I knew that Theodor W. Adorno was a great German philosopher and that he wrote a few insightful essays on music. But I didn't knew that the same Adorno was also a composer. Thank you so much for this delightful discovery.
@@deepfield23 I've only just started to learn about Theodor Adorno as a part of the Music and Culture module of my Music degree. I think he would be spitting everywhere if he heard some of the music of today. And he probably has reserved a special place in hell for Andre Rieu
Just visit the UCLA Campus. Wherever you look, you will see signs that Bird lives. I mean that quite literally. Bird Bird Wherever you look. ruclips.net/video/yqorVLscxRI/видео.html
What is trying to be expressed here? It’s disjointed and distracted and mostly non melodious. I have great respect for the musicians playing however, And even for the composition, it’s the intent that feels disturbing. It feels like the soundtrack of a blood thriller.
@@Arttruthseeker The objective was to transgress, but that sort of chaotic very personal art ouvres is a characteristic of West since ends of XIX century; but you must know and understand the history of all that entire period in all its aspects.
@@poweredbyplants82 Subverting Fascism into one party state communism is the only reality where that happens. But leftists are retarded and try to fight against "Fascism" wherever they see it so capitalism will prevail until the galaxy collapses.
O músico e filósofo, graduou em composição com Alban Berg. Escreveu também o ensaio A situação social da música, tema tema de inúmeros outros estudos: sobre jazz (1936), sobre o Caráter Fetichista da Música e a regressão da audição (1938), Fragmentos Sobre Wagner (1939) e sobre música popular (1940-1941).
estou começando meus estudos sobre Theodor W. Adorno, e apesar de conhecer sobre sua Teoria Crítica da Sociedade e sua relação com a Escola de Frankfurt, não conheço sobre sua vida como compositor. Teria algum material para me indicar sobre o tema?
@@arielcampospinto5140 Há um trabalho muito bom sobre as composições de Adorno feito pelo pesquisador Igor Baggio, da Usp. Foi publicado pela Unesp, mas acho que tem uma versão no banco de teses da Usp. editoraunesp.com.br/catalogo/9788539300914,o-dodecafonismo-tardio-de-adorno
@@depauleable I find it very hard reading Adorno's "The Philosophy of Modern Music" because the language used in it is tough to read and digest properly. He was an interesting person and I respect his viewpoints. I wonder if he would want to live in the world we live in today?
Huh, so now I have a idea of Koichi Sugiyama's inspiration for the music in the Dragon Quest games. So much of this would be right at home in a DQ dungeon.
I would say this is more melodic and approachable (dare I say marketable) than Schoenberg or Webern, but then Adorno would turn a few times in his grave.
Adorno believed that "entertainment" which pandered to comfort and pleasure were products of "easy going liberalism"... and that there needed to be some protection for the more "intellectually and technically difficult high-arts".
@@alephnull6457 I was disappointed too when I first heard of his disdain for jazz. I've just started to get into jazz and I think it is highly complex music.
+Scott Andrew Brass Not as catchy, but ironically some elitist people hated She Loves You's chorus for, what I believe, is the same reason people hate listening to Adorno in general xD
@@prod9k The Beatles never wrote any of their songs. Theodore Adorno composed most of it and had it mailed to them, and they rehearsed it over and over to perfect the sound. Also, Adorno was an open Marxist who investigated that cultural aspects of Marxism. Ever heard of "Cultural Marxism"?
It's bad, in the sense that 3rd period Beethoven could have written this after a glass to many. It sounds uninspired for the time it was written though.
@Edoardo Dal Prà yeah, exactly. though I would say the problem is more that Adorno trying to desperately sound new and forsaking tradition. but he is also imitating the Second Viennese school composers like Webern and Schönberg too much. That's also something I've pondered as a composer myself. They sound like classical sonatas or something than Rachmaninoff or Alkan would have composed. But it's the 21st century. Surely virtuosic post-romanticism isn't coolest thing anymore, and neither is a nice peaceful Mozart or Beethoven-style sonata. But I didn't learn jazz or blues or rock or anything at else at the music academy
@@tj-co9go i completely agree with you. i think adorno was damaged aesthetically or maybe even with his general analysis with his obsession with epoch and genre. but hindsight be bright.
