Schönberg has established a technique of composition that completes the submission of nature (that of his case) to reason, not only by breaking the power of enchantment of the first through the calculation, but even more by making convergent and synthetic music dimensions independently developed so far: counterpoint, melody, harmony, orchestration, form (p.62). The alleged success of the synthesis follows that the twelve-tone (the transformation of an initial series of twelve non-repeated sounds) is "truly the destiny" of music (p.77).
Stravinsky, in contrast, follows the slope of primitivism, of regression to the ancestral power of myth. Orientation and realizes that does not discover both the progress that unsurpassable premise of all music: the collective rituals (dance and worship) (p.28); and through them, the empire gestures, face-to-face, and speech (p.121).
What advantage especially in view Schönberg defended his election here is loneliness and anxiety as expressivist theme background. Even refusing to make psycho-sociological reading, the composer of Die Hand glückliche revealed in the loneliness and helplessness of the individual product and collective fate of managed industrial companies (p.57-58).
This is, and this trait is often (though ironically) overlooked an exercise in dialectical thinking, not only to the previous level (embracing unity of the two opposite orientations), but also to junior level, where, I seems, the dialectic of negativity shines with more evidence.
Indeed, it is inside of the two portraits is exercised clearer perspective mistress already encamped in a book with Horkeimer-time (The dialectic of reason, original edition 1944). Recall that the book's strength line is that emancipatory reason destroyed its concrete conditions of implementation as it advances, extending the myth that fight and that it wants to dominate nature to fight and dominate the holder itself (according to the famous formula: the dominance of objects by subjects becomes domination topics such objects).
In this case, and this is considered a severe criticism, the system falls Schönberg, Adorno writes in this negative dialectic by imposing the technical rules with the same obstinacy encompassing a superstition (such as astrology, p . 75). The intuition that gave birth to the rules (including rules were drawn) has succumbed to them as a relentless second nature (p.76); moreover, the domination of its submission by the calculation is obtained at the expense of meaning.
In an idea which renews (while lowering it seems) this charge, Stravinsky does not recover as authentic by the collective subjectivity englobement, it proceeds from the certainty of the emptiness of the modern subject (p. 155-156). Reflecting archaism at an angle greater than therapeutic parody towards this emptiness (preserved triumphant), a Rite of Spring would be the inevitable acceptance of what it seems (would) want to save us.
Does it follow that Stravinsky is closer than Schönberg achieve the Hegelian idea (which provides a premise for the book) that art is journey of the spirit to its truth, with the affirmation of its independence compared to the forms of expression of superstition surrounded and powers itself of old? I am inclined to believe, especially as Stravinsky (Stravinsky Adorno) operates a unique synthesis between res unsurpassable premise of all music ("collective practices of worship and dance" p.28) and discovery seemingly inexorable vacuum, otherwise consciousness emancipated, at least the refusal to force ("negative energy") where it is watered and with which it ends up confusing her.
The style of Adorno makes reading the book occasionally painful. The haste and urgency that inhabit give us the impression of a work conceived in reality as a single sentence (with an exclamation point in coda). For anyone who does not forge a solid summary of Adorno's line of argument, the argument quickly takes a form of "bad infinity", failing to systematicity to which it claims, and referring the explanandum A to B the explanandum , itself connected to the explanandum C, and so on in a chain with no discernible end (leaving only elements to explain).
He is best allowed to appoint inconsistencies inconsistencies with Adorno as with anyone who does not have the authority and depth of his musical judgment.
Music new password negation of society become fully organized and administered (p.30) - Injection denial of a maximum of dissonance - the denial of a totally disordered society ("social chaos") claiming attain freedom human - denial, abandoning all illusion of harmony (p.140).
She goes completely administered and totally disorganized. Or is the simultaneous? ...
The fifty years of decline we have over Schönberg, Stravinsky and their time to clear their opposition to a unit they have promoted more convincing than those of Adorno analyzes? Clearer identities than those achieved at the end of its review (p. 80)?
I can not say beyond (1) the assumption that all (or nearly so) have abandoned the historical determinism that weapon (continuous arming) Adorno certain statements; and (2) the recommendation to NOT believe in depletion of synthesis efforts we offering views (at least views blanks) overview of the evolution of contemporary music (new, current, news, etc. .). Which is comforting when one knows the degree reached or conquered in eclecticism and normative self-referentiality (would be valid to judge a work that the standards laid immanently by this work). No synthesis, no salvation.
