HEARING EDUCATION AND AESTHETICAL VALUES IN THE PHILOSOPHY OF THE NEW MUSIC OF THEODOR ADORNO

Abstract

The article has to do with Theodor Adorno's "Philosophy of the New Music" and aims at investigating the aesthetic values ​​presented by the author so as to identify Schoenberg as the representative of musical advancement. The specific objectives for this work were defined: the identification of the main aesthetic characteristics in the musical pieces of Stravinsky and Schoenberg as well as highlighting some philosophical basis to differentiate progress and regression in the musical aesthetics of Adorno. Characterizing his aesthetic conception as philosophy of art, Adorno takes the production and reception of art as expressions of a dialectical relationship with the social milieu criticizing mainly the cultural industry and bourgeois art which were intended to please the ear and allow producers and recipients to establish an exchange rapport in the capitalist market. Therefore, his aesthetics is based upon the criticism and the possibility of dissonant and autonomous creation, analysis that were carried out within the scope of such investigation that focuses on the issue of music as an aesthetic object of progress or regression of hearing.