Musicologicamente... Sorta di improvvisato anonimo "Comunismo delle 12 note", da distinguere da "Successione dei dodici toni", a Adorno aveva mostrato società cui sensibilità minore di ciò cui essa stessa dedicantesi... Di quel che sgomentava Schoenberg, ovvero le esecuzioni, anche del canto, disanimate e perfette, degli spartiti dodecafonici, in sé solo evidenze di relazioni cui o arte creativa esecutiva o destinazione ad arte realizzata nel comporre... Adorno aveva scrutato gli eventi concomitanti, quelli che bolscevismo asburgico già sapeva e che aveva smentito, ad opposto che in Russia cioè conservativamente in Decadenza ultima di Impero e nel Dopo, tra anarchia asburgica ex imperiale e democrazia, contro fatalismi postburocratici ma contro fine di burocrazia... Non a caso le proteste degli antieuropei alle mirabili inventive dei musicisti alle prese con la pressoché nulla consistenza delle opere dodecafoniche, i bolscevichi non volevano domare col verbo loro, ma estremizzavano fino a ' ...percosiddire...' collassi sociali e risse mancate nel lutto, degli ostili, e dopo che i menscevichi ne avevano provveduto di prime scene... Insomma, non così, Adorno tentava, aveva tentato, la strada 'enarmonica', non di vuotità per pienità, ma di pienità per non-vuotità... Piccolezze a fronte delle grandezze proporzionali della dodecafonia di Schoenberg, ma da potersi affiancare allo espressionismo di Berg, questo dal confligger panico del '12 "platonico" ', invece post-espressionismo di Adorno dal sussister differente non solo diacronico... Col risultato che ostili tra ascoltatori, uditori cioè, non emotivamente attivi ma motilmente iperattivi; era celebre il caso di quelli che usavano colli, colletti, cravatte, cravattine, per affogarsi un poco il fiato di troppo e vanamente divaricare il culo ... Con queste referenze, scambiato Egli per uno spietato e superficiale, marxismo ne propose adorazione tra suoi parolieri sofisti --nonché sgherri... Questo era il mondo da cui ed a cui Adorno proveniva e contravveniva anche filosoficamente...: il notar da suoni, non da denari. Parimenti, rifiuto del passato era in Adorno azione di nuovo evento, di Assoluti specialmente e non Uno... Parolieri marxisti invece da osservare giri di soldi a spiar curve di fondoschiena... Perciò, in Germania etica risolutiva non era più di naturisti nudisti, anche di assistenti sociali a vestizioni difensive... E i nazisti, gli incapaci di capir rischio di annullarsi favore d'esser nati ed imitatori dei nazionalisti, bramavano strappare vestiario di nudisti protetti dai vestiti non davvero vestiti invero solo con vestiti... In queste pochezze, anche origine giudaica ebraica di ambiente cui Adorno, si dissolveva e niente conferendo, invece marxismo ereditandone Anatemi. Da ciò, suo involontario capitare in ambienti frequentati da sgherri al soldo del totalitarismo - comunismo. ... Mi si consenta... anche non pure musicologicamente... discrezione logica e indiscrezione, da "excursus". Stessa "ratio borghese", cioè medesima formulazione, Adorno spiegava, è non verità di un sistema, data non da storie veritiere ma da itinerario intellettuale per la storia, percorso arbitrariamente dal marxismo - marxismo-comunismo con la costruzione di un accaduto qual giudizio da un accadere impossibile a farsi accaduto; insomma formulazione fittizia non vera e con assoluzione dei borghesi da accuse e da brighe e recupero di grandi filosofie dalla grande filosofia della sintesi hegeliana. Dialettica negativa per Adorno non era usar questa consapevolezza per dogmatiche filosofie, tuttavia così ne recepiva fronte ideologico comunista - marxista e così ne ha recepito, evidentemente, il revanscismo marxista. Mentre Adorno usava approccio estetico, marxismo ne tentava di trasformare in etico. In tal senso, Adorno più è già e prima di Habermas era fuori da interessi totalitari che monopolizzavano "Scuola di Francoforte" e che solo sconfitta in Guerra Fredda inibì, dandosi senso da esterno a scuola stessa... Adorno ne era cioè presenza esterna, suo pensiero proveniva da cultura sociale di accademie musicali, dal conoscere sublime dato dalla intuizione tramite l'accadere della musica... Odiernamente, niente ugualmente ad allora ha un senso politico sociale... Perché devesi rifiutare indifferenza a esiziale stupidità mondialista meridionalista, cui non intender sicurezze del Sud e negar sicurezze del Nord, intero Orbe funestando. MAURO PASTORE
My fav part is 5:25 where he runs down the pentatonic scale. That's a blues scale, by the way. It's the basis of almost all modern rock music. It's strange to hear that scale in the middle of an atonal piece. I'm not saying it ties into his alleged relationship with the Beatles, though. It's just an interesting fact that blues music made its way into European music around that time. Classical and romantic period composers never used that scale (to my knowledge). I stand to be corrected by music historians.
Lots of very biased comments here. I'm pretty sure you guys would love music from any 20th century philospher, but because of his infamous elitist claims about popular music, you choose to hate it apriori.
What infamous elitist claims? People have all these weird preconceptions about his Jazz essay, without ever bothering to even read it, much less understand and contextualize it.
No ........ "On the fetish-character in music and the regression of listening is a thoroughly deplorable essay", as are his longer rambling on the subject. Adorno's conceit is that Jazz only caters to infantile tastes of the masses, which is untrue. Whether or not you think Jazz is authentic form of artistic expression, from the 20s onwards Jazz has been led by individual artistic expression of the performers. Who as time progressed became more unsatisfied with the limitation of form and structure. We can see this the trajectory of the Jazz form, going from simple melodic improvisation progressing eventually to untempered atonal improvisation, These changes were not driven commercial consideration in fact Jazz became less commercial over time. This culture of sincere innovation was well under way by the mid-thirties when Adorno was writing, which he would've know he bothered to listen to anything that didn't confirm his prejudices. Plenty of serious musician have been inspired by Jazz, Horrowitz greatly admire Art Tatum and Stravinsky admired the Ornette Coleman trio. Guitarist John William keeps Django Reinhardt in mind whenever he's playing Augustin Mangore. And I'll bet that Jazz has broadened more peoples musical conception than Schoenberg ever did.
