Theodor W. Adorno TAVIUUUUUUAAUUUTUT UU TT PHILOSOPHY OF NEW MUSIC ‘Translated, Edited, and with an Introduction by Robert Hullot-Kentor A UNIVERSITY O MINNESOTA PRESS Minneapolis + London“This book brings together wo sds wren soe years apr anda inurodvction. The contruction and charcer ofthe whole may jsiy 2 fw words of aestion In 1938, inthe Zeer fir Soielfchung, the ho published sa cy "On the eis Charen Music and the Reresion of Listen: ing es inencon wa 9 present se change inthe Function of asic today to demonstrate the inner transformations thst musical pheno ‘our sch ad utained a el of the mbrampsion of me o com ‘merlin mass production, and ashe same ime to show how certain ‘mtbopologeal hfs in standard society each into the sructse of ‘rusia listening. At the ime, dhe author had aleeady planned wo draw fier all determines the station of music For che author the power of he social tory was self-evident even ia sch seemingly remote fe- pis a that of music. He could not deceive hime tha the atin ‘hich he himself wa achooed, even in ie pute and mot uncompro- msn fer, was exempe from the ubiquitous ule of eficaion, eather he saw that, on che contrary, precisely inthe effort vo defend ics nee i produce out of vel characteris ofthe same nature chat tre, Beare his sk to comprehend the objective aninomies in, fs the dialectal testmeat the station of composing itself, whichrhc an at ha geist nsown exigecis wihou any Tarn to the cOnBEquEREE nessa enna inthe mids of 2 [etetonomous aly; antinomies that cannot otherwise be surmounted than if chey ar followed trough wichout ay sion, co chee Timi ‘The work on Schoenberg originated on the basis ofthese efletons and ‘was writen in 1940-41 Icemained 2 that ine unpublshed and, out Side the most ceric cic ofthe laste for Social Research in New York, wat arable only to few. Tada i appeas ints original form, vvth vere additions rouching toughou on Schoenberg’ ate works ‘Ale the war, however whch the author decided wo publish the ‘workin Germany. ie seemed to him neceary to add to he section on Schoenberganothe on Sravinsy Ifthe book wee relly have some thing to sy about new musica 3 whole, it would be ncesnry forthe ‘works own method, oppored to generalizations and casifications, to beyond the teament of a particule school, ven ihe later alone Ales justice tothe contemporary objective poses of che musical material and faces upto ie difclies itrnigeny. Savina’ di Inet oppose procdute demanded interpreation noc only because ofc public rege and its compositional misea—For the concept of tnivacannot be dogmatically presupposed and alway remains open to investigations “earte™—but rather, and above ll to bar the easy way one tha would conlude that, he loyal progress of musicleads tinomis, there would be somerhg to hope for fom the reson JT Fe, fom the self-conscious abeogain of music own aia tic of progres ilegimate save oe hat names the reactionary clement inthe ruling unfteedons and thas unapoloesally precludes ies misuse in the service of the sea quo. The rcun ia postive guise hat has collaped is revealed as more fandamenelycompliitous with the descuctive tendencies ofthe age than witha public Ben branded decrucve A sl proclimed oxdris nothing but a mask or chaos. If dheefre dhe rudy ofthe radial Schoesberg himself inspired by expression, i conducted athe level of musical objecvin, while the ‘reament ofthe antpeycholoical Stinky poses the question of the ‘damaged subject on which is ocute is pacrned hen hee a well a alec mosis a work “The author has no wish to disguise the provocative features of his say, mur pear cynical afer what has happened in Europe, and ‘what contnuce to threaten lavish time and mental energy on che deciphering of exec questions on che technique of modern composi sion. Moreover, che obstinate attic disputes af the text often enough appest asi they ively aes «recy ha is uninterested in them. Bat perhaps an eccentic undertaking wll shed ight on a sitaton sill smashed solely by its familiar manifesarons, and where proces isheard only when the public accord suspect some divergence frm i This i cay mics fe ms aw ema hich a aon: of ‘counterpoint Bear wines t ieconcable conics? How fundamen tally disurbed if is today iis wembling and it igiy ae elected cen where no empiial ned caches, in a phere tha people suppose provides sanctuary fom the presuts ofthe harrowing not, and that Jnded ony ede its promise by refusing what they expec ofc ‘The introduction presents coins that pean © Bot prs Although ic emphases the unity ofthe whole, the ferences Berea ‘he old pare and the new, particularly side diferencs, have not been concealed In the period intervening berween the two pars, my work with Max Hodheimey, stretching back ow over more han twenty yas, has «developed ineoa common philonphy. Tue, the author sly respon sible For what deal with music, bu i would not be posible od {th to whom one teottical insight or another belongs. This book thould be undertoad ata dele excurns eo Dials of Enlil mene Wha eae wines in FSB, 0 confidence inthe help 1g srength of determinan aegaion, i thanks the imellecual ed human sldariyof Max Hoskeimer. Los Angee, California, Jay 1, 1948 Rad, veh amen 'INTRODUCTION ie wi « el i \ Benprd HUN a eA t “Philosophical history asthe research of origin ithe frm tha in the Beare mention sin api ore cnn of ely a ee ra antes ae ths naeautoie ineoanen Cee ee eae apass eee ec ee eee oe Sect dnmaice ye ecco SS Penge promni ener perdi ‘berg hts foreword to Three Satires for Mixed Chorus, opus 28, nurn- Soe cee ‘Sitar toes ge penis taa Soe “Soy in er af quay ania ge See areata easel oe coco soe pn spine Th cen Scot nou ini angst noo es abn herepresentative importance of wos located berween thes extemes. The best works of Bala Barth, who in many respects sought to reconcile Schoenberg and Seavinsy are probably upeioe to Sandy's in den iy and amplenes. And the cond neolasicalgenerstion—names such as Paul Hindemith and Darius Mihaud—har adja to the sera tendency of ce age with let scuple and tha a eto all appesrances, tlc ie with greater fidelity than does the movements cn aes, with his cloaked and therefore absurdly exaggerated conform ism, But the sud of this generation woud indeed necessity develop inca an examination of ce reo innovators. This not, however, be- ‘aut historical priority cei due and the other ate derivative of them bur because they alone, by vise of thee uncompromising rigs drove the impale tha inher in their woth ofa tha these works become le deo hing This tes ple nth mpc coe ‘i arial pm ny rel ole etnias et send ly in pony inh poorly te lied tne ifig stn bua ir hee ct fe ober and nox propane, pio- foci ord wh tee and oe wh Cosas of ape keer he Het ny SU tea: The Charu sou chet Say be need novi mare eplaion of gr ach sy, ede cr ig onli, buon te ont olin ch cgi to te mc Ta Whe pond gp oy py Eo ay yo toe Smash ie coplein ofthe wrk br eed ma ‘hy sae of mae ctipinony comen er ‘niin a clad fae, ccs of i ui ok ‘uc ace inthe ctsponns haces ped he och le roth he ae doch art of be woken he coc hand an isan lion er he problem ok ‘Been ft i ome