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Identities of Serbian music in world cultural context

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info:eu-repo/grantAgreement/MESTD/Basic Research (BR or ON)/177019/RS//

Identities of Serbian music in world cultural context (en)
Идентитети српске музике у светском културном контексту (sr)
Identiteti srpske muzike u svetskom kulturnom kontekstu (sr_RS)
Authors

Publications

Šubert i Betoven – Adornovi prvobitni antipodi muzike građanske epohe

Milidrag, Predrag; Jeremić Molnar, Dragana; Molnar, Aleksandar

(2012)

TY  - JOUR
AU  - Jeremić Molnar, Dragana
AU  - Molnar, Aleksandar
PY  - 2012
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/612
AB  - In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes – Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Schönberg and the 20th century music avant-gardism, Adorno was, in his works prior to his exile from Germany (1934), intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, fascinated by the “practical reason” and the mission to rise up and reach the stars, Schubert wanted none of it (almost anticipating the failure of the whole revolutionary project). Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the “negative dialectics” of Schönberg and 20th century music avant-gardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis.
T2  - Filozofija i društvo
T1  - Šubert i Betoven – Adornovi prvobitni antipodi muzike građanske epohe
T1  - Schubert and Beethoven – Adorno’s Early Antipodes of the Music in Bourgeois Epoch
SP  - 221
EP  - 236
DO  - 10.2298/FID1203221J
ER  - 
@article{
editor = "Milidrag, Predrag",
author = "Jeremić Molnar, Dragana and Molnar, Aleksandar",
year = "2012",
url = "http://rifdt.instifdt.bg.ac.rs/123456789/612",
abstract = "In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes – Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Schönberg and the 20th century music avant-gardism, Adorno was, in his works prior to his exile from Germany (1934), intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, fascinated by the “practical reason” and the mission to rise up and reach the stars, Schubert wanted none of it (almost anticipating the failure of the whole revolutionary project). Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the “negative dialectics” of Schönberg and 20th century music avant-gardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis.",
journal = "Filozofija i društvo",
title = "Šubert i Betoven – Adornovi prvobitni antipodi muzike građanske epohe, Schubert and Beethoven – Adorno’s Early Antipodes of the Music in Bourgeois Epoch",
pages = "221-236",
doi = "10.2298/FID1203221J"
}