Adorno read twelve-tone technique as progressive rationalization and demythologizing of music

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 (#corroborates, via linked claim)

Categorization

• XREF: connects to: Adorno synthesized Lukacs, Kracauer, and Benjamin to justify Schoenberg’s twelve-tone revolution; Adorno’s music book applies the dialectic of enlightenment within music; Adorno read Schoenberg’s twelve-tone technique as demythologizing rationalization. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 365 (+7 more)

Broader Connections

• Adorno read Schoenberg’s twelve-tone technique as demythologizing rationalization. #corroborates (0.97) — Rolf Wiggershaus, The Frankfurt School, 365
• Adorno’s music book applies the dialectic of enlightenment within music #expands (0.90)
• Adorno read twelve-tone music through humanity’s domination of nature #expands (0.85)
• Adorno saw twelve-tone technique as domination over nature that rebounds against its creators #complicates (0.82) — Rolf Wiggershaus, The Frankfurt School, 1269
• Twelve-tone technique is domination of nature within music #expands (0.80)
• Adorno read Schoenberg’s atonality as the rational endpoint of Wagner’s musical nominalism #expands (0.78) — Rolf Wiggershaus, The Frankfurt School, 1267
• Adorno simultaneously justified and criticized the rationalization of musical performance #qualifies (0.75)
• Atonal music embodied a premature reconciliation of mind and nature for Adorno #complicates (0.72)
• Adorno read modernist music’s technical conflicts as symptoms of social disorder #expands (0.72)