Music and society in the 20th century: Georg Lukacs, Ernst Bloch, and Theodor Adorno
Identifieur interne : 001200 ( Main/Exploration ); précédent : 001199; suivant : 001201Music and society in the 20th century: Georg Lukacs, Ernst Bloch, and Theodor Adorno
Auteurs : Robert LilienfeldSource :
- International Journal of Politics, Culture, and Society [ 0891-4486 ] ; 1987-12-01.
English descriptors
- Teeft :
- Absolute music, Adorno, Aesthetic experiments, Aesthetics, Alban berg, Arnold schoenberg, Bartok, Bela bartok, Bloch, Brilliant observations, Cantus firmus, Chordal harmony, Claude debussy, Concert life, Culture industry, Different kind, Ernst bloch, Folk music, Folk musics, Georg, Georg lukacs, Great artists, Hanslick, Harmonic language, Ibid, Instrumental music, International journal, Intrinsic value, Jacques barzun, Keyboard instruments, Lilienfeld, Lukacs, Modern music, Multiple melodies, Musical aesthetics, Musical expression, Musical language, Musical motion, Musical sociology, Musical styles, Musical themes, Musical writings, Older conception, Polyphonic music, Polyphonic texture, Popular music, Professional mourners, Program music, Realistic narrative, Renato poggioli, Richard strauss, Richard wagner, Ruling class, Same music, Same time, Schoenberg, Second half, Singular accomplishment, Social condition, Social conditions, Sociological perspective, Specific composers, Such figures, Such works, Theodor adorno, Tonal language, Tonality, Western music.
Abstract
Conclusion: The avant-garde has defined itself not only by what it has opposed; it has come to show a specific content and character best shown in Poggioli's masterful portrait. Lukacs-Bloch-Adorno stood in a complex but unclarified relation to the avant-garde; their failure to clarify this relation constitutes a limitation on their sociology of music. One wishes for a new Max Weber to put their broad statements to some kind of historical test. However, the condition of music today calls for a different kind of sociology than they produced; the fragmentation of music into a multiplicity of styles and audiences, the cornucopia of choices that make available almost all musics from all eras throughout the world, the specialization and fragmentation of audiences for the classics, for avant-garde experiments, for folk music, ethnic musics, for rock, punk, and whatever else, the co-existence of more than one style of composition, all require a sociology of music that is not encompassed by a single philosophical approach.
Url:
DOI: 10.1007/BF01388245
Affiliations:
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Le document en format XML
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<front><div type="abstract" xml:lang="en">Conclusion: The avant-garde has defined itself not only by what it has opposed; it has come to show a specific content and character best shown in Poggioli's masterful portrait. Lukacs-Bloch-Adorno stood in a complex but unclarified relation to the avant-garde; their failure to clarify this relation constitutes a limitation on their sociology of music. One wishes for a new Max Weber to put their broad statements to some kind of historical test. However, the condition of music today calls for a different kind of sociology than they produced; the fragmentation of music into a multiplicity of styles and audiences, the cornucopia of choices that make available almost all musics from all eras throughout the world, the specialization and fragmentation of audiences for the classics, for avant-garde experiments, for folk music, ethnic musics, for rock, punk, and whatever else, the co-existence of more than one style of composition, all require a sociology of music that is not encompassed by a single philosophical approach.</div>
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