Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writings
Autor(a) principal: | |
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Data de Publicação: | 2022 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Artefilosofia |
Texto Completo: | https://periodicos.ufop.br/raf/article/view/5200 |
Resumo: | In this paper we try to claim that the obsolescence of Adorno's philosophy of music, diagnosed in an exemplary way by the second generation of Critical Theory in the Adorno Konferenz of 1983, is problematic because it is based on a partial reading of Adorno's musical writings, one that fixes the conception of musical material presented on the Philosophy of New Music (1949) as a paradigm for the whole of the philosopher's work. In order to support such hypothesis, we first reconstruct the main objections raised by Albrecht Wellmer and Peter Bürger in the aforementioned conference and then confront them with reflections present in Adorno's later musical writings. In this confrontation, we seek to highlight that the limitations pointed out by the authors are, rather, the result of the partiality of their reading paradigm itself, whose overcoming would allow a renewed view on the potentials of Adorno's critical theory of music for the present. |
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Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writingsObsolescência da categoria de material musical? : Uma resposta à segunda geração da Teoria Crítica a partir dos escritos musicais tardios de AdornoTheodor W. AdornoCritical TheoryPhilosophy of musicmusical materialTheodor W. AdornoTeoria Críticafilosofia da músicamaterial musicalIn this paper we try to claim that the obsolescence of Adorno's philosophy of music, diagnosed in an exemplary way by the second generation of Critical Theory in the Adorno Konferenz of 1983, is problematic because it is based on a partial reading of Adorno's musical writings, one that fixes the conception of musical material presented on the Philosophy of New Music (1949) as a paradigm for the whole of the philosopher's work. In order to support such hypothesis, we first reconstruct the main objections raised by Albrecht Wellmer and Peter Bürger in the aforementioned conference and then confront them with reflections present in Adorno's later musical writings. In this confrontation, we seek to highlight that the limitations pointed out by the authors are, rather, the result of the partiality of their reading paradigm itself, whose overcoming would allow a renewed view on the potentials of Adorno's critical theory of music for the present.No presente artigo procuramos sustentar a hipótese de que a obsolescência da filosofia da música de Adorno, diagnosticada de modo exemplar pela segunda geração da Teoria Crítica na Adorno Konferenz de 1983, é problemática, pois se fundamenta numa leitura parcial dos escritos musicais adornianos, fixando uma concepção de material musical centrada na Filosofia da nova música (1949) como paradigma de leitura para toda a obra do filósofo. De modo a sustentar tal hipótese, partiremos de uma reconstrução das principais objeções levantadas por Albrecht Wellmer e Peter Bürger na referida conferência para, em seguida, confrontá-las com reflexões presentes nos escritos musicais tardios de Adorno. Nesse confronto, buscamos evidenciar que as limitações apontadas pelos autores com relação à categoria de material musical são, antes, o resultado da parcialidade do próprio paradigma de leitura da Filosofia da nova música, cuja superação permitiria um olhar renovado sobre os potenciais da teoria crítica da música de Adorno para o presente.Universidade Federal de Ouro Preto2022-05-15info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufop.br/raf/article/view/5200Artefilosofia; v. 17 n. 32 (2022): DOSSIÊ O CONCEITO DE MATERIAL MUSICAL: DEFINIÇÕES E NARRATIVAS POSSÍVEIS; 144-162Artefilosofia; Vol. 17 No. 32 (2022): The concept of musical material: definitions and possible narratives; 144-1622526-78921809-8274reponame:Artefilosofiainstname:Universidade Federal de Ouro Preto (UFOP)instacron:UFOPporhttps://periodicos.ufop.br/raf/article/view/5200/4065Copyright (c) 2022 Ricardo Ribeiro Lira da Silvahttp://creativecommons.org/licenses/by-nc-sa/4.0info:eu-repo/semantics/openAccessRibeiro Lira da Silva, Ricardo2022-05-16T15:01:52Zoai:pp.www.periodicos.ufop.br:article/5200Revistahttps://periodicos.ufop.br/raf/PUBhttps://periodicos.ufop.br/raf/oaiartefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br1809-82742526-7892opendoar:2022-05-16T15:01:52Artefilosofia - Universidade Federal de Ouro Preto (UFOP)false |
