Šubert i Betoven – Adornovi prvobitni antipodi muzike građanske epohe
Schubert and Beethoven – Adorno’s Early Antipodes of the Music in Bourgeois Epoch
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 mu...sic avant-gardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis.
Keywords:
bourgeois epoch / music / Arnold Schönberg / Ludwig van Beethoven / Franz SchubertSource:
Filozofija i društvo/Philosophy and Society, 2012, 221-236Funding / projects:
- Identities of Serbian music in world cultural context (RS-177019)
- Challenges of New Social Integration in Serbia: Concepts and Actors (RS-179035)
Institution/Community
IFDTTY - 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/Philosophy and Society 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", 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/Philosophy and Society", 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" }
Milidrag, P., Jeremić Molnar, D.,& Molnar, A.. (2012). Šubert i Betoven – Adornovi prvobitni antipodi muzike građanske epohe. in Filozofija i društvo/Philosophy and Society, 221-236. https://doi.org/10.2298/FID1203221J
Milidrag P, Jeremić Molnar D, Molnar A. Šubert i Betoven – Adornovi prvobitni antipodi muzike građanske epohe. in Filozofija i društvo/Philosophy and Society. 2012;:221-236. doi:10.2298/FID1203221J .
Milidrag, Predrag, Jeremić Molnar, Dragana, Molnar, Aleksandar, "Šubert i Betoven – Adornovi prvobitni antipodi muzike građanske epohe" in Filozofija i društvo/Philosophy and Society (2012):221-236, https://doi.org/10.2298/FID1203221J . .