Adornova rana teorija društva i muzike (1928-1934)

Abstract

Cilj autora članka je da kontekstualizuju Adornovu ranu teoriju društva i muzike u njegovom iskustvu Vajmarske republike i Trećeg rajha. Posebno je naglašen značaj revolucije u njegovom prvom nacrtu sociologije muzike. Na početku ovog perioda, Adorno je pokušavao da pomiri revoluciju radničke klase sa dodekafonskom revolucijom u muzici (za koju je verovao da je iskusio prilikom studija u Beču kod Albana Berga). Ali, njegov stav se promenio krajem Vajmarske republike i početkom Trećeg rajha (Adorno je napustio Nemačku u aprilu 1934) i on je odvojio puteve dve revolucije, tvrdeći da se revolucija proletarijata može promicati sredstvima 'vulgarno građanske' horske muzike (sa novim stihovima). Isto je smatrao primerenim i za nacionalsocijalističku revoluciju u jednom od poslednjih napisa koje je objavio pre emigacije u Englesku.

The purpose of the authors in the article is to contextualize Adorno's early theory of society and music in his experience of Weimar Republic and Third Reich. The importance of the revolution in his first outline of sociology of music is especially stressed. At he beginning this period, it was the revolution of the workers class that he was trying to reconcile with the dodecaphonic revolution in music (which he believed he had already witnessed in Wienna while studying with Alban Berg). But, his attitude changed towards the end of Weimar Republic and at the beginning of Third Reich (Adorno left Germany in April 1934) and he separated the paths of two revolutions, arguing that the revolution of the workers class could be pursued by the means of 'vulgar bourgeois' choral music (with new lyrics). The same he thought appropriate for the Nazi revolution in one of the last papers published before his leave for England.