Reflections on Adorno and Today's Music

Adorno, Theodor W. - Philosoph, Soziolge, Deutschland - *11.09.1903-06.08.1969+ - 1967 Verfremdung-des-Bildmaterials-durch-Kolorierung-Collagierung-Montage-auszugsweise-Nutzung-oder-elektronische-Vernachdung- -Ruckprache!

“We listen to Mozart's music. As a consolation and a hope, it is a welcome respite from the turmoil of our inner world, but we listen to it as something fundamentally alien to us that resonates from other ages.” With this judgment, Kandinsky conveys that every music performed is the spirit of the time it is in, and that we can assimilate it at the most within a break.

When the elements of religion, morality and authority change in the dynamics of society, the first areas where this transformation is visible are literature, art and music. These disciplines put before us the picture of the age we live in. It is sometimes a picture of darkness, sometimes chaos, sometimes corruption. In the last hundred years, we are faced with a world where everything, even culture and art, has become a consumable, originality has been lost, and standardization has been put on the market over and over again. For this very point, we can say that Theodor W. Adorno brought a philosophical perspective to the relationship between society and music. The subject of his article published in the periodical of the Frankfurt School in 1932 is “The Social Position of Music”. With Adorno, concepts such as mass culture, high/low art, culture industry are also the subject of music sociology. All consumption habits of society also affect music. Like every product integrated into the capitalist system, music takes its place as a commodity demanded by the society, shaped, produced, distributed and marketed according to the wishes of the consumer. Adorno objected to these, believing in the power of music to act. in his interview He reveals his view and criticism of popular music with exactly the following sentences;

I believe that equating political protests with popular music, which is the music of entertainment, was flawed from the start for certain reasons. . I have to point out that I find it unbearable that someone starting a business sings emotional music about Vietnam for any reason. In fact, taking something terrible and making it consumable, this song becomes utterly unbearable. Eventually it squeezes out something consumable.

Theodor Adorno

There is another situation we can deduce from Canetti's judgment that “the music begins to play for itself”. The answer to the question "What does it mean when the music starts playing for itself" will lead us to the answer to the question "What does it mean when the music starts playing for the industry". If music begins to play for itself, then it will be a natural reflection of a human condition of music - a state of fluidity, just like states of matter. If music is used as a tool -method- while constructing a language with the cultural output of current, political, political or social events, it can be used as a tool - just as Adorno states - it represents or reflects, and even - with a very Baudelairean approach. - becomes a consumable package of the human crisis it is simulating. We can understand this especially by looking at the relationship between social and social movements in the 60s and music. When we think of Bob Dylan and Joan Baez during the Vietnam protests, these provide an opportunity for protest and artificial enthusiasm. Only the melody remained. There is no consciousness, there is melody. Music should have its own consciousness. Music without it is just a melody. Real music changes people, transforms them.

From where we stand now, a thinker says that decades ago, music was commodified, turning away from art, culture and philosophy, and turning it into a tool that only numbs and pacifies the listener. Today, we are talking about an industry where similar derivatives/imitations are produced in the domestic market and offered to the market with by-products, which are served to the world from a single place. Adorno philosophy of new musicHe was drawing attention to the revitalizing power of music while putting forward the . But are the impositions of this industry, the fake packed emotions the spirit of this century's time? What has changed after the century we went while listening to Mozart, how did the music, which is far from being a consolation or hope and beautifying the indifference even on the helplessness of the society, became one of the intermediaries of a popular culture industry that is packaged and sold?


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