rp doen New Conformism. What roids berween the extremes in fact oes not so muuch today demand an interpretive elation 0 thee ex: teemes a, by is very halfiesednes, make speculation supefbious “The history of new music as a movemeat no longer tolerate “mesn- ingfl reposition of extemes” Since the heroic decade, the petiod sround World War, char ara whole been ahistory of deine ofinvor seit ear ener meee ‘Giada, which na ad Ene bch dws ean es sass de et es PARSgahy aig al mae sive iy he citer debascment ofthe wail iio. Ts was the anthesis to the spreading ofthe clr industry ito is own domain Tre that the vansion tothe edad manufictre of si 2 ase rodced aco longer than i he analogous proce race fr in the plac are aconeprl and nonrepresntaiona spect, which as snce Arhut Schopentaer recommended it iraconliic iosopy, made refactay tthe rei sala wa onlin che cof the sound film, of radio and public seo music tha, previsly acount of itonlin twas emrely sted by sccm Incl atonal. However once intl management fl clr nods wis cabled ay toy, cao won contol ve the aesthet aly nonconforming In tins, the spicy of mechanisms of ditbaron-—-which sand athe dnp of iu and bargin tasement call gpode tothe with he ili atulctred pe Aipostion ofthe Uitene, rough radial muse comploe Poon. For iow COMPU who Want To NEMA TTT becomes morally invoked social pretest fra file peace. This characesies 4 imendarpe who, WOT Ununted recension to moderiny snd setouses, conforms with culated ioe to mass cure. Hinde tits enero il Brough ler and sl efor, he moder. tion was evidenced above all in entirely unprinted intellectual company, i compositions made to mit whatever the ocasion, and finaly in the iguidation ofits contempabe program along with every thing cle musically dxomfotng They came ott end in a expect- ably routnized neoacademic sgl. Ths reproach cannot be lodged Aegis the follwing, third generation. The colon withthe iene, disguised as humaniy, begins wo dinegete the technical andes that progresivecomposion achieved. What beld good prior to che breach, the conituton of muszl nexus by ena means. ies ably los The hind generation doesnot bee in thesolcous ads that hey write wih ly wink, nor ze che deadbre means theirips enschede fr any msc er an Ys on ‘Tar comporr prc rade io f he new cmposbal an fpapeturn thea vader cf tt con ‘Sebiownes wheres th io ep mises the vise finan swig" pois ee ompromise erst pon eae oe repose sk eg inthe ead ci be wey of uth spe of mrpebensen cle prnenn” hy ‘Zeus ates hema up win hey mn ea acy The Sour an agp ti sna hwy Rome et ks Si esench the etna cnsation af he ee compro Thane cone tnd hte coco op oo where non Ac cer nt te epionethemses Someneinel i cpgomus bl cch tern hr wea ‘Satoo fale nd passes, Dini Shoah anjly sepimande cla Blkev by che pe aoc of Smdandhe iy pp of Sows agar, th pets menue of Bein Bete Al of hoe ave in Common tan or bad eet spt Sanden ignore ina ‘ay tht SRST ce minds od ck fh cape ty In Gamay he ethane has bend abi ep ‘Tne ear Won Worl oh een he scr False Musical Consciousness. Suavasky also stands at an ex- teeme inthe nes-music movement insofar as the capitulation ofthis movement i gird in what bell Staviniy’s muse Because of | Coen weight and momencum, work by wotk. Today, howevet, an aspect this epilation has become evident an arpect for which Sains Cannot be held diet reponsbe and that is ony ten indicated in the wansformatons of his compoionalprocalare: the collapse of ll those erteria fr distinguishing god fom bad masic thar wee inal ‘sedimented in the early bourgeois period. Fr the fis ime, ileantes tre lunched fom all comer withthe claim to bing great composer. “The largely cencraied economic ife exacts thet recognition bythe public Teeny years ago Edwatd Elgar rumpel-up fume seemed tobe “local phenomenon, and Jean Sibel fare an exceptional instance of ‘tcl ignorance. Today phenomena of such mien, even if they ae tls sometimes mote ibe inthe use of dsonance, have become the ‘norm, Since the middle ofthe inetcench century, great music has bro- en away from social fanctionaly of any kind. The logic ofits develop- ‘meat now sands in conflict with the manipulaced and simultaneously sleconten needs of ce bourgeois public. The numerical small oup of connoisseurs was displaced by ll hose who could afford the pice of A icker and wanted to prove to others they were clare. Public ste andthe quality of works diverged. Quality prevailed only through the composers rategy—which was il injurious to the works ther i ugh the enthusiasm of competent musicians and eres tcl modern music could 2 longer depend onthe ner. Although eis posible wo judge she qualy ofeach and every avant ard work in the same boundaries and as conlusively as fora uaditional wok and pataps eten moze conclusively, because che dominane nguage of ‘music no longer telees the compose of che burden of corectnes— the puratvely competent meditor has los the capacity o judge. Ever since the comporiional proces has come wo be mensred unigudly on the srucare proper to each work and not on generally and ety secepied erigencis, it has no lange been pole o “eats” once and focal whac good music and what ie bad. Whoever wane to judge must look the unique questions and anngonisms of he nda work Jarsight inthe eye widows having any geen theory of mae OF any music history co insrac him. Seareey anyone is capable ofthis che ‘exception isthe sant-ande composer, co whom, however, discusive ‘hough is wally aver. The compose can no longer coun oa there being a mediator berweenhimelf and dhe public. The cis livelier. ally according tothe "high discernment” of Gustav Mablers song” “They judge acconding o what they do and donot understand: the musi- ans, howeve, and especially che decors, consisend allow themselves tobe guide by the most palpably siking and undersandable elements ofthe work they have to perform. Inal chs the opinion tha Beethoven is comprehensible and Schoenberg incomprehensible i an objective lion, Wherein new musi the src lentes public ha is cut off Be algo amor ncn phenome fom at ‘hosed Sekopalopelcndons raeh fi ino ‘Toreoonen oc SCOT che Sina fer alo mar m remo Fo wa ang Agha 7 —| rot ny cn ape am {ie ny longer wth Gatto which aon mast beat wines ‘hen yy xmpecend the mse hy ony erie ner emp of har ny ess poseaion nd ha sel [in moma in wichita spre andi ow a sali ete wane tha hc lic gps of tional macs iu cude pecs: ely repel hanes ominey bef pangs meets tnd asec Com Torte lnc ie te nef rad he mse net Gharbi meming oles iden nan cay Breton sot shonin sSchocrbg que chat et eid ice he $Stotinberen, bought ne on wert one Tis in no wy fo the huts wrk sol tbe underncd sponaneouy ints on ge {nd etherie sured wo daprvatn oir, Bat thee ‘tlgalcadency—which hs orched om mast connouse SerecocS te hum tone unde he noweecle Imus urged ony ler the ay aeon of he ‘de of ban in the acevo of the Concer hal wile th plwphe laa peat muse ha evel ese oon heme tnt hokage The mu nde ch ne Thnic tat eval fom i pe by elog end oiing Sect: mer confers the en contcouses of the fen For ‘hem. the harmony Vien dam won a ey pe of tenuncnion, tnd the erupe ning of