The similarity of music with language according to Theodor Adorno: different meanings of the concept based on traditional music and new music
DOI:
https://doi.org/10.11606/issn.2318-9800.v26i3p13-26Keywords:
Adorno, Traditional music, New music, Complex of meaning, SimilarityAbstract
This article investigates the conception of similarity between music and language in Adorno's musical aesthetics. Starting with a description and historical grounding of the concept, the main objective of this article is to defend that the concept is conceived in a specific way in traditional music (tonal system), on the one hand, and in new music, on the other hand. Therefore, we will argue that although the new music has rebelled against the concept, it would remain present in its structure, because, in the final analysis, it is a condition for the constitution of a fundamental element of music, namely, the complex of meaning.
Downloads
References
Adorno, T. (1997a). Das Altern der neuen Musik. In: _____. Gesammelte Schriften 14: Dissonanzen. Einleitung in die Musiksoziologie (pp. 143-167). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997b). Die Funktion des Kontrapunkts in der neuen Musik. In: _____. Gesammelte Schriften 16: Musikalische Schriften I-III (pp. 145-169). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997c). Form in der neuen Musik. In: _____. Gesammelte Schriften 16: Musikalische Schriften I-III (pp. 607-627). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997d). Klassik, Romantik, Neue Musik. In: _____. Gesammelte Schriften 16: Musikalische Schriften I-III (pp. 126-144). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997e). Kriterien der neuen Musik. In: _____. Gesammelte Schriften 16: Musikalische Schriften I-III (pp. 170-228). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997f). Musik, Sprache und ihr Verhältnis im gegenwärtigen Komponieren. In: _____. Gesammelte Schriften 16: Musikalische Schriften I-III (pp. 649-664). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997g). Neue Musik heute. In: _____. Gesammelte Schriften 18: Musikalische Schriften V (pp. 124-133). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997h). Schiwierigkeiten: II. In der Auffassung neuer Musik. In: _____. Gesammelte Schriften 17: Musikalische Schriften IV (pp. 273-291). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997i). Über das gegenwärtige Verhältnis von Philosophie und Musik. In: _____. Gesammelte Schriften 18: Musikalische Schriften V (pp. 149-176). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997j). Über einige Relationen zwischen Musik und Malerei. In: _____. Gesammelte Schriften 16: Musikalische Schriften I-III (pp. 628-642). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997k). Warum ist die neue Kunst so schwer verständlich? In: _____. Gesammelte Schriften 18: Musikalische Schriften V (pp.824-831). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (1997l). Zum Verhältnis von Malerei und Musik heute. In: ______. Gesammelte Schriften 18: Musikalische Schriften V (pp. 140-148). Frankfurt am Main: Suhrkamp Verlag.
Adorno, T. (2001). Zu einer Theorie der musikalischen Reproduktion: Aufzeichnungen, ein Entwurf und zwei Schemata. Frankfurt am Main: Suhrkamp.
Adorno, T. (2008). Teoria Estética. Trad. Artur Morão. Lisboa: Edições 70.
Adorno, T. (2011). Filosofia da Nova Música. Trad. Magda França. São Paulo: Perspectiva.
Adorno, T. (2017). Introdução a Sociologia da Música: doze preleções teóricas. Trad. Fernando R. de Moraes Barros. 2ª ed. São Paulo: Editora Unesp.
Adorno, T. (2018a). Fragmento sobre Música e Linguagem. In: ______. Quase una Fantasia: Escritos Musicais II (pp. 35-42). Trad. Eduardo Socha. São Paulo: Editora Unesp.
Adorno, T. (2018b). Vers une musique informelle. In: ______. Quase una Fantasia: Escritos Musicais II (pp. 375-442). Trad. Eduardo Socha. São Paulo: Editora Unesp.
Barbosa, R. (2020). Zur Dialektik von Musik und Sprache: die Sprachähnlichkeit der Musik nach Adorno. Musik & Ästhetik, Bd 93, 42-57. URL: https://www. musikundaesthetik.de/article/99.120205/mu-24-1-42
Duarte, R. (2014). Sobre o conceito de ‘pseudomorfose’ em Theodor Adorno. In: ______. Varia aesthetica: ensaios sobre arte e sociedade (pp. 237-254). Belo Horizonte: Relicário.
Hindrichs, G. (2019). Der Fortschritt des Materials. In: Klein, R.; Kreuzer, J; MüllerDoohm, S. (Orgs.). Adorno-Handbuch (pp. 59-70). 2ª ed. Berlin: J.B. Metzler.
Hogh, P. (2020). Sprachähnlichkeit der Musik, Musikähnlichkeit der Sprache: eine Lücke in Adornos Musikästhetik. Musik & Ästhetik, Bd 93, 58–78. URL: https:// www.musikundaesthetik.de/article/99.120205/mu-24-1-58
Kreis, G. (2019). Der philosophische Kritik der musikalischen Werke. In: Klein, R.; Kreuzer, J; Müller-Doohm, S. (Orgs.). Adorno-Handbuch (pp. 85-96). 2ª ed. Berlin: J.B. Metzler.
Linke, C. (2019). Kritik der seriellen Musik. In: Klein, R.; Kreuzer, J; Müller-Doohm, S. (Orgs.). Adorno-Handbuch (pp. 206-213). 2ª ed. Berlin: J.B. Metzler.
Paddison, M. (1998). The Language-Character of Music. Some Motifs in Adorno. In: Klein, R.; Mahnkopf, C. (Orgs.). Mit den Ohren denken: Adornos Philosophie der Musik (pp. 71-91). Frankfurt am Main: Suhrkamp.
Schoenberg, A. (1996). Fundamentos da composição musical. Trad. Eduardo Seineman. São Paulo: Editora da Universidade de São Paulo.
Weber, M. (1978). Economy and Society: an outline of interpretative sociology. Ed. Guenther Roth e Claus Wittich. Berkeley, Los Angeles, London: University of California Press.
Downloads
Published
Issue
Section
License
Copyright (c) 2021 Luis Filipe de Lima Andrade
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.
Information and conceptions on the texts are complete responsibility of the authors.
All the articles submitted before July 5th 2018 and those published after July 2021 are licensed under a CC BY-NC-ND license – except those published between the aforementioned dates, which are under the CC BY-NC-SA license. The permission for the translation of the material published under the license CC BY-NC-ND by third parts can be obtained with the consent of the author.
Open access policies - Diadorim
Rules applied before July 5th 2018:
Presenting a submission to our Editorial Board implies granting priority of publication for “Cadernos de filosofia alemã”, as well as transferring the copyright of texts (once published), which will be reproduced only with the manifest authorization of the editors. Authors keep the right to reuse the texts published in future editions of their work, without paying any fees to "Cadernos”. We will not grant the permission to re-edit or translate the texts for third parts without agreement of the author.
