Pursuing Wagnerian nominalism to its limit makes musical language rationally controllable

Evidence

Schoenberg himself was the first to discover the principles of universal unity and economy in the new, subjective, emancipated Wagnerian material. His works are evidence of the fact that, the more consistently the nominalism in musical language inaugurated by Wagner is pursued, the more perfectly this language allows itself to be rationally controlled. — Rolf Wiggershaus, The Frankfurt School, 326

Categorization

  • DEFINE: Ties Schoenberg’s method to ‘nominalism in musical language’ — the term under which Adorno theorized emancipated twelve-tone material.
  • XREF: connects to: Wagnerian alteration of tonal language cost music its objectivity and thematic unity — Rolf Wiggershaus, The Frankfurt School: Its History,
, 326; 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 technique as progressive rationalization and demythologizing of music (+2 more)
  • yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Wagnerian alteration of tonal language cost music its objectivity and thematic unity — Rolf Wiggershaus, The Frankfurt School: Its History,
, 326; 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 technique as progressive rationalization and demythologizing of music (+2 more)

Broader Connections