romanian ne become ‘Sjosaf cmp hone dean, Alu ening thesane Berd wet the flowin se ay conte isin et ee eer er tan des ody ein Coe net vd ma vn te mise ee ti ifthe leqted nih fae pormanc and loging’ Teng pce Haver ce i cu indy has ened iin taeda ne sue hu lowed them ocr “Sntunpion thy ding al hore sbnay ote pps at rT any pled lof perenne oon ae pale 2 tad wih ip es er trai rces thm eno te congelel opote of th formes “Tsu and oon thc sented by de ceniproca hi ne that be concen te agi unattainable and infsed wich spi refining, bur aio the sacroanct ‘radvonal music hat ie been asiilsted to commen mats pro duction in che characrer ft performance andi functions in the fe of dhe latener. The subvance of the music ar noc bea ee untouched ty thi Mas aricpac in what lement Grebe eld the di Sonof lovin hs ca te dca of pot a—iTong sce a up He can cial Se eS inde abjecivy mus be conned uniquely othe sane gade, sich x xladed fom ofc cltur Today philosophy of mi publ oly aa pllowophy of new mas: What sain only what noua ofl aku; theater sone serve the promotion of at Barbarian vr which wasp. The ered iene ort seem be he wrt the who prompdy spud o Schoener me ‘wah dont undentand hata watement whose made sation ‘pest cnnotamunhip “tntettectuatism.” Among the proaches tha they obtnaey repeat the mow prevalent isthe charge ofinelecin, he cam hat new music pigs om che head, no fom the eat othe eno ike- ‘wis that the mui is no sonora iain but only worked out on paps The poverty ofthese cht is manifest. They ae put forward ax {Fhe onal om of he pas 360 years were el ge by nue and 2s fie were an stack on nate to go beyond what has bees habitually ‘ound a, wheres, on the contay what haben round in ear wi eso cd pes Thema el i on sion oiginatngin hoy owes dignity tothe oan ecusve ‘joo fs abc bang, hw own does soa oan and. eh the wal ements sand Br men. The aew musi means, bower, ie fen out of he imanent movement ofthe old opal one fom which they are emer ga gt eee is more inlet los ekiglyimapned han raional muses ‘med projeonofincomprehenion, Wher cal fran che cham ber enue Pera Lanaireor nthe orchestration of La, Schoenberg and Alba Berg surpased the ichly inbred melodioumes of any ime reson eve And fuer tha which msi ancl —the complement ofthe commercial raio—cals feng amounts mor often than not to slesrender to the scam of he sonorous ow of euence Kis abd that dhe wrk ofthe ever-popular Teaskovay woven potas despair withhiccune melodies, then deo express ‘mote emotion than the seismograph of Schoenberg Err? On ‘heer hand thoes Mgr mA Tog TRE which lone conf rst msc digo has aways demande let onal oy ‘henjeaeconposionl onion. Te deeapment of elope Of hi gp tthe co ofthe pasive perception of the seal snd deine the rank of he composition by conan wo clinary plete. ‘fers new musica pure shaping reflec grin on he lagi of hs ‘ign ic sands nthe ton ofthe tof the Fag’ headin of Benioven and Brahma Ione msc peak often sould ‘eo nie tha moderate madera tha bus el wih tinge ‘ight blend of exeen aM Bana eather than © acs the com oer wo obeys the inegal lw of the msc contrsion rm the fre noe ah ina the design ofthe form, even if and above all when Ineconarpmly binder the eet grat of the indioal ect ‘esl the epoch of nlc io eas tha es ore sel incorprae fat or overall understanding the ts on which ‘he epoach sae rahe thano concent counter dumb argent vith more ineligent ones Hidden among the concepeuly mor dub {eghtamane neo tars pies and wih which fo opi encne Hep Send dari ASCE Eo Salen in far detlopnctal upeio, anal which tenia raed determine fms ef on ad prema “egadedino mee apc and each hee opt has mar teed bras bese then oa Sac endons™ ‘Ths the intgnaton oe leged inland has Ube fom helen pees eta wes om he absolut te unind fom amour aig i ind with wha cur abject and neces af this were miso tino ale “Thshowees we mast oc epud sumer ae tl midcne sted by a fom wou ving wo the des of he sinc the ene fi he promis ck finer th coma it ithe ee and he prope ofa el wich, y binging te out ‘on aan objet own nding mae a vey long it SF ‘eta The svc that ais oul do beer thnk oo tmuch—whea pci hi edo itely commis thm to thoughtamouns omahing ore tan melancholy veh a of ae aged nd expo by ae. th prot ge he imal romani moti pps inthe esormendaron eo fough and ta ba opel tne waonaly gen hemes exegoi fom haar ood Wha stl beg lamest ota dee of dean ht ol eed hgh sone Kind of bianaton—that analy but eer the hao of repens spine clement ls0 ompcy oe caren ple at 2 arora oe some lan the the wane dproporionte tposeker beyond ein iatindural nya ery byond ‘olin soy eal oatenatons— bet» cowed and nn hued concious nds nat hat the door hough which conus es hoped wo fe ol elightnmen is bleda fay fel bene today fo the emer fo which ib any aman intasgeely a Si Ho wR La anc a cone rsd a th wl eg sig ew ey The compact and wie majo era tn pups what ges deurngvbiy comprehended in he ound othe ioral ning ofthe hour "Wha ough atoning we have before oa pas le pad a cj a se inet en pr befor uso comple that the cones exaued that cveothing toed, ad oching be of imwed Bnet Hy sre. Frits iso be ond olin he exe ivy acy (oF rind few each abe ners ha ain he nice evar esoned afer te sols ci af te pilouphicd tens adel longa he preensons a gon ed Wag ‘ts vom of Bayreth th feme wins to sch abs ore fe Anog ky pots at el ae i thot howe enxncn that dates whe gsi wa so feared by Hep who was in hed pensne bougharkncsr—ce and pin ubjogied in renewed aks by pops tecveen temic andthe perduing power ng utah nd = ‘reo hs day aways ten pd inane fom by ve of the ier the pres tab, Een fer the sieemen of comple aon Frc atthe dominaing pt atc on uran and exahuman cany ad the jection of eereinment beng viol the werk True The darko isnot he pe bing and fore that cp soccer os merpan mca wlan, which notin “ain pages such 2 the of Hopes Ache. On the con {rs purview bamoust ont own, ttn aero anges oy times vo aply oat the dota of Phenomenal ft com aus As conaitce of hs ton of Kant oct od Presenting whichall immediacy ised mediated in el peta pci by vie of his distance fom abou musc—whone er wor hee hc a ml pede inh i ise fat mporactprodac have aways remained escape “onan Tae a os the ined cate PT w= ious exresed what indeed concerns the fe and death of at. The TRS ure and for rhs accra ain enscios- tear oF is argument, no aliogthe feof cerain ck of ethic eof dee inthe bounds uig cat ces oer mankind sera, nduaces «deve elemens in sic’ elf abandonment co tdi he ces ihn. hes i pute tienen a eer by romero ere ens that by no mettre nacho eligenment ine tmeaF GATT of ts tll senses In he ton on "oem trent bus onthe contary cosple-ncahadows cabghtenments finda Ar ofthe Acta e of u,Hal wis that tot ecene pve and hough sz alos bs is poral ia the compose cn “be unconcerned with ny ch eaten td mak the {Boimige The more the l-powefl cular induey sea ors om Prinpal ching che pry msc eracae of is work and dhe ge DATES print lyasins ne eee mths chee Barna cee mal retin ny Fen forth benef ding dine ll he more doe a rie ‘2s berome omcthing une desi of Gough and lng me Sau his ue lmiosy ic opposes conguations of thar epresed