Adorno synthesized Lukacs, Kracauer, and Benjamin to justify Schoenberg’s twelve-tone revolution

Evidence

Lukács’s Hegelianizing theory of class consciousness from the point of view of the philosophy of history, Kracauer’s critique of half-hearted capitalist rationalization, and Benjamin’s contrasting of mythic nature and the sober light of redemption, were all combined by Adorno to justify Schoenberg’s revolution in music. He presented this revolution as a rational execution, by the most advanced consciousness, of the historic compulsion to purify its material of the corruption of the decayed organic'. — <cite>Rolf Wiggershaus, The Frankfurt School, 365</cite> (#corroborates`, via linked claim)

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 (#expands, via linked claim)

Categorization

• XREF: connects to: Adorno fused Lukács, Kracauer, and Benjamin to justify Schoenberg’s musical revolution. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 365; Adorno read Schoenberg’s musical revolution as allied with Freud and Kraus; Adorno read Schoenberg’s twelve-tone technique as demythologizing rationalization. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 365 (+9 more)

Broader Connections

• Adorno fused Lukács, Kracauer, and Benjamin to justify Schoenberg’s musical revolution. #corroborates (1.00) — Rolf Wiggershaus, The Frankfurt School, 365
• Adorno read Schoenberg’s twelve-tone technique as demythologizing rationalization. #expands (0.82) — Rolf Wiggershaus, The Frankfurt School, 365
• Adorno founded a philosophy-of-history approach to music aesthetics centered on Schoenberg’s school #expands (0.80)
• Adorno read twelve-tone technique as progressive rationalization and demythologizing of music #expands (0.80)
• Adorno read Schoenberg’s musical revolution as allied with Freud and Kraus #expands (0.78)
• Adorno read Schoenberg’s atonality as the rational endpoint of Wagner’s musical nominalism #expands (0.78) — Rolf Wiggershaus, The Frankfurt School, 1267
• Adorno placed Schoenberg’s artistic project on par with Freud and Karl Kraus #expands (0.76) — Rolf Wiggershaus, The Frankfurt School, 980
• Adorno, Benjamin, Lukács, and Sartre form one vaster dialectical synthesis #expands (0.75) — Fredric Jameson, Marxism and Form, 633
• Adorno saw twelve-tone technique as domination over nature that rebounds against its creators #complicates (0.75) — Rolf Wiggershaus, The Frankfurt School, 1269
• Adorno’s music philosophy systematized a movement that already existed #expands (0.73)
• The young Adorno found Schoenberg uncanny and oppressive yet identified with him #complicates (0.72) — Rolf Wiggershaus, The Frankfurt School, 290
• Adorno simultaneously justified and criticized the rationalization of musical performance #qualifies (0.71)