Desert Eagle Gold Softair

TW Adorno, "Neue Musik", Protocols & popular atonal music. The role of the vanguard in representing the Invisible.

" The end of 'work of art is the determination of the indeterminate "(TW Adorno -" Aesthetic Theory ").---------------------------- ---

new expressive REPRODUCIBILITY OF AGE 'TECHNIQUE. 3rd part of the study on twelve-tone serialism and Neue Musik integrale, dededicato nello specifico all'apporto teorico di Theodor W. Adorno su quei processi che hanno determinato l'emancipazione della dissonanza e il moderno approccio alla musica contemporanea e all'electronic music. Nel saggio "L'opera d'arte nell'epoca della sua riproducibilità tecnica" (1930) Walter Benjamin sostenne che, con l'ingresso nell'epoca della "riproducibilità tecnica", l'opera d'arte aveva perso l'aura, quel quid sacrale che un tempo la caratterizzava. Non più unica, irripetibile, frutto del genio individuale e dell'ineguagliabile bravura del creatore o dell'interprete, l'arte avrebbe potuto mutarsi in esperienza comunitaria e di massa. In our modern electronic perspective, "what Benjamin attempts a period analysis is that opening the way to 'Moment Zero' theorized by Peter Grossi and which is widely spoken in the post " Instant Zer0 "- trials of Peter Grossi . But the conclusions are very different, because of the different theoretical approach and, of course, for the different specificities of the two. Pietro Grossi, a true pioneer of electronic music, computer music and father of absolute Home Art , loved and fully exploit the capabilities offered by the time stipulated 'Instant Zer0' , addentrandocisi and exploring the expressive potential. Benjamin, however, as a philosopher, he referred particularly to the prehistoric technologies, especially the emerging art of cinema and, perhaps with a little foresight, he saw only those aspects that would end all'irriproducibilità art and technology seen as a basic element the artwork (as if the "Paganini does not repeat" was the essence of the art of Paganini. Probably yes, but the evolution of media has created new forms and new contents, therefore, new modalities and manual techniques - in pop art, for example, industrial serialization was a precise method of expression, hence its reproducibility). Benjamin's reflection was not entirely wrong, but partial as compared with all the expressive arts, particularly as regards the language of music. In this sense, however, Theodor W. Adorno, as a musician, a friend of Alban Berg, Arnold Schoenberg and supporter of contemporary music New , took the signal from the revolutionary new method of Schoenberg and the incredible potential of expression that would be derived from the European Neue Musik and by 'cutting-edge Serial , bringing the same time, a strong criticism of the 'popular music' -popular music-and music functions subservient to profit.

"The light music and all the music for consumption [...] seems to be directly complementary all'ammutolirsi man, the extinction of the language as expression, inability of communication. It dwells in the gaps of silence between the men that start distorted by anxiety, from the routines and blind obedience [...] This music is perceived solely as a background sound: if no one is really able to speak, no one is not even able to hear [...] the power of the ordinary has been extended to society as a whole. "[" Introduction to the sociology of music. "]

ON POPULAR MUSIC. Adorno's critique of slave music the profit is very strong, his analysis of 'popular music' marked a pivotal moment in musicology and has, to date, the starting point for a study of the production report and within the social dynamics. "The power of the ordinary has been extended to society as a whole" seems heard the phrase current in relation to new commercial production: the popular music seems to have had to rise to this specific function 'banal' and seems to engulf even the expressions that were intended to be "free drift" as the electronic music, with an expansion of production determined by the already addressed this "democracy of the electronic music "and the subsequent enlargement of these" narcissistic expressions "that have little to express and therefore deplete an entire expressive language. As noted at the beginning, making it easier to understand with the comparison of the Benjamin-concept, the idea of Adorno is not a conservative pre-industrial model as commonly argued, but, in line with Marxist thinking, puts the work of art and aesthetic production, always in relation to the social dynamics that drive it (and vice versa, in a reflection mirror). The analysis of Adorno on popular music are surprisingly current and, apparently, timeless, being a very accurate reflection of the dynamics of production Art so inextricably linked to capitalism and liberal view of the market and reality.

DETERMINING THE UNCERTAIN, DO NOT REPRESENT THE-SAID: THE ART OF THE WORK FUNCTION AND THE ROLE OF THE avant-garde music. Adorno's condemnation of the standardization work of art, the aesthetic taste and consumption of music is so extreme, finding reason in his conception of the function of music and art in general that

"is not to ensure or to reflect the peace and order, but to force it to appear that the notice is placed below the surface, and then resist oppression of the surface of the front "["
Dissonance "].

Adorno's assertion reflects a totally acceptable in my way of looking at artistic expression and its function, simply pointing out what are the real reasons underlying the need to represent and generate signs, finally breaking away from that ' narcissistic complacency of the "pursuit of beautiful sound as a reflection of a beautiful person" in the musicians are almost always the victim or so-called "artists" in general, now as then (and especially now more and more victims of a mass production infinite). The act of 'bringing up' is the action then that is the function of art and the profound reasons for this, in a psychoanalytic vision seems trivially easily identifiable in bringing to the surface content deleted, the unconscious processes, a say in the index and represent the unclean, that seems to stop the human system and the dynamics of this, while realizing this vision vaguely Jungian, the act of generating it marks rather than the intent, tending to a Invisible representation of what you can not see hidden in the form, because of those realities outside the rarefied space-time categories, pure pristine environment that transcends the form in a search of the idea that lies beneath it, is replicated in the shape materials, producing material, sounds, colors. In a sense, Adorno's statement, in my opinion, a clear definition of Expressionism and Abstract Expressionism, and which aligns Metaelettronica in full agreement. The musician is of course Adorno avant-garde if it brings to light the unspoken , if psychoanalyze the reasons for the pain. The music, in what is similar to verbal language, because digging in the ground, but it is not language: 'music tends to a language with no intention ... La musica priva di ogni pensare, il mero contesto fenomenico di suoni, sarebbe l'equivalente acustico del caleidoscopio. E al contrario essa, come pensare assoluto, cesserebbe di esser musica e si convertirebbe al linguaggio» ["Musica e linguaggio"//"Filosofia e simbolismo"]