thing teding fr ppccson no pear found calvin of darkness to the omalporenc.peon-light style and helps illuminate only mind or heart. On account of this lack of material not only do we see tp conic the rghmer ofthe wor of own dane * Only for the it fr omposiondeloped ashe mo tender og bt ey le 1 peled humanity woul gsm 028 cd dea, which now ccna compan equ tna troughs ir he om ‘hlstens would be ols the snp Of bar exiaene ver the fancand exp beaded of ien Musics thenre mre eof when ‘consciousness that has the audacity to resist it- the composer gives the same attention even in instrumental music to both sides, othe expression of cpnten (ue, a aher vague on) and tothe musical rrar and in tha ae he i free ogve the preference adic Music Wot lnmune, Ye hie ence weigh oa he few tow GIS wo the depth snd cay of harmony now incanigent wo ofa that are aly produc. By waling Carcefation, or leven al the dent.” Wt te SERENE in tener ule fhe eaing nt af rrr ch ak ‘Fecal nda tee woes nt ely come ole fee sake isos be marl vlaaly ugh cad ba a hh mathe he al otal sil aby indus, Tne cone of tr thas ben nea by vie of the jie shy a Saltau mck nt ike hota rte diiron ofthis of exeion othe pl ht musica bon i “pps an ent ino epson WOT ow inten incl eed, Hep sgh pie of imal The his con See TE are Site mS pes GO only te exer Enna beyond what is Aci sppons Inthe roen eate Teen sie, which easel aending othe rk Of hings, the arc i inom Ger than Hog could tv nd wih shag ofthese evga on in at fl mained a he epaning of te lon of eer inden hms he feof pol ec that, vente pur hing prestalihed bar not eeuad rhe posi of diprng ortho in mat advanced om, fre, by the dpeopsson rly vr lateral a echigue oat " ely e cid by 3 — : inven SING ag tHE Ss, earl“Fama, Ss jose, tions such at dha of ‘the llsion of sch 2 fee erin, and cen magi ables Eighth Srmphony hve andes oui er te tt hs become the ge ecto ois Trencot hich oon im nthe moka ng ore ane earn irl agncis on wich ek af ecdon ‘Serreglaistnel © ocpets—which fund lneene ‘aan Benthoven, whom Feel comple ignored -ncesaiy pera to pong Sno in whos conten an sbundae af poses by open, BY conta ha xs mes fom sown b+ Sane ad fr cao ee han seal and bas he ‘cutiing ae that Hep pledge he tee antral msc nation of eeryhigpeermie,h e eucton of spe tothe able gonad Bardens the work and at iinet Zao gut domai concedes legacy fsa ‘SEs tea dion ine pate nc efi the gil {tinaon of cl ines ata ecg thid the ae teed mason ofthe mend Wo. NE [Antinomy of New Music. Tat mic aogier, and expecily ‘Cates e 1 indispensable medium of new music—arose out of the ractices of dance and cat not imply le behind as a mere “point of deparcu” though musics development ward freon. Rates, che historical origin remains palpably implied Tong afer msc tas broken fom any collective pyc. Plyponie mic says "we™ even when tives uniquely nthe imagination ofthe compoter without cvs aching anode ving penon, Bute idea collectivity that muse sal cares in wel, thoughseparte fom she empiial eal ‘nett confi with music's neal il olan with the ‘aprenive character thai imposed on i by Wis isolaon. The quay of "being heard by many” undeties music’ objectvaton, and when music bring heard isobsuced, che objetation i acer de- ‘ded almost to something feigned. the arogance ofthe aesthetic subject who sayy"we" whereas iis al only an“ and is indeed ace Aly unable syanything at all without also posing a “we” The incongruity of he ides of stipsniccomposion fo age orchesca not only appeat in the disproportion berweci-ihe numerical mast assembled onstage andthe empy rows in fon of which they py, but ee rend hte nip ae an a ee eure ge Tie pty ed ecg ee redacted canna tsa eee Sacamyrestanayinneenan ee Stag ccrpleien rae ee ee eee es oe ees ae eee incor na hee “ ‘material process that according to Schoenberg has transpired unte a een oe ae eersneenie cern cre inom ge cane bc uaa enn He een eet igeue eat pate pe selatmeee mertermee reed latin cfhomnigr cin ue ee eee ea pe ee oo eee ee oe Soa ee eo ee ‘conseat for sausicchrough a coup de main, because the musical struc eee ee pean paper rena heroniey SEE cee ae Oy Stone oe eee iiaeneeraa ee ee eee eee prep eee cones iu comer St pam aor eS | So a eee ofthis music appar to side inthe onganized absence of any meaning, orhich ic repudiates any meaning of ganized soiey—ol which wants o know nathing—rathe ON being capable on is en of anypositive meaning, Under present conditions, music is constrained to ‘egexminate nation. ee eee etre ae anette an See ee er ce ee eae ee So deg ee ere Soest eenereiotatnte Saath aera eet Se ee rc eget ea cree reer cee seamen tenon ce eee mveeiese ete tas Seer erorncvonme rire cero pee tees tg ee ac gare SS neae io ao Soiree s oeen seam inter eet sets ate tea pee ee Sees ppeet ara ah eet erect me nteet eter dares seca ene amen rere sageant ie oar stag cee cong alates for by patons or inswios." The conflict beween commission and autonomy is mane in reluctant, halting production. For voday, much ore than inthe ea of absolutism, patron and artis, who always had precarious elation, are muealyecanged. The patron has n0 rl tion whatsoever to the wore bu commisions i asa exeption, ae am instance ofthat “eal ligation” that lf procims the newtral- faxion of culture: forthe artist, however, che fing of deadlines and specific ccatons sufces to extnguth the spentancty equi by the ‘mancipated capacity for expression. A prostablsed historical har mony preva berwcen the material constants of commisioned com poston, de ro the unslaiity of the work, and a dwindling of nner tension. This dwindling ofesion inded makes the comporer capable of aliling the heceonomous sks withthe technique of he sutono- ‘mous work-—atechaque ivelf achieved with indescribable exero0— Iburahe price of deflecting the composer fom autonomous work The ‘enson elf, howeve, hat x resolved in the artwork i chat becween subject and objec, benwen inerior and exe But today, under the rower Gal economic enpnization, bj objet have bees negated in fle Went, and with de acquiescence of the mais to the appartus of domination, hie tesion becween subject and object ts due nd aeons pce of tempat ane ee A pe Sersaralngraned yhoo Te iS Saelemet paer oh gap syne pa facts, a8 the private worldview OF the composer. The work, then, by ror tet me it isc wn OR ae behcae ecnneon fen at ork Wipe What conus oes spy by vor of ere rt Sista lpr ee They pe ence ‘expreued by Euan Seccrana,™ that the concep of great music ow paid to that of radial musc—ielf Belongs tis haan he te comps ar ol sehen thas sual forgone a an end in elf ste sults fom is purposelessness no less than commodity goods ste fom the nartow purposefulnes. When the concer is not ‘with socialywsefl labor bu withthe preducion ofthe hes-—where ‘hea of wily is defied and challenged—thescial visio of labor”shows aces of dabios ian This ieatonaly ithe immed 2c consequence of the separacon no only rom being ead but oe Alinusiorcommusicuon wire ies Fone could lot 7 {xi any communication wih phiosphy Sach atonal become unminalable he motmene new sc becomes egagd with min, with plileophicl and soil subj For then