@@mikelukebaynham Adorno's problem with jazz was the claim jazz apologists that it can revive european music from the decadence of, i presume, art music, which also he seemed not to have liked. Also, it is useful to not reduce what he meant by the commodity character of jazz as a criticism of jazz players or their talent, virtuality etc. Authenticity of jazz music was never in doubt in terms of its quality. The point he was trying to make is that something else was really determining both composition and consumption of jazz. In a wonderful sentence somewhere in the middle, he calls the virtuous interventions as rebellious overtures by good players to break their boredom. I dont think he really tried to make a case for the proposition that jazz is infantile music or is a mechanism to hold listeners to their infantility. He was trying to uncover the social determination behind its rapid but also unexpected success. Living in a time when we are faced with popular music much much inferior to jazz, I think his criticism should be the starting point to understand music's functionality today In any case, authenticity of jazz is not pre given. It is not that jazz already has an authentic character and as soon as we participate in it as players or listeners we have introduced some measure of authenticity in our acts and lives. This formula is basically how commodity culture is working today, as if some given forms of expression already express authenticity. We have to stay within and find our island of authenticity. But it is not so and in that I totally agree with you that jazz CAN be authentic, but only keeping in mind that the limitations outlined by adorno are very much real.
@Stan 1 I am unfamiliar with german jazz of the time but what he says about african american jazz is a lesson for us now with all the cultural origin music we have
it smashes avant-garde music and beauty at the same time and still not capitalism, as he wanted, since it has the model and sheep sound of average milli0nare film scoring of that time
@@PhilipDaniel hallo Philipp! i mean he is too similar to what he does radically critisize and this music is an example for this I dont mean no concept of music theory in especial
I mean he wasn't a full time musician, but this doesn't sound that far from early Schoenberg. It's clear he didn't have complete knowledge of the musical language of his time, that's why it sounds relatively easy compared to music from other composers of the time
@@edoardodalpra4742 it doesn’t matter , it is quite the same post-romantic expressionism music he would criticize if inside a movie of Hitchcock. Typical communist hypocrisy . With less musical knowledge one can at this point compose something very avant-garde, like Varese, oder a barroque piece. He got basic knowledge to follow his own non-sensical aesthetics that set avant-garde music even more apart from society.
@@emanuel_soundtrack I think we're taking the piece too seriously. In the end, it's a philosopher playing composer. Kinda like Nietzsche and his piano pieces, it's not subject of great aesthetical debate. Maybe extrapolating this kind of aesthetic from a Hitchcock movie made it worth something more to Adorno? I don't know, and I don't think Adorno is a composer worth of discussing a lot about when talking about XX century music.
It's reported in many places Adorno wrote and owned copyrights to much worthwhile Beatles music; however, I fail to see any comparison or relationship to Beatles' music predicated on what I'm hearing here. This stuff sounds like the work of a psycho genius composer. The music is lunacy.
I don't believe he wrote their songs, but the violin at the beginning reminds me a bit of songs like Strawberry fields forever or Eleanor Rigby(specially the fast part)... Also, take into account this was in 1921. His style could've changed
Hat der Typ sich öfters verschrieben oder wieso sind so viele dissonanzen drin? Ja man kann sich ja die verschiedenen harmonischen motive selber denken..aber naja..kunst halt
> wieso sind so viele dissonanzen drin vielleicht weil nach klassischer Definition 'konsonante' Musik seit ueber hundert Jahren Schnee von anno dazumal ist?
Warum ein mitteleuropäischer Komponist 1921 Dissonanzen schreibt, kann einem schon einmal schleierhaft erscheinen, wenn man sich des Privilegs nicht bewusst sein wollte, mit dem man sich das Stück dann 2020, am vermeintlichen Ende der Geschichte noch angehört hat.
Wow I wanted to check this out to see if Adorno was as bad a composer as he was a Marxist philosopher. Yeah he sucks I don’t know why you guys are being nice in the comments he’s dead. And the air he breathed when he was alive was completely wasted on him. Every marxist screams about equity because they are so very jealous of people who actually have talent. Can people really be equal? Is competence equal to incompetence? Is good equal to evil? When will society finally learn their lesson and leave these clowns in the trash bin of history where they belong.
Esa es la idea... que la fealdad reemplace la cultura occidental y luego de su caida reemplazarlo todo con comunismo. La escuela de Frankfurt, tristemente, ha sido muy exitosa.
"Esa es la idea... que la fealdad reemplace la cultura occidental y luego de su caida reemplazarlo todo con comunismo. La escuela de Frankfurt, tristemente, ha sido muy exitosa." *Dijo el joven mientras se metía tres inyecciones de Krokodil*
That is the idea, to destroy High culture and western civilization and then install comunism. This is what Adorno and his buddies from Frankfurt were after.