SULL'INTEGRALITA' E LA 'NEUE MUSIK'. La nostalgia di Adorno per un passato glorioso in cui la musica non era merce al servizio del profitto, non è quindi un'istanza conservatrice e reazionaria ma, al contrario, una volontà fortemente innovatrice, a tal punto che i modelli proposti per tale avanzamento del linguaggio musicale sono rappresentati secondo lui nei due opposti contigui : Schoenberg and Stravinsky. Stravinsky's music is "the sacrifice of the subject antiumanistico to the community, without tragic sacrifice, sacrificed not rising to the image of man, but blind validation of a condition that the victim himself acknowledges, is that with the autodeterminazzione 'extinguish' ['Philosophy of Modern Music "]. Stravinsky In fact, the recovery of the past "classic" is placed outside of history, contrived by contingency, but brilliant individual performance of the instance. Schönberg is instead to worry about the limitations of artificial and "self-inflicted" in a solitary search of external conditions of contemporary life (as we have seen in the previous post, Webern would come to an extreme version of the method in a continuous search for 'boundaries arithmetic'). Adorno defines the twelve-tone "full technical composition" , who saved the music of Schoenberg and the fate of contemporary music - summarized the issue between the different visions of Adorno's conception: recognizing the value of the revolutionary twelve-tone recognizes the value curator of a past not subject to the commodification of music features, and recognizing the value of conservative recognizes the value of a revolutionary model to that of man full and absolute language , expression of 'Unsaid' . "(The twelve-tone) is not kind nor in full view of the state, nor with the idea of \u200b\u200bdomination, but is an attempt to cope with and absorb the reality that anguish is precisely the panic that was full. Humanity must surpass that of the art world for love of man "[" Philosophy of Modern Music "]. Adorno's position on the 'Neue Musik' course is aligned to reflect on the 'popular music' and "meaningless" that this represents, according to Adorno the new music has taken upon himself the sins of the world : "The shocks of the incomprehensible, that the artistic technique distributes age of their foolishness, spill, give a sense of a world devoid of meaning: the sacrifice and all this new music. It took upon itself all the darkness and guilt of the world, all her happiness is to recognize the misery, all its beauty lies in avoiding the appearance of beauty. No one wants to deal with her, neither individual nor collective systems, it sounds unheard, without echoing. When music is played, the time congeals around in a shining crystal. But not hearing the music falls like a ball in the empty time fatal. This experience tends spontaneously to new music, mechanical music experience that makes every moment, the absolute be-forgotten. It is truly the manuscript in a bottle. "[" Philosophy of Modern Music "]. By its very nature and avant-garde Hermeticism of language, the Neue Musik in time has generated resistance from the public more conservative, basing his case on the illusion that music should enjoy a wide usability and on the belief that, as "ornament" of everyday life, the value can be measured by the amount of people who perceive, appreciate the message. Adorno calls this principle "projection of the inability to understand." And 'This is one of the most interesting messages that is veicolato dagli scritti di Adorno rispettivamente alla musica d'avanguardia e alla popular music: la complessità che soggiace nel linguaggio ermetico della musica d'avanguardia incontra un'illusione, ormai condivisa dai molti, che la musica si misura in base a parametri quantitativi e di vasta fruizione e, la comprensione immediata del messaggio veicolato, sia determinante nella valutazione qualitativa. Sono questi i parametri più in uso, a tutt'oggi, nella produzione di 'musica di consumo', primo elemento che ha determinato la vastissima convinzione del ruolo intrattenitivo della musica.

CONCLUSIONI. Come si è già affermato Adorno è stato sicuramente il personaggio e la mente che ha offerto the greatest theoretical contribution to the emancipation of dissonance then synthesized in the twelve-tone method and the New Music in Frankfurt. His first publication was dedicated to Expressionism and his violent language, expression of the deepest movements of the human soul, even on the side of music, right now appreciating the work of the Austrian Shoenberg. Then studied with this, becoming an active part of 'Second Viennese School' participating in the main intent of this: enter into the flow and tone of the crisis undermining its own rules, leading to a profound impact on all Western music. This summary brings the objectification of the revolutionary nature of the group, even developed in front of Darmstadt in the vanguard and post-Webern serial that, in an attempt to overcome the Wagnerian chromaticism, has led to a new understanding of music, becoming the foundations of contemporary music and contemporary approaches to electronic music. The contribution of Adorno complessissimo fits into the cultural climate that marks this moment of transition from the old conception of the world to modern society of mass, decoding and then all the synthesizers that were creandosi extreme simplification of form and content as a result of the languages. And 'this, in my opinion, and only in part, the value of the work Adorno: a tight analysis of an evolving world and languages expressive inextricably linked to social dynamics, cultural and political. Thus the analysis of the "Society of the Spectacle" passes through the rilfessione the commodification of its products, including, in this new conception of capital, production music and music of great enjoyment. Adorno argues: the value of art music is inversely proportional to the number of people who understand this music.

"The formal innovations of Schoenberg were closely related to the content of expression, and served to break out in reality. The first atonal works are "protocols" in the sense of psychoanalytic dream protocols. Kandinsky has (...) chiamato i suoi quadri “nudi di cervelli”» (T.W. ADORNO, "Filosofia della musica moderna").