no onl doc tshow elf 10 be hopletiy dorinted, bt i ao idesogily repudiate countervailing sig hat cares within fel The tery quali ‘of Wagner Bing war dbo a cry tcked-ogeir allegory of Schopehaser ei of she neaion ofthe wil tlie. However thee isn dobsta Be ibe ofthe Ripe mii in na Vet indeed ead consider ecw the central concer of the impending bouresis decadence; aris thereat dobe that ithe ins il elon beeen he msl alan th tue ofthe ideas tha objectively determine this gestalt The musical subsance of Schoenberg ty well on ay prove pero to Wagner But incom pation wih Wagner tats which nosh hi sce and le he mathe whole, Schoeaberg ot oly ar aby eae bt aio diverge silly fom the ani nd, perhaps out OF ace ro tmp wachwords—such afr cxmps te elumph of oe ort fehion—bore nae is mgd by each and every mail phase Masa qualiy as never imune fom he uy of de jet ma te wor like Morars Cor fer atand Cal Mari yon Weber ary sho afer mus fom tie ei, which cannot be aged by any ery or ene remy Ie oto be expe that drama ‘works in which the contadton between the mone etme muna -pion and he ry ofthe abet mater stud beyond ‘eur and thus and only ths wo the poat of reonaiaon, would succeed bent than Caf te ven the be contemporary mse tay vars witout—by such able refs of spurious ses ces using ise comple (On Method. Ic is tempring 1 deduce allthis in socal eems Airety fom the decline ofthe bourgeoisie, whose mos charctistie aris medium is music. Bu this peoceduse is compromised bythe practice of misjudging and devaluaing the del ehough an alloo- rapid ference ro the totaly in which dat det iaheres, a oi hae fe defines and then in run disinegrates the deta. This procedure is enmeshed with the incinatin to tke sides wich the whole the over- aching tendeney and condemn wha doer natin Are thus becomes ‘mete exponent ofsciey rather than ferment for is transformation, ‘As such, art approves the development of precisely that bourgeois com sciousness hac depreciate ll cultural works simple Funetion, €0 Something tha exis only o serve something de, and lima to an of consumption. While the deduction ofthe artwork fom sock hich is immanent lg epudiates, seeks o burst the ftihimn of wot the ideology ofits being-in-iel and vo acerin extent acte fy succeeds in doing so, cis deduction ia return tacitly accep the fcacion ofl spc in commodiy culture by acceping the article of nsumption asthe measure ofa ight oe as if this measure were the eval measure of social ruth aeogether. Thus, unaware, his de= Auction labors on bal of confocmise ad inverts the meaning of the theory thas warns agains appying tai were the genus oi species a bourgeois soci. now fully organned and diven to subsume every ing as toca, he spinal poten of another scieryis wo be found ‘in what dos not resemble The reduction of evane-garde music ‘ots soca origin and its social function scarcely goes beyond the hos tl unferentiating definition sac cis bourgeois and devadent ax ‘ry. Thats the language of Gea adminiseative opprenion, The ‘more soveeign is axanomy, he ore elle i rebounds rom theit exeral surface. The dale method, and preiely the one turned fom its head onto i fet, sit of wening patculsy phe- nomena asiuseasions or examples of someting _ fines the thus the dilecie degenerates to a seat eligion. On the contrary, ie i necessary to eranaorm the sength ofthe unica concep inc the: ofthe concrete object and sche dh sal pmol nae byt BEL ove invasion. To ths the aim wo provide no scl justfeton but Theory of scencby vine of the aplication of what is aesthetically "ght abd wrong a hc haar of dwabjan The concept mst immerse fl in dhe monad 0 the the social sence emerges of i randunale Saas asa psi cane ofthe MUCTOOE e—as Hise would puc “ =A hiloophical analysis ofthe emer of new music tht rakes acount ofits histor cal ssstion as Wall ar oF Ghaism dnguises eel in terms of es Wows >‘mento fo socal datsiation ju a andar rom tn aehtc abi impored fom preorsinedphlopicl doc tines By no means th la ofthe obligation ofan advanced dle tncthod is that "we ae not require bring sana wish ws. 00 ppl om facies ad tough the inguin jst by ou lear- iets ar aseanablnf roc 3 act ys ia land for fal asics ines complecssig.™ Ar the sme i, owes, the nth is alo iinguited from thse acti 0 ‘wich the objec irre i scully iin el and Foci” This wold he uneralingy of decree analy Se apologetic commentary wel ee Tech sai tee rice presuppone sad on presented, bur requires inadion the Inerpreation of hemo snute dail ii is go byond the char site cla ves ton oF ie obj 0 than ee opp the core indy never ome op ‘Boreas admion forthe poste Ceidgu- ft cel to he kof Sci he worth cmon of works, Ke Boing enter Philosophical weaunent onl sporadic, a meas by which theory {covet he nein the ate ire ofthe work anderson i inert. The en of rovers abd hei en it be phono conrad ven if chimes oe beyond what the wok at immediately achieve. [nthe examination of parce elemens the rmcthod revel the expr impleia-berweeniechnical proce dae and wd Tha ks determin the es of bh groups cf raalpbenaeas spectively and to prs tem the pin chat the rig she bj themeh sve inte ctu The po- cesrfmaanen The eral consitncy a Phenomenon sense ‘halt be lope oni hr phenomevow ful tecomner he saan of i ni and the fermen fis air, Conradicion + the pid category elf hs double nacre: The works themes onan ci ‘hero the foc ofthe omen dees faring, oct ind destoys the works. An immanent method of this ire reappone nas ie amity open contayy—pio- sophie knowledge ha tnscends it objet. cannot depend a ould Hep on ca “pur looking ox shat prion the eth exceily bcruse the conception of the identity of subject and objec underlies the whole so chat che observing consciousness he aurrof elf he more comple i exinguishes clin the objet. A ahistorical hous, ‘when the reconciliation of subject and object hat been perverted ro 8 satanic parody, ro the liquidation ofthe subjecin the objective onde, the only philosophy tht sil ses rconliation i one that scorns the a oneltion and ser ane nivel sellienation the ‘la ep snd rh (gma ‘pea ge Tas Ft i of immed hich, indeed, can no mote underged isadogmcicallyby alc co positive teanscendence chin could Hegels method in its onp time, Like i objec, knowledge remains bound to determinate contain 4 tg ‘Meal me the‘engi home nthe fst ntnce tout ay comet itis rata the sherdsapearance of content bu by egave ate toward what exes wl make rel and gi al content. (6. Pecan Jolting of the “Work” The eansormations that music hat ‘undergone dung the past tiny yeas have warely been recognized to ‘heir fill exten. eis nota mater ofthe much-invoked rs, chaotic fermentation whose end could be anticipated and that would bring crder afer dhe disorder The thought of ture renewal whether inthe oem of great and consummate artworks o of the lowe! accord of mie and soir simply denies wharhas happened and ca be uppresed but ‘norundone. Under the constrain oft own abjective log, music cit fell canceled che ide of che consummate areworc and severed is te with the public Indeed, whecher economic or clu either cise whose concept already implies adminirativereconrucron—has