Advanced music’s immanent development abolishes bourgeois expressive categories.

Evidence

The most advanced compositional productions of the present time, merely from the force of the immanent development of their problems, put bourgeois categories as basic as the creative personality and the expression of its soul, the world of private feelings and enlightened inwardness, out of action. In their place they put the most extremely rational and lucid principles of construction. Although music of this sort, tied down as it is to the bourgeois process of production, cannot be seen as `classless’, as the authentic music of the future, it can certainly be viewed as the form of music which fulfils its dialectical, cognitive function most precisely. — Rolf Wiggershaus, The Frankfurt School, 490

Categorization

• XREF: Adorno’s view of avant-garde art as dialectically critical of bourgeois society connects to the book’s earlier treatment of Critical Theory’s aesthetic dimension and to Benjamin’s artwork essay. — connects to: Music’s post-French-Revolution evolution is capitalism working within the musical material itself — Fredric Jameson, Marxism and Form, 754; Late-nineteenth-century music traded structural working-through for sheer instrumental expressiveness. — Fredric Jameson, Marxism and Form, 95; Bourgeois ascendancy turned novelty from by-product into an end pursued for its own sake — Fredric Jameson, Marxism and Form, 61 (+2 more)
• DEFINE: Illustrates Adorno’s conception of immanent development and the dialectical-cognitive function of art.

Broader Connections

• Twelve-tone technique is domination of nature within music #expands (0.85)
• Bourgeois ascendancy turned novelty from by-product into an end pursued for its own sake #corroborates (0.80) — Fredric Jameson, Marxism and Form, 61