Have you ever read any of Adorno's works? Adorno wasn't a Marxist purist or zealot - he was against utopia of any kind, against turning criticism into praxis ("Negative Dialectics" it is). And when it comes to destroying high culture, as you wrote... He was elitist as fuck: hated jazz, rock and any other kind of popular music.
Adorno, I love your music! I hope you come soon to Coachella!
LOL!
He lived in southern Califonia en the 40s...
This made me laugh really hard. Clever, clever.
There is a spectre haunting Coachella, the spectre of Adorno.
Haaahahahahaaaa! But fun is a molten steel bath still. Sigh. ~_~
I knew that Theodor W. Adorno was a great German philosopher and that he wrote a few insightful essays on music. But I didn't knew that the same Adorno was also a composer. Thank you so much for this delightful discovery.
On the contrary, I have known (a bit of) Adorno’s music for years before I found out he was a philosopher as well. 🙂
if u listen very closely u can hear "Dont let me down" nowhere in this mfr
i'm 5 years old and i love this music
I am 2.
@@rumataastorskiy5734 i am 3 but i already loved this music when it just came out
go back to baby shark
I'm still in my dad's bollocks and this music slays bro
i'm -6
So this guy was EIGHTEEN when he composed THIS??? I'm in awe!!!
Schelling was 25 when he wrote one of the most important works of German Transcendentalism. These are smart people.
How can you not know Adorno?! Don't you kids learn anything useful in school these days? -.-
@@deepfield23 how is music useful? it's art
He read the KRV when he was 15...doctor by 21...so yeah
@@deepfield23 I've only just started to learn about Theodor Adorno as a part of the Music and Culture module of my Music degree.
I think he would be spitting everywhere if he heard some of the music of today. And he probably has reserved a special place in hell for Andre Rieu
This music reminds me of the way he spoke and wrote.
totally
lol
do you speak german?
idiot
I do not remember Adorno video or audio recordings from this time in his life.
you like jazz?
Negative
Just visit the UCLA Campus. Wherever you look, you will see signs that Bird lives. I mean that quite literally. Bird Bird Wherever you look. ruclips.net/video/yqorVLscxRI/видео.html
Now you must acquire a taste for... FREEFORM JAZZ.
ya' like jazz?
thank you for posting. It is a fine work of it's time.
This is "Here Comes the sun"" demo
Andre Almeida hahahahahahaha
I can hear Michael Jackson’s Billie Jean. It’s so danceable. Fantastic hit.
Absolutely brilliant, hilarious, I nearly died laughing. You're a cultural treasure.
@@hamidmusik7691 Michael wrote his own music. The Beatles (angel-side) and the Rolling Stones (devil-side), on the other hand...
Theodore Adorno died in 1970. The Beatles broke up in 1970. Coincidence?
It’s fascinating how 100 years later music like this still engenders such strong reactions. You either like German Expressionism, or you don’t. I do.
What is trying to be expressed here? It’s disjointed and distracted and mostly non melodious.
I have great respect for the musicians playing however, And even for the composition, it’s the intent that feels disturbing.
It feels like the soundtrack of a blood thriller.
@@Arttruthseeker The objective was to transgress, but that sort of chaotic very personal art ouvres is a characteristic of West since ends of XIX century; but you must know and understand the history of all that entire period in all its aspects.
i don’t understand people who don’t like german expressionism. the films, the paintings, the music, the design, the fashion … IT’S ALL SO GOOD.
@Allison Sandlin how tf is writing texts about how horrible fascism is a depraved act
this is the opposite of expressionist music. get your terms right
Good capitalism-smashing music
and yet here capitalism stands thoroughly unsmashed
@@brennanlable it will pass.
maybe not today and not tomorrow but it will happen. No system is for eternity.
@@poweredbyplants82 probably in the ruins of environmental catastrophe
@@jackd14916 nah bro, don't you know you can just sell your house and move inland 😎😎😎, silly liberal
@@poweredbyplants82 Subverting Fascism into one party state communism is the only reality where that happens. But leftists are retarded and try to fight against "Fascism" wherever they see it so capitalism will prevail until the galaxy collapses.
This, Adorno’s masterpiece polished up to the highest finish, verges on the sublime beauty of Rachmaninov’s most inward compositions.
O músico e filósofo, graduou em composição com Alban Berg.
Escreveu também o ensaio A situação social da música, tema tema de inúmeros outros estudos: sobre jazz (1936), sobre o Caráter Fetichista da Música e a regressão da audição (1938), Fragmentos Sobre Wagner (1939) e sobre música popular (1940-1941).
estou começando meus estudos sobre Theodor W. Adorno, e apesar de conhecer sobre sua Teoria Crítica da Sociedade e sua relação com a Escola de Frankfurt, não conheço sobre sua vida como compositor.
Teria algum material para me indicar sobre o tema?
@@arielcampospinto5140 Há um trabalho muito bom sobre as composições de Adorno feito pelo pesquisador Igor Baggio, da Usp. Foi publicado pela Unesp, mas acho que tem uma versão no banco de teses da Usp. editoraunesp.com.br/catalogo/9788539300914,o-dodecafonismo-tardio-de-adorno
best schoenberg cover ever
A great work, thank you! :)
I deeply love his soul-soothing works !!!
