Adorno read Schoenberg’s twelve-tone technique as demythologizing rationalization.

Evidence

With twelve-tone technique, Schoenberg had created a new conception of the formation of the material, just as it had once been systematized under the concept of tonality at a previous stage of development. By contrast with tonality, twelve-tone technique signified for Adorno progress in the process of rationalizing European music', in the process of demythologizing music’. — Rolf Wiggershaus, The Frankfurt School, 365

Categorization

• XREF: Connects to the chapter 10-11 treatment of Schoenberg and to Lukács’s and Kracauer’s accounts of rationalization. — connects to: Adorno read Schoenberg’s atonality as the rational endpoint of Wagner’s musical nominalism — Rolf Wiggershaus, The Frankfurt School: Its History,…, 1267; Adorno read twelve-tone music through humanity’s domination of nature; Adorno read esoteric musical technicalities as indices of total social disorder — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2181 (+4 more)
• corroborated: 2 independent passages support this claim — Rolf Wiggershaus, The Frankfurt School: Its History,…, 365

Broader Connections

• Adorno read twelve-tone music through humanity’s domination of nature #expands (0.90)
• Adorno read modernist music’s technical conflicts as symptoms of social disorder #expands (0.85)
• Adorno read Schoenberg’s atonality as the rational endpoint of Wagner’s musical nominalism #expands (0.80) — Rolf Wiggershaus, The Frankfurt School, 1267
• Adorno read esoteric musical technicalities as indices of total social disorder #expands (0.80) — Rolf Wiggershaus, The Frankfurt School, 2181