Adorno saw Young Music and serialism as complementary objectivisms crushing the subject

Evidence

These two articles criticized complementary phenomena: the expulsion of the subject and of every form of expression, both by the community' experience of those who glorified the Young Music’, on the one hand, and by the `serial engineers’ on the other. Adorno was thus identifying a phenomenon in the realm of music that corresponded to the phenomenon he perceived in philosophy and sociology: ontology and positivism, ideological speculation and positivist empiricism, complemented one another and represented variants of an objectivism that was busily kicking what was already down: the subject, the individual. — Rolf Wiggershaus, The Frankfurt School, 2192

Categorization

• XREF: Parallels the earlier chapter claim that ontology and positivism complement one another as objectivism — same structural diagnosis applied to music. — connects to: Adorno linked neoclassical musical objectivism to fascist ideology — Martin Jay, The Dialectical Imagination: A History…, 558; Serial music extended rational organization while dropping Adorno’s subjective complement — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2190; Adorno saw ontology and positivism as complementary variants of the same objectivism. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2192 (+1 more)

Broader Connections

• Serial music extended rational organization while dropping Adorno’s subjective complement #expands (0.85) — Rolf Wiggershaus, The Frankfurt School, 2190
• Adorno linked neoclassical musical objectivism to fascist ideology #qualifies (0.80) — Martin Jay, The Dialectical Imagination, 558