Adorno cops so much flack; he's actually got interesting ideas guys!
Ok, gotta admit apart from his jazz commentary most of the stuff holds up pretty well. "Dialektik der Aufklärung" is a must read in my opinion.
@@depauleable I find it very hard reading Adorno's "The Philosophy of Modern Music" because the language used in it is tough to read and digest properly.
He was an interesting person and I respect his viewpoints. I wonder if he would want to live in the world we live in today?
He only composed this because he hated you. He REALLY hated you.
The Dialectic music...
danke!!
This song reminds me of Lucy In The Sky With Diamonds
Yeah mate, as if a few talentless hacks from Liverpool could write a coherent pop song!
"Sexy Sadie" was rehearsed 102 times by the "Fab" Four. Is it really that hard to play a simple tune?
You know, I kind of like Adorno's Marxist Horror Movie Soundtracks.
My little sister got "Sechs Stücke nach Schumann’s Art" for Christmas.
Now I wonder how Horkheimer, Lukacs or Habermas music would sound like.
It seams like a beatle song
Weird, isn't it? Everyone leaves his mark wherever he goes! Even when Adorno composed "Norwegian Wood" as a sick joke!
Huh, so now I have a idea of Koichi Sugiyama's inspiration for the music in the Dragon Quest games. So much of this would be right at home in a DQ dungeon.
100 years later... awesome!
quite good...
I honestly find this beautiful. Unlike anything else he composed. Its better than Schoenberg that's for sure!
Uplifting, luminous, fun 😁
What a bizarre comment section.
I would say this is more melodic and approachable (dare I say marketable) than Schoenberg or Webern, but then Adorno would turn a few times in his grave.
being the most listenable of a complete suckiness is difficult, but webern takes the cake
This is beautiful.
Finally someone with some sense!
Wow. Surprised. Very good piece -- and he was a teenager when he wrote this?!
Music for Jordan Peterson's triggering
lmao nice
“Honey we have art music at home!”
Art music at home:
Heckin' wholesome chungus gold for you my dude!
In the 4th Mov. I constantly hear Nokia ringtone motiff.
Adorno, cosplaying as Paul Hindemith
can't be he hated him so much 😁
Adorno believed that "entertainment" which pandered to comfort and pleasure were products of "easy going liberalism"... and that there needed to be some protection for the more "intellectually and technically difficult high-arts".
Ironic how he was so incredibly wrong about jazz in this respect.
@@alephnull6457 i read in a different comment under a Adorno documentary that he despised early jazz but not jazz of the 50s and 60s.
@@SL-go2ll I hope so, because his comments about jazz absolutely do not apply to bebop and post-bop. Jazz became proletarian art part excellence.
@@alephnull6457 I was disappointed too when I first heard of his disdain for jazz. I've just started to get into jazz and I think it is highly complex music.
@@SL-go2ll yes correct. He despised the stuff coming out of 'Tin Pan Alley', but not all Jazz.
This music reminds me of the sixties' students movement
lol :D
Secret meetings in a desert in Arizona.
@@MASTERBUILDER-dd1rg ...what?
Adorno (as well as Horkheimer) was very opposed to the new left.
Gorgoeus
You know, I never liked the Frankfurt School... but this music is good. Like for Gothic horror. I love creepy music.
There is no such thing as the „Frankfurt School“. Adorno and Horkheimer are totally different to Marcuse or Fromm or Habermas.
Not as catchy as "She Loves You".
+Scott Andrew Brass
yeh yeh yeh
doobie doobie...
+Scott Andrew Brass Not as catchy, but ironically some elitist people hated She Loves You's chorus for, what I believe, is the same reason people hate listening to Adorno in general xD
Yeah yeah yeah
But the movements are all pretty short, so I think kids can dance to it. If it can only get a little AM radio play.
it's a work in progress...you can hear that it has too many notes, like he's trying to find the good ones
First Impression Astor Piazolla nouevo Tango.
Sounds just like The Beatles!!!
Composer is author of dangerously stupid commentary regarding jazz; however, I do enjoy this piece.
this man wrote all the beatles songs
lmao
Someone please explain the beatle jokes plsplspls
@@prod9k
The Beatles never wrote any of their songs. Theodore Adorno composed most of it and had it mailed to them, and they rehearsed it over and over to perfect the sound.
Also, Adorno was an open Marxist who investigated that cultural aspects of Marxism. Ever heard of "Cultural Marxism"?
@@MASTERBUILDER-dd1rg you a nazi lmao
@@prod9k commie
Two years later the "reactionary" Stravinsky gave the world "Les Noces". Figures.
This is what it leads to when you claim Jazz is fascist lol
based & breadpilled
@@Breakbeat90s www.newyorker.com/magazine/2003/03/24/ghost-sonata
Please listen, and don´t blabber here on jazz, Beatles, etc., etc. - Thank you so much.
nah people are just like that
Sgt. Pepper’s >>>> this.
@@calebhernandez681 Sgt Pepper's is a pile of horseshit, the worst lyrics I've ever heard!
I think this piece and this performance are pretty great, and I think you should lighten up.
way more interesting than jazz actually.
he was 100% right.
