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. â Rolf Wiggershaus, The Frankfurt School, 326
Categorization
- DEFINE: Ties Schoenbergâs method to ânominalism in musical languageâ â 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 â Rolf Wiggershaus, The Frankfurt School: Its History,âŠ, 326; Adorno read Schoenbergâs atonality as the rational endpoint of Wagnerâs musical nominalism â Rolf Wiggershaus, The Frankfurt School: Its History,âŠ, 1267; Adorno read twelve-tone technique as progressive rationalization and demythologizing of music (+2 more)
- yield-rescued: below the bookâs yield-target cutoff, included anyway for connecting to: Wagnerian alteration of tonal language cost music its objectivity and thematic unity â Rolf Wiggershaus, The Frankfurt School: Its History,âŠ, 326; Adorno read Schoenbergâs atonality as the rational endpoint of Wagnerâs musical nominalism â Rolf Wiggershaus, The Frankfurt School: Its History,âŠ, 1267; Adorno read twelve-tone technique as progressive rationalization and demythologizing of music (+2 more)
Broader Connections
- Adorno read Schoenbergâs atonality as the rational endpoint of Wagnerâs musical nominalism
#corroborates(0.92) â Rolf Wiggershaus, The Frankfurt School, 1267 - Freedom from tonality dialectically generates its own stricter new law
#complicates(0.78) â Fredric Jameson, Marxism and Form, 76 - Wagnerian alteration of tonal language cost music its objectivity and thematic unity
#complicates(0.75) â Rolf Wiggershaus, The Frankfurt School, 326