Schoenberg e o progresso na Filosofia da nova música de Theodor Adorno

Abstract

This work seeks to investigate the concept of musical progress in Theodor Adorno's Philosophy of New Music, as well as the role played by this concept in the aesthetic evaluation of musical works. Thus, we explored the reasons why Adorno had considered the compositional model whose the greatest representative is Schoenberg as a paradigm for the development of musical art. We start, therefore, from some texts of the 1920s and 1930s. In these texts, Adorno tried to establish a productive concept of musical progress that is based on a fundamental definition for this present work: Musical Material. Considering the importance of this concept in the Adornian philosophy and its conceptual vagueness, we seek to find proper musical reasons that justify it. In the last part of work, we endeavored to demonstrate that already in the Philosophy of New Music the concept of musical progress acquires new layers and that the simple execution of musical procedures in their present state is incapable of handle the dialectic that is inserted in the work of art.