Música de Adorno
It is interesting you can have great analysis on music, culture and aesthetics while composing bad music yourself
😆
It's bad, in the sense that 3rd period Beethoven could have written this after a glass to many. It sounds uninspired for the time it was written though.
@Edoardo Dal Prà yeah, exactly. though I would say the problem is more that Adorno trying to desperately sound new and forsaking tradition. but he is also imitating the Second Viennese school composers like Webern and Schönberg too much.
That's also something I've pondered as a composer myself. They sound like classical sonatas or something than Rachmaninoff or Alkan would have composed. But it's the 21st century. Surely virtuosic post-romanticism isn't coolest thing anymore, and neither is a nice peaceful Mozart or Beethoven-style sonata. But I didn't learn jazz or blues or rock or anything at else at the music academy
there is no doubt what you've said is true, and as a devotee of adorno and a reader of bach defended against his devotees, ... that's it.
@@tj-co9go i completely agree with you. i think adorno was damaged aesthetically or maybe even with his general analysis with his obsession with epoch and genre. but hindsight be bright.
Musicologicamente... Sorta di improvvisato anonimo "Comunismo delle 12 note", da distinguere da "Successione dei dodici toni", a Adorno aveva mostrato società cui sensibilità minore di ciò cui essa stessa dedicantesi... Di quel che sgomentava Schoenberg, ovvero le esecuzioni, anche del canto, disanimate e perfette, degli spartiti dodecafonici, in sé solo evidenze di relazioni cui o arte creativa esecutiva o destinazione ad arte realizzata nel comporre... Adorno aveva scrutato gli eventi concomitanti, quelli che bolscevismo asburgico già sapeva e che aveva smentito, ad opposto che in Russia cioè conservativamente in Decadenza ultima di Impero e nel Dopo, tra anarchia asburgica ex imperiale e democrazia, contro fatalismi postburocratici ma contro fine di burocrazia... Non a caso le proteste degli antieuropei alle mirabili inventive dei musicisti alle prese con la pressoché nulla consistenza delle opere dodecafoniche, i bolscevichi non volevano domare col verbo loro, ma estremizzavano fino a ' ...percosiddire...' collassi sociali e risse mancate nel lutto, degli ostili, e dopo che i menscevichi ne avevano provveduto di prime scene... Insomma, non così, Adorno tentava, aveva tentato, la strada 'enarmonica', non di vuotità per pienità, ma di pienità per non-vuotità... Piccolezze a fronte delle grandezze proporzionali della dodecafonia di Schoenberg, ma da potersi affiancare allo espressionismo di Berg, questo dal confligger panico del '12 "platonico" ', invece post-espressionismo di Adorno dal sussister differente non solo diacronico... Col risultato che ostili tra ascoltatori, uditori cioè, non emotivamente attivi ma motilmente iperattivi; era celebre il caso di quelli che usavano colli, colletti, cravatte, cravattine, per affogarsi un poco il fiato di troppo e vanamente divaricare il culo ... Con queste referenze, scambiato Egli per uno spietato e superficiale, marxismo ne propose adorazione tra suoi parolieri sofisti --nonché sgherri... Questo era il mondo da cui ed a cui Adorno proveniva e contravveniva anche filosoficamente...: il notar da suoni, non da denari. Parimenti, rifiuto del passato era in Adorno azione di nuovo evento, di Assoluti specialmente e non Uno... Parolieri marxisti invece da osservare giri di soldi a spiar curve di fondoschiena... Perciò, in Germania etica risolutiva non era più di naturisti nudisti, anche di assistenti sociali a vestizioni difensive... E i nazisti, gli incapaci di capir rischio di annullarsi favore d'esser nati ed imitatori dei nazionalisti, bramavano strappare vestiario di nudisti protetti dai vestiti non davvero vestiti invero solo con vestiti... In queste pochezze, anche origine giudaica ebraica di ambiente cui Adorno, si dissolveva e niente conferendo, invece marxismo ereditandone Anatemi. Da ciò, suo involontario capitare in ambienti frequentati da sgherri al soldo del totalitarismo - comunismo.
... Mi si consenta... anche non pure musicologicamente... discrezione logica e indiscrezione, da "excursus".
Stessa "ratio borghese", cioè medesima formulazione, Adorno spiegava, è non verità di un sistema, data non da storie veritiere ma da itinerario intellettuale per la storia, percorso arbitrariamente dal marxismo - marxismo-comunismo con la costruzione di un accaduto qual giudizio da un accadere impossibile a farsi accaduto; insomma formulazione fittizia non vera e con assoluzione dei borghesi da accuse e da brighe e recupero di grandi filosofie dalla grande filosofia della sintesi hegeliana. Dialettica negativa per Adorno non era usar questa consapevolezza per dogmatiche filosofie, tuttavia così ne recepiva fronte ideologico comunista - marxista e così ne ha recepito, evidentemente, il revanscismo marxista. Mentre Adorno usava approccio estetico, marxismo ne tentava di trasformare in etico. In tal senso, Adorno più è già e prima di Habermas era fuori da interessi totalitari che monopolizzavano "Scuola di Francoforte" e che solo sconfitta in Guerra Fredda inibì, dandosi senso da esterno a scuola stessa... Adorno ne era cioè presenza esterna, suo pensiero proveniva da cultura sociale di accademie musicali, dal conoscere sublime dato dalla intuizione tramite l'accadere della musica...
