![]() In his Philosophy of Modern Music (1949), Adorno describes how the atonal and serial music of Arnold Schoenberg (1874-1951) which he greatly admired, succeeds in this task. Adorno, both composer and philosopher, envisioned for music as an autonomous art form the task of finding an expression for the contradictions of an alienated society. ![]() Adorno (1903-1969) stand out for their original and unifying approach to social theory and philosophy of music. In this respect Adorno's concept of musical material will have to be reinterpreted and expanded to fit in with the current exigencies of Critical Theory. ![]() These, however, fail to contain the possibilities of the "new music," Floris Velema argues. Adorno tried to answer this problem with the propositions of his Musique Informelle. The introduction and development of electronic musical equipment meant a fundamental change of the material with which composers work and, consequently, led to a rethinking of the nature of sound and the role of the composer. ![]() A reinterpretation of Adorno's concept of musical material ![]()
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