Adornov marksizam versus Šenbergov judaizam - ideološke osnove Adornovog sociološkog pristupa Šenbergovoj dodekafonskoj muzici

Abstract

U članku se autori bave ideološkom dimenzijom stava Teodora Adorna prema atonalnosti i, posebno, prema dodekafonskoj muzici. Oni tvrde da Adorno nikada nije hteo da realno razume tesnu međuzavisnost između dodekafonskog projekta Arnolda Šenberga i njegovih napora da se 'vrati korenima' judaizma. Umesto toga, Adorno je razvio jedan marksistički obrazac objašnjenja koji je bio neprijateljski raspoložen prema svemu što je pripadalo represivnom i besmislenom 'starom režimu', kao i prema navodno njemu odgovarajućim ideologijama i religijama (poput judaizma). Da bi ispunila primarni zadatak reflektovanja zala vladavine savremenog totalitarnog kapitalizma, moderna atonalna (a posebno dodekafonska) muzika je, prema Adornu, morala biti 'progresivno' očišćena od svih veza sa 'reakcionarnim' judaizmom.

In this article the authors devote their attention to the ideological dimension of Theodor Adorno's attitude towards atonality, and especially towards dodecaphonic music. They are arguing that Adorno never really wanted to understand close interrelatedness between Arnold Schoenberg's dodecaphonic project and his endeavors to go 'back to the roots' of Judaism. Instead, Adorno developed a Marxist pattern of explanation which was hostile towards anything belonging to the repressive and meaningless 'ancient regime', as well as towards its 'appropriate' ideologies and religions (like Judaism). In order to fulfill the primary task of reflecting the evils of the rule of contemporary totalitarian capitalism, modern atonal (and especially dodecaphonic) music had to be, according to Adorno, 'progressively' purified of all ties with 'reactionary' Judaism.