Odiernamente, niente ugualmente ad allora ha un senso politico sociale... Perché devesi rifiutare indifferenza a esiziale stupidità mondialista meridionalista, cui non intender sicurezze del Sud e negar sicurezze del Nord, intero Orbe funestando.
MAURO PASTORE
adesso però si calmi, signore
Troppo bro, ci scrivo la laurea di biennio con sto commento. Su RUclips altro
Escucha más Beatles, cura lo tuyo.
Yeah, I think I’ll stick with jazz lol.
If only Germany had listened...
2024
example of anti-capitalism music
My fav part is 5:25 where he runs down the pentatonic scale.
That's a blues scale, by the way. It's the basis of almost all modern rock music.
It's strange to hear that scale in the middle of an atonal piece.
I'm not saying it ties into his alleged relationship with the Beatles, though. It's just an interesting fact that blues music made its way into European music around that time. Classical and romantic period composers never used that scale (to my knowledge). I stand to be corrected by music historians.
It´s not the pentatonic scale.
@@strcilin what scale is it
@@2011littleguy maybe whole tone
it's the best part of the song
Los orígenes de Eleonor Rigby.....jiji
Lots of very biased comments here. I'm pretty sure you guys would love music from any 20th century philospher, but because of his infamous elitist claims about popular music, you choose to hate it apriori.
What infamous elitist claims? People have all these weird preconceptions about his Jazz essay, without ever bothering to even read it, much less understand and contextualize it.
No ........ "On the fetish-character in music and the regression of listening is a thoroughly deplorable essay", as are his longer rambling on the subject. Adorno's conceit is that Jazz only caters to infantile tastes of the masses, which is untrue.
Whether or not you think Jazz is authentic form of artistic expression, from the 20s onwards Jazz has been led by individual artistic expression of the performers. Who as time progressed became more unsatisfied with the limitation of form and structure.
We can see this the trajectory of the Jazz form, going from simple melodic improvisation progressing eventually to untempered atonal improvisation, These changes were not driven commercial consideration in fact Jazz became less commercial over time.
This culture of sincere innovation was well under way by the mid-thirties when Adorno was writing, which he would've know he bothered to listen to anything that didn't confirm his prejudices. Plenty of serious musician have been inspired by Jazz, Horrowitz greatly admire Art Tatum and Stravinsky admired the Ornette Coleman trio. Guitarist John William keeps Django Reinhardt in mind whenever he's playing Augustin Mangore. And I'll bet that Jazz has broadened more peoples musical conception than Schoenberg ever did.
@@mikelukebaynham Adorno's problem with jazz was the claim jazz apologists that it can revive european music from the decadence of, i presume, art music, which also he seemed not to have liked. Also, it is useful to not reduce what he meant by the commodity character of jazz as a criticism of jazz players or their talent, virtuality etc. Authenticity of jazz music was never in doubt in terms of its quality. The point he was trying to make is that something else was really determining both composition and consumption of jazz. In a wonderful sentence somewhere in the middle, he calls the virtuous interventions as rebellious overtures by good players to break their boredom. I dont think he really tried to make a case for the proposition that jazz is infantile music or is a mechanism to hold listeners to their infantility. He was trying to uncover the social determination behind its rapid but also unexpected success. Living in a time when we are faced with popular music much much inferior to jazz, I think his criticism should be the starting point to understand music's functionality today
In any case, authenticity of jazz is not pre given. It is not that jazz already has an authentic character and as soon as we participate in it as players or listeners we have introduced some measure of authenticity in our acts and lives. This formula is basically how commodity culture is working today, as if some given forms of expression already express authenticity. We have to stay within and find our island of authenticity. But it is not so and in that I totally agree with you that jazz CAN be authentic, but only keeping in mind that the limitations outlined by adorno are very much real.
Please read virtuality as virtuosity. It was a typo
@Stan 1 I am unfamiliar with german jazz of the time but what he says about african american jazz is a lesson for us now with all the cultural origin music we have
it smashes avant-garde music and beauty at the same time and still not capitalism, as he wanted, since it has the model and sheep sound of average milli0nare film scoring of that time
"model and sheep" Do you mean model and sequence?
@@PhilipDaniel hallo Philipp! i mean he is too similar to what he does radically critisize and this music is an example for this
I dont mean no concept of music theory in especial
I mean he wasn't a full time musician, but this doesn't sound that far from early Schoenberg. It's clear he didn't have complete knowledge of the musical language of his time, that's why it sounds relatively easy compared to music from other composers of the time
@@edoardodalpra4742 it doesn’t matter , it is quite the same post-romantic expressionism music he would criticize if inside a movie of Hitchcock. Typical communist hypocrisy . With less musical knowledge one can at this point compose something very avant-garde, like Varese, oder a barroque piece. He got basic knowledge to follow his own non-sensical aesthetics that set avant-garde music even more apart from society.
