalpracticesandfurtheridentifiedtheunconsciousasthesettingofthatrelationHeachievedthisdespitethedoubtfulnessofhiscategoriesandtheunconditionalorientationofhismusicalconceptsintermsoftheworkofWagnerTheassociationofthebourgeoisiewithmusictakesplaceundertheprotectionoftheunconscious:the"legal"associationwithin"musicallife"and,toagreaterdegree,the"illegal"within"lightmusic"Theunconsciousnessoftherelationsimultaneouslyguaranteesthefetishcharacterofmusicobjectsreverence,projectedratherdistortedlyfromthetheologicalrealmintotheaesthetic,forbidsanyconscious"analyzing"concernwithmusic,thecomprehensionofwhichisreservedfor"feeling":theuncontrollabilityoftheprivatebourgeoismannerofreactiontomusiccorrespondstothefetishlikeisolationofthemusicalstructureitselfEverytechnologicalreflectionwhichmightilluminatesomethingofthesocialfunctionofmusicalongwithanexplanationofitsformalaspectsisrefusedinthenameoffeelingatthesametime,knowledgeofgeneralandmeaninglessconceptsofstyleispromotedinthenameofeducationReverenceandfeelingclingtothecelebritiesofthepast,beforewhomallcriticismgrowssilentandinwhomthebourgeoisielovestoaffirmitsownoriginsandthesourceofallheroismToday,sinceapologyistheprimaryobligationofofficialmusicalcultureinrationalizedsociety,equaluseismadeofbourgeoisrevolutionaryobjectivity"classicism"andresignedbourgeoissubjectivity"romanticism"theglorificationofthevictoryofbourgeoisratioaswellasthesufferingoftheindividualunderthesoledominationofthisratioistheobjectofbourgeoismusicallife,expressedinitscanonicalworkstheambivalenceofafeelingwhichfindsequalsatisfactioninclassicismandromanticismistheambivalenceofthebourgeoisietowarditsownratioBeyondthetensionbetweenrationallyconstitutedobjectivityandirrationallyemphasized,privateinwardness,thebourgeoisieregistersthephasesofitsascenttotheheightsofcapitalismin"musicallife"InDieMeistersinger,oneofthemostinformativeand,notwithoutreason,sociallypopularofallworks,thethemeistheascentofthebourgeoisentrepreneurandhis"nationalliberal"reconciliationwithfeudalisminatypeofdreamdisplacementThedreamwishoftheentrepreneurwhohasarrivedeconomicallymakesitpossiblethatnotheisreceivedbythefeudallord,butratherthefeudallordbytherichbourgeoisthedreamerisnotthebourgeois,buttheJunker,whosedreamsongsimultaneouslyreOntheSocialSituationofMusicestablisheslost,precapitalisticimmediacyincontrasttotherationalsystemofrulesdevelopedbythebourgeois"master"Thesufferingofthebourgeoisindividualunderhisown,andatthesametime,isolatedreality,theTristansideofDieMeistersinger,isunitedinhatredofthepetitbourgeoisBeckmesserwiththeconsciousnessoftheentrepreneurwhoseinterestisworldwideeconomicexpansionTheentrepreneurhasexperiencedexistingconditionsofproductionasfettersupontheforcesofproductionandperhapsalreadylongsformonopolyinplaceoffreecompetition,intheromanticimageofthefeudallordOntheFestivalMeadowinActIIIoftheopera,competitionisactuallynolongerpresentonlyaparodythereofisofferedintheconfrontationbetweentheJunkerWaltherandBeckmesserIntheaesthetictriumphofHansSachsandtheJunker,balanceisachievedbetweentheidealsoftheprivateerandtheexporterintheirstrugglewitheachotherInRichardStrauss,thelastsignificantbourgeoiscomposerwhosemusicisconsumedbythebourgeoisie,internationaleconomicsasErnstBlochwasthefirsttorecognizehaveattainedtheupperhandInwardnessandpessimismhavebeenliquidated"Ardor"asthespiritoftheentrepreneuremancipatesitselfChromaticismanddissonance,previouslymeansofliberationforbourgeoismusicfromanestablished,irrationalsystemandvehicleforadialecticwhichattacksandtransformsthematerialofmusic,losetheirrevolutionarydialecticalforceandbecome,likeexoticismandperversityinthesubjectmatter,themereemblemofworldwideeconomicmaneuverabilitytechnically,