been able to puta tp tothe fice of music Eve in music the monop- ly ofthe ecient survives. However, when confonted with ueriy tnleated sound that dei the net of egaized clr, such car ie revealed as fraud. Busnes isl explains dhe fc tha the daly burle suppress anything ele fom emerging by laying the blame oa 3 pat ‘iy of “achievement.” Outiders othe bu ae sai wo be pathfind- «stables and above ll agi gues thse who came ater them wil have ic beter if they are ready tote he Ln, they will gradually be admied, Ye thote onthe outide at in no sense pathbeners forFacute "works" They challenge the concept of achievement and work “The poli for tat radical mac who would ce all shat the Schoen- berg hoo! har ledy produced would have already disavowed whathe means o defend. Today the only works tha count ae hose chat reno longer work, Tis can be recognized in the elton bexween the schools recent eur and the evidence of es eatypsiod. From the monodrama ‘Erwartang, which unfolds the etry of a single insane in four han dred meautes, fom the suddenly shifting images of Die Gliciche “Hand which wipe ou aif ven before it hasbeen eels ine fom thee came Berg reat opers Woe Indeed cacy that a great oper. Ke resmble Frasrungin is deta a well a ins conception as a preentation of ansey i resembles Die Glcche Hand in the ns sable pling up of harmonic complexes, a allegory ofthe inaicaely layered psychological subject. But Berg would no have appreciated the des tha in Were he had filled what had reine mere pos bili in Schoenberg expression pies. This raged 2 to mse mart ay the price for its broad amplitude and the contemplative wisdom fie architecrare. The unmedited notations of Schoenberg the expes- lone ae mediated in auch a fasion chat they become new images ‘of emotions. The sureness of the form proves fo be a medium fo the aborption of shock. The suring ofthe helpless soldier aught in the machinery of injustice Fees out ito a nye ies embraced and reat sured. The erupinganiey is mad presentable ata musi drama, and ‘the msc that reflects dhe nity nds sway, willy signed, back into the scheme of transition? Wisechisa masterpiece, work oF veadiional are Thar started dire Second. note mois reminiscent of Eruarsng, becomes lei repenabe and epeated, The more iis integrated direct into the cour of the music, the more wig renounce being eaken literal, the more becomes sedimented 352 bearer of expreion and dled by repesion. Lie do those who prize Woosh as one of the frst enduring rel of new music know how rich thee priv compromises 2 pice that sles from ditilaon ‘With experimental audacity nd pir to any of theaters, Bergasayed ‘he new means in lrg tompora sections. The sich vary of matical characters is inezhauible and i matched by theamplicae ofthe archi- ‘ecru disposition. A beive defeatism hols watch in che abstemious ‘compassion ofthe sound. Nonehcles, Wozzeck revokes its own string eosin preci in hoe clemencrin which i derdope The impuler of che wot live i i musical atoms, rebel agua the wok tha hey produce. They tolerate no rel. Nor only ithe dream of pemanent arvsic posession dieuptd from without by the chratening sci si- ‘ation eis ejected by the hioccl tendency of che compositional means themselves. The comportment af sew misc makes problematic what many progesives expect fom ie Bnished srucrre that can be {ied on now andfreverin the museums ofthe opers and concer hal. Tendency of the Material. The presumption that dhe musical means themuelies haves historical tendeney contradicts the tadiional imerpretion of the mattal of music Ii defined physically — in any even, in texms of a psychology of sound-—at the sam ttl oF sounds ar the dspos of the composer From this, however, he com positional marisa diferenc a is speech fom che inventory of seunds. Not oly does i contract and expand inthe cous of history. Allo specie eat are marks ofthe hori process, The more they ‘beat itv necessity in themselves, hele they re immediatly eg tble as historia wai. Ia the moment when dhe hisorclexprestion of ‘chord can no longer be discerned the chord demands that he rounds surounding it do jase to its historia implications. These plese sions have become its nature. The meaning of musical means is not “dental wid thee genesis, although es no tobe spare fo this emesis: Music knows no nacural law, and this face accounts forthe Adubiousness fal psychology of music Ia seeking to make the msc of all ages invariably “understandable,” che paebology of music presp- poses an unchanging musi subject. Tis assumption it more closely ‘elated eo that ofthe constancy ofa natural material dan the acs psy ‘ncliation, they are the flection ofl eoncian. Ln its expesion- i phase, musi annulled the claim to rota. But expressionist music remained “organic? at lngunge, ic emaned both ubjecive and pey- ‘chological Ths once again compelled micro seek otal. [expres ‘oni was not radical enough int oppsion tothe superstition of the organic its liquidation once again crystallize the ide ofthe works the hetnage of expressionism accrued nee co works. Total Organization of the Elements. Wha subsoqundy might ‘have been posible would appear wo be mies, All reaicing principlesof selection had fallen. Tadvonsl music wat obliged v make do with 2 sl Lmited numberof onl combinaons. pecially in she verti dimension. Matic had to eign el ever and ain biting upon the ‘specie viaconselasione of she general that prevent, paradoxically as if ic were denial wih che unique. Besdhovels entice work i an ee pts of thie paradox. By conta, chords today ae fied wo che unex ‘changesble demand of thee concrete use. Noting preesablished burs the composer fom the sound tat he aces her, and only here. Noth ing preeablhed compels him wo submit othe tadiionaly univers ‘The pou of technical contol ofthe material developed together with te emancipation, Iisa if music had wrested tel eof ay pur- ported natural consrsine imposed by its mater and was able wo dispose vere rely consciously, and lucid The composer emancpard hie sf slong wih the sounds. The several dimension of tonal ociental ‘music—melody, harmoay, counterpoint, fom, and instrumenttion— ‘developed historically in reaive independence fom each othe, n> planned, and to thie extent at “ak natural growth.” Even when one became a fneton of the others, for instance, when melody became ‘ Funcion of harmony dusing she romantic peiod one dd no actu- ally emerge fom the oer rates, the simply conformer each ater. Ie could be sid that melody paraphrased te harmonic Functions bar mony diferente isin the service of melodic values. But even the liberia of melody from its raiona wide characte, an achieve- sent ofthe romantic Lied, emains within the famework of gven har tronic trues. The blinds with which masa prodactive powers tention inserted with dhe almoa-ragrentaryvclence of allegoey— into wha i innermost ll, empey. What i domineeting in thee Tae gestures, however, responds ro what i yannical in che origin ofthe stem el Twelve-tone exact, which bansherall meaning a iit ‘vere an sion claiming to ex in ful inthe music objec, sete ruse sccondng 10 the schema of fate. But