Twelve-Tone Identity: Adorno Reading Schoenberg through Kant

Theodor Adorno’s view of Arnold Schoenberg can be seen in light of his criticism of Immanuel Kant. Critiquing Kant’s concept of Enlightenment and his dualist philosophy, Adorno also critiques common misconceptions about Kant's work in bourgeois society. Similarly, in Schoenberg's oeuvre Adorno finds radical musical creation but also a reversion to formulaic composition in its reception by Richard Hill among others. In both Kant and Schoenberg, Adorno identifies a tripartite movement: (1) A radical work (philosophical or musical) is created by a member of bourgeois society. (2) The work adopts the function of a societal critique. (3) However, bourgeois society is incapable of understanding the work as critique and erases its radical nature. Seen in light of Adorno's thought, the thesis explores the transactional nature of idea production and reception in society.

Grantor dc:publisher

Université d'Ottawa / University of Ottawa

Year dc:date

2013

Author dc:creator

• Ivanova, Velia

Contributors dc:contributor

• Dineen, Phillip

• Adorno, Theodor W.
• Schoenberg, Arnold
• Kant, Immanuel
• identity thinking
• Hill, Richard S.
• twelve-tone music
• philosophy
• Frankfurt School
• Second Viennese School

Language dc:language

en

Identifier

http://dx.doi.org/10.20381/ruor-3104

OAI identifier oai:identifier

oai:ruor.uottawa.ca:10393/24338