theyarearbitrarilyrelatedasthoughtheywereinkblotswhichatanymomentcanbeliquidatedbythehealthyoptimismofthesixfourchordThematerialwhichfinallyemergesinStrauss'smusicistoadegreetheprimalmaterialofallbourgeoismusic,diatonictonal,towhichthebourgeoisie,inspiteofallchangesinstructure,clingsintruthasfaithfullyasitdoestotheprinciplesofprofitandinterestInStraussthismakesitsappearancewithsomecynicismbysubordinatingtoitselfsuchforeignmarketsasliterature,theOrient,antiquityandtheeighteenthcenturyThereisasharpdivergencebetweenStrauss'softenandverboselypraised"technicalsophistication,"namely,asophisticationimposedfromwithoutandnotimmanenttothematerial,intendedforthearbitraryandactuallyirrational"domination"oftheapparatusandanhistoricallyinnocent,harmlessandjovialmusicalsubstancethisdivergenceisnotonlyquitesuitabletotheempiricalstateofconsciousnessoftheupperbourgeoisindustrialentrepreneuraround,itfurtherdenoteswithclaritytheselfestrangementofthebourgeoisiefromitsownratio,whichitmustintensifyandcurbsimultaneouslyNonetheless,withinthepostWagnerianmusicalsituation,throughMusicandMassCulturethesocialdevelopmentandtheimmanentdialecticofWagner'swork,thealienationofmusicalmaterialfromsocietyhasadvancedtosuchadegreethataproductiveforcesuchasthatofStrausscouldnotsimplyandunconditionallyignorethematerialdemandsandadaptitselftosocietyTobesure,inhisbestworksSalomeandElektrathedivergenceisalreadyindicatedinthemusicofJohntheBaptistandintheentirefinalsectionofElektrabanalityisdominant,butatthebeginningofSalome,inElektra'smonologueandinherscenewithKlytemnestra,hiscompositionalmaterialdeclaresasitwereitsindependenceandadvances,againstitswill,totheveryboundaryofthetonalrealmThisboundaryisalsotheboundaryofconsumption:inthefaceofbothworks,theaudiencewasshockedbybothmusicandcontentandconsequentlydeniedthem,ifnotthestagesofalloperahouses,atleastasecureplaceintherepertoryThisaudiencedrewthelineofitstolerancewithStraussandthisline,inturn,affectedhislaterworkBut,inanothersense,StraussdrewthelinehimselfOfallthecomposersofthebourgeoisie,hewasperhapsthemostclassconsciousDerRosenkavalierwashisgreatestsuccessandinitthedialecticofmaterialisinvalidatedfromwithoutThediatoniciscleansedofalldangerousfermatas,andOctavian,theyoungmanofgoodfamily,atrouserrole,totopitoff,ismarriedtothedaughterofnewlyennobledwealth,whiletheMarschallin,simultaneouslytheheirofHansSachsandIsolde,hasallthedifficultyandfindsconsolationonlyintheabstractconsciousnessoftransitorinessWiththisintellectualsacrificetoconsumerconsciousness,Strauss'sproductivepowerisextinguished:everythingthatfollowsRosenkavalieriseitherappliedorcommercialartthebreakbetweenproductionandconsumptiontowhichStraussfellvictimasaproducerfirsttookonextremeformonlyinGermanyInFrance,wheretheprocessofindustrializationwaslessfaradvanced,thusexpressingwithinitselftheantinomiesofbourgeoisorderlessradically,bothremaininharmonyforalongertimeThebourgeoisiewhichwasinterestedinmusichadextensivefreetimeatitsdisposaland,trainedbythepaintingofimpressionism,itwasabletofollowthemovementfurthermusic,notyetisolatedandnotdialecticalwithinitselfbyvirtueofitspolemicpositiontowardsociety,couldsublimatethemeansofthissocietywithinitselfwithoutmakingasubstantialattackuponsocietyEvenDebussy,anautonomousartistliketheimpressionistpainters,whosetechnologyhetransposesintomusic,cantakewithhimintohishighlyfastidiousartisticmethodelementsofbourgeoisculinarymusicandevenofsalonmusicintermsofsoundandmelodyOfcourse,justasinStrauss,thediatonicemergesinDebussy,toobarrenandarchaicThishappensinhistheoryaswellinthedogma

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阿多诺 论音乐 Adorno - Essays On Music

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