dc.title.none.fl_str_mv |
Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writings Obsolescência da categoria de material musical? : Uma resposta à segunda geração da Teoria Crítica a partir dos escritos musicais tardios de Adorno |
title |
Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writings |
spellingShingle |
Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writings Ribeiro Lira da Silva, Ricardo Theodor W. Adorno Critical Theory Philosophy of music musical material Theodor W. Adorno Teoria Crítica filosofia da música material musical |
title_short |
Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writings |
title_full |
Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writings |
title_fullStr |
Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writings |
title_full_unstemmed |
Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writings |
title_sort |
Obsolescence of the category of musical material? The objections to Adorno's philosophy of music by the second generation of Critical Theory and a possible response through his late musical writings |
author |
Ribeiro Lira da Silva, Ricardo |
author_facet |
Ribeiro Lira da Silva, Ricardo |
author_role |
author |
dc.contributor.author.fl_str_mv |
Ribeiro Lira da Silva, Ricardo |
dc.subject.por.fl_str_mv |
Theodor W. Adorno Critical Theory Philosophy of music musical material Theodor W. Adorno Teoria Crítica filosofia da música material musical |
topic |
Theodor W. Adorno Critical Theory Philosophy of music musical material Theodor W. Adorno Teoria Crítica filosofia da música material musical |
description |
In this paper we try to claim that the obsolescence of Adorno's philosophy of music, diagnosed in an exemplary way by the second generation of Critical Theory in the Adorno Konferenz of 1983, is problematic because it is based on a partial reading of Adorno's musical writings, one that fixes the conception of musical material presented on the Philosophy of New Music (1949) as a paradigm for the whole of the philosopher's work. In order to support such hypothesis, we first reconstruct the main objections raised by Albrecht Wellmer and Peter Bürger in the aforementioned conference and then confront them with reflections present in Adorno's later musical writings. In this confrontation, we seek to highlight that the limitations pointed out by the authors are, rather, the result of the partiality of their reading paradigm itself, whose overcoming would allow a renewed view on the potentials of Adorno's critical theory of music for the present. |
publishDate |
2022 |
dc.date.none.fl_str_mv |
2022-05-15 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufop.br/raf/article/view/5200 |
url |
https://periodicos.ufop.br/raf/article/view/5200 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufop.br/raf/article/view/5200/4065 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2022 Ricardo Ribeiro Lira da Silva http://creativecommons.org/licenses/by-nc-sa/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2022 Ricardo Ribeiro Lira da Silva http://creativecommons.org/licenses/by-nc-sa/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Ouro Preto |
publisher.none.fl_str_mv |
Universidade Federal de Ouro Preto |
dc.source.none.fl_str_mv |
Artefilosofia; v. 17 n. 32 (2022): DOSSIÊ O CONCEITO DE MATERIAL MUSICAL: DEFINIÇÕES E NARRATIVAS POSSÍVEIS; 144-162 Artefilosofia; Vol. 17 No. 32 (2022): The concept of musical material: definitions and possible narratives; 144-162 2526-7892 1809-8274 reponame:Artefilosofia instname:Universidade Federal de Ouro Preto (UFOP) instacron:UFOP |
instname_str |
Universidade Federal de Ouro Preto (UFOP) |
instacron_str |
UFOP |
institution |
UFOP |
reponame_str |
Artefilosofia |
collection |
Artefilosofia |
repository.name.fl_str_mv |
Artefilosofia - Universidade Federal de Ouro Preto (UFOP) |
repository.mail.fl_str_mv |
artefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br |
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