the domination of nature and five re iaseparable, The concep of fate may iuelf be modded on the experince of domination, asing fom the superior of narwe ‘over mankind, Wha sis songe. Incoming ogi on his, men have themselves learned robe sronge ad ro dominate ature and in pre- del this proces ie har reproduced ite Ie inevitably develops ti for tar—inevitably, because every sep man ake i enoined om him bythe ancient pero of nature. Fates domination taken to che pine of pure absricton; che mesure of dertructon equals the die of dom ination: ft is the clay Reversal into Untreedom. Music in trl 0 the hiorcl dis les, pricier inthis dialectic. Tele one echnigue irl i ft. Te sbjagater music by sexing i fe, The sbjec rule over the msc by means of rational stem inorder to miczamb thi rasonal ‘em ul Justa in swelve-tone technique inthe composion proper — the productivity ofthe variation ie forced back into the materi, st tums out forthe redom of the comporerin general, Wheres hire dom it achieved int diporal over the materi it becomes a deeri- rion of che materi dererminacon that confonts the subjex a somthing sien and incur subordinaes the subject its consaine. “The compose’ fanasy made the material entirely mallet his own constructive wl but the consrexve materi hamsings fan el All chai ef of the expressionist subject ithe subservience of Neue Sachiko technique. The subjecdiclaims is own spontaneity by projecting onto the historical subject mater the rational experiences ‘hati ad in ie confonetion with i The operations tha broke the blind domination of the sonorous material become—theough a sytem of raler—a blind second nar. To this the subject subordinates itself in search of protection and ect, deypiing of beng able ro Full che susie on sown, Wagner precept of erablshing rule for oneself and then flowing tenn eves tefl aspect. No rule more epesive than one thai sel promulgated. Ii preci te orign in sabe iy chat hecomes the contingency of arbitrary pronouncement 3008 atthe rule ands in the way of he sbjet, posi, egulaveys- tem. The violence that mass musi infts on mea lies om att ant pode, in usc dat widhdrave from men, To be sure, among the rules ‘oF evelvetone musi, there is none that doesnot arise neces out ‘of composconl esperiens, out ofthe progestiveclicdation ofthe ‘acura material of mac. Bu hie experience ha a dlesive charac by vise ofits subjective sensibly: the sense that no tone i to recur before the music has ehausa all the othe chat no aot is to Sound ‘hat does nor lilt msi funtion inthe construction of the whole; shat no harmony ito be employed that doesnt explicitly demonstrate itl. The eth ofall these desderca depends on thei constant con- fontcion wth the concrete form of he macro which they aap. “They indicate what must be guarded agains, bo not how co do so. Dis- aster enaie af ron 3 they ae extablshed as norms and ae exempted fiom that confrontation. The content of che arm is identi with the conten ofpontancous experience By view fis objectification, how- cer it becomes nonsense. What onc he atentv ex dicated isdis- tored int a rumped-up sytem in which the cites of composiional right and wrong are obeabtratly verified. This explains the readinest of so many young musicians—spacially ia the United Stats, where the muraining experiences of tvelve-tone technique are waning-—to smite in the "owelvetone sate” and thee lion 2 the invention of a surogite for tonal, f eadom were aeshatially inclerable and needed ob fire eplced by anew complancy- The wel eaonaley|of emi iis tx rpnttion. Emulate music would keto ‘ore srough rgtznion, alt whole, telat power ad aco Shy of Beehoven This is aly suc atthe pi of own eso, tnd hus al, Beethoven produced the mesing of tonal ou a ‘ube edom ielé Te new ode weve tone echnigue, vial Stingishs the ubjece. Wha is grain the ate Schoenberg mas won ‘much in oposiion 0 eehe-tonerecnigue ar hough e Thr tweheconetecnigu Benue drogh musi becomes capable of comporing few he skne and imply tat igh bet irinhe wake of ruin. Tn oppo oeweeonetchnigu bese the op tha conceived ireminn enough in command of il eer tnd pin co eve the suc of i rods, pulleys, and ges and tae the lah up if wanting deny cxtophicl de ch Cal wor of art The mixcartige of echnical artwork, howere i 00 Simply» fire with ear see eae ir are in de technique The dean with which vec sework deny see semblance lnc consis echnical aes to semblance. Twehe tone music has a sreamlied pec. in ei the ‘hig shoud serve gn tbo its owe nexus Here, wre toch gual ate ang technique becomes a eh in ef and oe {ete fr the sabato the awork an excite of cel Sion, Kis ovng co this placement of the center of gravida the fe chaser of mas music has a dey snd bad of danced ad “eal sical production. In pio procure tat dose ‘ie othe terse ino mistaking dae afin with those ‘hevrial waging that cence simmon up machines, tha indeed Chemie approximate 3 machin hat fills no Funcom Te singly ‘ands here algry of the “echo age” Al Neve Sache ‘ely deat 0 fil prey to what i erly combats the ora ‘nent. The teanlined ub chai ofthe inceirdsign chaltans vow in the shopwindow what the lonelne ofthe consacvi paining and twelve one music long ogo grsped—ecesariy gasped. As the ‘enlace ofthe aro dhs of «proces whose mere he age le asin ornament, the siacon of the arvork become ogee “tebe. Anything shat ha no ficson inthe artwork-—and this verthing tht xed the ow oft mer eee —idebured The tres anton, however sprecly © eed mer eine: This ‘nm ae becoes tama inuria The consummate, Kina rework becomes a work consummate deprived af fanction. Since the aod, indeed, cannot be cali, the elimination of ir character Sic eemens of semblance only thzows ll the more plainly nto relief the semblance character oft erstece. The proces is inevitable. The annulment ofthe artwork charactetic element of semblance ede ‘manded by iss own consistency But the proces of annulment, which the meaning ofthe whole demands, ke he whole meaningles, The integral arevork isthe absoluly absurd artwork. Schoenberg and Sua- inky ae commonly thought of ar sicly opposed to each other ‘And in fc, Srv’ mas and Schoenberg contractions hav it Hein common. Bue one may well imagine that someday Seravindky/+ alienated, mechanically asembled tonal chords and the sequence of twele-tone sounds—whose concatenated stands have likewise been severed a the behest ofthe stem—wil in no way sound so diferent as they do toda. On the contrary, they designate varius level of rigor in dhe mame mater They have in common, by vite oftheir disposal ver the amined mater, «dim wo bindingness and neces. In both, the apr of powers subjetviy is apparent, andi bears the gestalt ofan unrated ye imperious norm. In beh, chough etaialy ‘om entiely deen levels of form and with uneqal powers of eliza tion, objet is sbjectvly exh. In both, music threatens 0 congea space. In both, every msi det sprederermined by che ‘whol, and thee is no longer any authentic eiprocaion ofthe whole and the part Thee commanding dspsition over the whole exrcies the sponancir ofthe elements, Twelve-Tone alos and Rhythm. The fille ofthe echical sored can