@@emanuel_soundtrack I think we're taking the piece too seriously. In the end, it's a philosopher playing composer. Kinda like Nietzsche and his piano pieces, it's not subject of great aesthetical debate. Maybe extrapolating this kind of aesthetic from a Hitchcock movie made it worth something more to Adorno? I don't know, and I don't think Adorno is a composer worth of discussing a lot about when talking about XX century music.
Revolution #9 go listen......WFT?
It's reported in many places Adorno wrote and owned copyrights to much worthwhile Beatles music; however, I fail to see any comparison or relationship to Beatles' music predicated on what I'm hearing here. This stuff sounds like the work of a psycho genius composer. The music is lunacy.
I don't believe he wrote their songs, but the violin at the beginning reminds me a bit of songs like Strawberry fields forever or Eleanor Rigby(specially the fast part)...
Also, take into account this was in 1921. His style could've changed
Theodor Adorno, the Beatles song's composer, according to a Brazilian so-called philosopher Olavo de Carvalho! 😂
It's not that much of a secret. And de Carvalho is right.
Not a fan. Theodore Adorno- Frankfurt School- Germany kicked him out? Is this true? Definitely not Mozart. Sounds disturbing.
Hat der Typ sich öfters verschrieben oder wieso sind so viele dissonanzen drin?
Ja man kann sich ja die verschiedenen harmonischen motive selber denken..aber naja..kunst halt
> wieso sind so viele dissonanzen drin
vielleicht weil nach klassischer Definition 'konsonante' Musik seit ueber hundert Jahren Schnee von anno dazumal ist?
"Der Typ" hatte da eine ziemlich festgelegte Einstellung, die zu kennen einem das Verständnis für die Musik Adornos ein wenig näherbringen könnte.
Warum ein mitteleuropäischer Komponist 1921 Dissonanzen schreibt, kann einem schon einmal schleierhaft erscheinen, wenn man sich des Privilegs nicht bewusst sein wollte, mit dem man sich das Stück dann 2020, am vermeintlichen Ende der Geschichte noch angehört hat.
La musique d'Adorno est un chaos, comme sa philosophie.
Melhor que Beatles kkkk
Adorno had two lives, one of which involved composing auditory shit known as "pop music".
sounds a bit like Wagner.
zarni000 lol no.
I thought Bartok.
@@johnotis6764 a little less lively than Bartok
keep trumpets out of punk
Híjodetu...
>De Lempicka
Absolutely disgusting
CULTURAL
MARXISM
epic amazing shocking covers. Atonal composition is degenerate.
You're right. Marxism is extremely cultured. It's not for barbarian nincompoops.
@@nakedmambo I find it funny that you think that marxism is cultured.
Listen to "Love Me Do" and know that girls were bussed in from miles away and were paid to scream hysterically at a Beatles concert.
Wow I wanted to check this out to see if Adorno was as bad a composer as he was a Marxist philosopher. Yeah he sucks I don’t know why you guys are being nice in the comments he’s dead. And the air he breathed when he was alive was completely wasted on him. Every marxist screams about equity because they are so very jealous of people who actually have talent. Can people really be equal? Is competence equal to incompetence? Is good equal to evil? When will society finally learn their lesson and leave these clowns in the trash bin of history where they belong.
Marxists don't propose equality or equity, you're a m oron
He later on left music and venture in philosophy... with no better results.
i feel seen
Why would they need to be better?
Que desgraça hein, tão "agradável" de ouvir quanto música dodecafônica...
actually twelve tone music can be quite beautiful. Listen to Rautavaara's Third Symphony!
Aural Headache should be the title of this "piece"
Well this wasn't this worst piece. I think that would be the best-selling album of 1967.
ngl this guy used to chat all this shit about music and his isnt even that good.
Though he was really good in "Here Comes the Sun".
It's not bad for XX century's aesthetics. Nothing too interesting, but there's worse.
¡Qué porquería!
8===D
Esa es la idea... que la fealdad reemplace la cultura occidental y luego de su caida reemplazarlo todo con comunismo. La escuela de Frankfurt, tristemente, ha sido muy exitosa.
"Esa es la idea... que la fealdad reemplace la cultura occidental y luego de su caida reemplazarlo todo con comunismo. La escuela de Frankfurt, tristemente, ha sido muy exitosa."
*Dijo el joven mientras se metía tres inyecciones de Krokodil*
@@JuanNunez-pg7ru Yours is this: 8=D
Sounds like crap, like pretty much all of Adorno's work.
then don't read his work aloud
That is the idea, to destroy High culture and western civilization and then install comunism. This is what Adorno and his buddies from Frankfurt were after.
Have you ever read any of Adorno's works? Adorno wasn't a Marxist purist or zealot - he was against utopia of any kind, against turning criticism into praxis ("Negative Dialectics" it is). And when it comes to destroying high culture, as you wrote... He was elitist as fuck: hated jazz, rock and any other kind of popular music.
Sgt Pepper's was his worst ever work!
Disgusting
Rubbish.
What a profound and stimulating opinion.
Boring!
This sucks!
Please mention a string quartet piece you do enjoy and think is worthwhile. (Serious request, I'm just trying to compare and contrast stuff) thanks.