be confered in all dimensions of its compotion, By vimue of seing music eto undertake Limi domination oer the ‘anual materi, che endlavement of music has become univers. This {scone inthe fist place bythe definition ofthe basic row ehrough ‘the melvetones of the chromatic see fis not clear why cach ich sow ‘must contin all tele tones, exempting none, and why ie muse con ‘ain only these evelve without anyone of them reappearing. In ict as Schoenberg was developing the row technique in Sena be wosked vith tows of fewer than sel ones Thee is a reieon why later he ‘employed twelve tones without excepon. The limitation ofthe enticepiece to the interval ofthe basic row make ic expedient o dispose che {ow ive wo commprcensvely thatthe tonal space constrained a litle 1 posible, dha the greatest posible aumber of combinations i feai- ‘leer the fae hat he row utes no more chan ewe cones nay well bbeatuibuabe to che concern tha none ofthe cones though frequent ‘petition, be gven a preponderance that could make ica Tundamental ‘one’ and could conjure up ronal relations Sel, even i the tendency is toward the number rwer, its obligatorines cannot be singel de rived. The hyportatizaion ofthe number is complicit inthe dices in which cwele-tone technique bogs down, To be sure, the melody is indebed wo this bypostaztion forts extrication fom the preponder nce ofthe single tone and at well fom the filse natural contain of the fet ofthe leading toe, dhe formulaic cadence. Inthe hegemony ofthe minor second and the intra erve fom ithe major se eth andthe minor nindh—fee tonality maintained che chromatic ele- ‘ment and init implicit, che element of dissonance. Henceforth, hese ices have no preeminence over the other, unles the composer ‘rant to etablh ths preminencererespecivly dough the coms tion of the row. The reodic fret elf acquis a lgimay that it arly posesed in uadional music and that chad eo boerow hough Sreumscription of harmony. Now the melod)—presuppesing tha, a Jn most of Schoenberg themes, i coincides with the row-— sumpcon.Twelve-one technique subsiutes conscious constuction fr “medason,” the “trantion,” and che forward drive of ll chat sim ple bythe ding one Bus heavy pies th atomization of ound. “The fee pay of forces in traonal masic—which produces a whole courafa movement frm sound eo sound without this whole being pre- onctited, 30 © speak, a8 3 movement fom round 19 sound—itce- placed by the ustapostion of mutual alienated sound, There is m0 longer any anarchic atracton berween the sounds: instead theres only their monadic lack of selationship and at every point adminisraive domination over the whole. eis this situation above all hat produces librium the ireconcable postlares of the process. What these efor: donot ake on themaeles is ot Lunatic stems and thei ollow rt- tle ast, ready ro engulf anyone who would gues allege chat his self made language wae confirmed. Thvedifculis ar all the more Pericons athe subj fils to macure with them. The atomization of the musical deals presupposed bythe self made anguage resembles the situation ofthe composing subject. The subject i faced by the vot lnsinacion thai evident in the sethetc image os own powerless tes. "Tat is what appear so aew and outrageous in Schoenberg mas: this marvelously sre sense of dteaon in chaos of new sounds." ‘This thapodic analogy shows the mas oF an amey thal tated it rally in thei fone of Maurice Ravelseavon-bound piano works, ‘Une barge sr Uacean' The open possbiis ae Righening wa pe ton who would not be their match even if che oficial musica is ‘communication industry permed hie mately ro seize the moment fd didnot drown is out in advance wih the familiar roar of what i tre he same, No ans i able on his own o tanscend the conrad tion beoweenunchained are and enchained soci All hat he i able to do, and pehaps on the verge of dsp, i contradic he enchained soci through unchsned art. Given all he ncensonles matvls and level thatthe movement of new music has id bare—as though wait- ing uolaimed there forthe aking would be ineplicable tha they fad no aed even the igh carious, otto mention kinded spc, who mighe have surrendered dhemaehes to che happiness of the yt “unexplored if he majriey of them were not already so rei bound ‘up cae they mus forbid themuclves his happiness and for this reason ‘resent is mere posi. They proibi themselves noc because they ‘would not understand the new but Because they do understand it This reveals no oly the fsudelene of thee culeare but an incapaciy for truth cae i im no way merely an individual ncapaciy. They ae 00 ‘wei co engage the forbidden The waves of unmed sounds would ‘ah ncainglealyovercheir head if hey sought fllw teal. ‘The flllorsic, neoclassical, and collective choo share ony single sspiration to remain inthe hnbor and dibure the used andthe pre- fabricated a ithey were the new. Their taboor age the msclersp- sion and thir moderiy is nothing but an arempe to domenicate is forcer and eactle them where poablein an era prior to individualism, A rlniccomtume that suite the present well Proud ofthe dicovery ‘har the intrtng has begun tobe boring, these school of music want to convince themselves and others shat dhe brig is derefre iterest- ing. They do nor even ge of att notice the eprenive tendencies inherent i the musical emancipation il Is precisely thar they do ‘nor want o be emancipated inthe fie place hat makes them 0 timely and applicable. But even the inaugurutors of new misc who bear the consequences ae aficed with this type of powerlessness and show symptoms ofthe simecllve dase that they undoubeeily perceive inthe hore ection they reste. The numberof composions that 20 fara serious consideration has shrunken, and what iil being ‘writen beans the eaces not only of unspeakable effort but also, often ‘nough, of aca aversion. The diminishing quantity has obvious socal {easons. Three 0 more demand, Bac even the expression Schoen berg was tempetuouly productive and radically opposed the mate ‘The ehastion is duet she dificues inherent in composition el, ice cht sand in 2 precstablshed raion with exerna diicul- tic Ia the Bive yar poe to Would Wa 1, Schoenberg averse the fll ‘compass ofthe music materi fom thiough-consructed tonal the beginnings ofthe row technique by way of fee atonal. These ive yes are hardy matched by his eweney years practicing ewelvecone technique. They were moceinvoled with contol over the material tha with the works whose toalty the new eecrique wat to have recon~ ‘raced although there war no lack of ret works Justa wehecone technique seme ro inrict composers there ira didactic element peeu- Tar to reve “one works. Many of them, cha the Woodwind Quintet, and the Variation for Orches, eemble medele The preponderance ofthe diac ster egregouly o the way the developmental endency ‘ofthe technique ha outstripped the eadvonal concep ofthe "work ” By the withdral of produce incre rom the indvidal compotion and ts cur argly omar the pial posite of compotion, which recive no more than thir respective exemplieaton in the models, ‘composition izle transformed neo a mee mean forthe manure