Abstract
Adorno’s essay of 1938, ‘On the Fetish-Character in Music and the Regression of Listening’, has been received in the Anglophone context (since its appearance in English in 1991) by discourses of both cultural studies and new musicology.1 The essay can, however, be read as an eminently philosophical reflection upon the temporal experience of modernity. In this chapter, ‘On the Fetish-Character’ will serve to introduce a hitherto neglected philosophy of time in Adorno’s thought — one that can further elucidate the meaning of ‘waiting in vain’, as ‘music alone’ can express. It will be argued that Adorno’s evaluations of both ‘modern music’ and ‘commodity music’ can be understood according to music’s relation to time and to the image. And it is in this latter respect that Adorno’s dialectical understanding of music can be read in terms of Benjamin’s ‘dialectical image’, a concept largely formulated in his Arcades Project. As we have seen, Adorno is more critical of the later than then earlier Benjamin, even though Adorno appears to have appropriated several of the later concepts. Without claiming a direct appropriation of the dialectical image, a structural affinity will nevertheless be proposed between the dialectical image and Adorno’s philosophy of music — or rather, of musical experience. Moreover, it will be shown how Adorno came to appreciate the complex relationships between music, image and space through the ‘new music’ that he himself experienced in Darmstadt during the 1950s and 60s. Though largely unacknowledged by Adorno, the music of Luigi Nono can be shown to illustrate an expression of waiting in vain.
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Notes
Karl Marx, Capital: A Critique of Political Economy, trans. by Ben Fowkes (London: Penguin, 1976), i, p. 165.
Adorno states, not entirely accurately, that Marx ‘defines the fetish-character of the commodity as the veneration of the thing made by oneself which, as exchange-value, simultaneously alienates itself from producer to consumer.’ Theodor W. Adorno, ‘On the Fetish Character in Music and the Regression of Listening’, in Essays on Music, ed. by Richard Leppert, trans. by Susan H. Gillespie (Berkeley: University of California Press, 2002), pp. 295–6.
The ‘veneration’ that Adorno attributes to Marx seems to come closer to Freud’s contention that the fetishist ‘reveres his fetish’. Sigmund Freud, ‘Fetishism’, in The Future of an Illusion, Civilization and its Discontents and Other Works, trans. by James Strachey (London: Hogarth Press, 1964), p. 157.
G. W. F. Hegel, Hegel’s Phenomenology of Spirit, trans. by A. V. Miller (Oxford: Clarendon Press, 1977), p. 55.
Theodor W. Adorno, Hegel: Three Studies, trans. by Shierry Weber Nicholsen, New edition (Cambridge, MA: MIT Press, 1994), p. 53.
Theodor Adorno to Walter Benjamin, November 10th, 1938, in Aesthetics and Politics: The Key Texts of the Classic Debate Within German Marxism, ed. by Ronald Taylor (London: New Left Books, 1977), p. 129.
Walter Benjamin, ‘On Some Motifs in Baudelaire’, in Selected Writings, Volume 4, ed. by Howard Eiland and Michael W. Jennings, trans. by Harry Zohn (Cambridge, MA: Harvard University Press, 2003), p. 343.
Walter Benjamin, ‘The Storyteller: Observations on the Works of Nikolai Leskov’, in Selected Writings, Volume 3, trans. by Harry Zohn (Cambridge, MA: Harvard University Press, 1996), p. 143.
Walter Benjamin, ‘On the Concept of History’, in Selected Writings, Volume 4, trans. by Harry Zohn, Howard Eiland, and Michael W. Jennings (Cambridge, MA: Harvard University Press, 2003), p. 392.
‘Perhaps the strict and pure concept of art is applicable only to music, while great poetry or great painting — precisely the greatest — necessarily brings with it an element of subject-matter transcending aesthtic confines, undissolved in the autonomy of form’. Theodor W. Adorno, Minima Moralia: Reflections on a Damaged Life, trans. by Edmund Jephcott (London & New York: Verso Books, 1978), p. 223.
Theodor W. Adorno, Aesthetic Theory, trans. by Robert Hullot-Kentor (London: Athlone Press, 1997), p. 21.
Theodor W. Adorno, ‘Sacred Fragment: Schoenberg’s Moses und Aron’, in Quasi una Fantasia, trans. by Rodney Livingstone (London: Verso, 1992), p. 230.
Philippe Lacoue-Labarthe, Musica Ficta: Figures of Wagner, trans. by Felicia McCarren (Stanford, CA: Stanford University Press, 1994), pp. xvi–xvii.
Nigel Fortune, ‘Monteverdi and the Secconda Prattica’, in The Monteverdi Companion, ed. by Nigel Fortune and Denis Arnold (London: Faber and Faber, 1968), p. 183. There is of course a relationship to the image here — the rise of monody paralleling linear figuration in baroque painting.
Martin Heidegger, ‘The Age of the World Picture’, in Off the Beaten Track, trans. by Julian Young and Kenneth Hayes (Cambridge: Cambridge University Press, 2002), p. 67.
The deconstruction of presence is anticipated in the Kantbuch. Heidegger states that the concept of the understanding is the ‘regulative unity’ (not regulating unity) of a ‘range of possibilities’. Heidegger does not want to do away with logic — he wants to loosen the grip, Griff, of the concept, Begriff. The dualism of intuition and understanding arises from a need to determine the concept as non-finite — as Kant puts it, ‘never [to] be encountered in an intuition’ (intuition being finite for Kant). The form-content problem is the finitude problem — in Kant’s terms, the antinomy. But the schema refers both to the regulative unity and to the horizon of possibility; the ‘intuiting look’. Hence, ‘beyond the representation of [the] regulative unity of the rule, the concept is nothing. What logic refers to as a concept is grounded in the schema.’ Heidegger cites Kant. The concept ‘always refers immediately to the schema.’ The subsumed object, by way of the schema-image, would equally be nothing. Martin Heidegger, Kant and the Problem of Metaphysics, trans. Richard Taft, 5th edition (Bloomington: Indiana University Press, 1997), p. 69. Emphasis added.
Theodor W. Adorno, ‘On Some Relationships Between Music and Painting’, trans. by Susan H. Gillespie, The Musical Quarterly, 1995, p. 69. Translation amended.
Theodor W. Adorno, Negativ Dialektik (Frankfurt am Main: Suhrkamp, 1966), p. 207.
Hanns Eisler and Theodor W. Adorno, Composing for the Films (London & New York: Athlone Press, 1994), pp. 20–21. The chapter from which this citation is taken was written by Adorno.
Guy Debord, The Society of the Spectacle, trans. by Donald Nicholson-Smith (New York: Zone Books, 1994), p. 112.
Immanuel Kant, Critique of Pure Reason, trans. by Paul Guyer and Allen W. Wood (Cambridge: Cambridge University Press, 1999), p. 212.
Theodor W. Adorno, Kant’s ‘Critique of Pure Reason’, trans. by Rolf Tiedemann (Cambridge & New York: Polity Press, 2001), pp. 133–4. Adorno promised a more detailed lecture on the schematism chapter, which was never given.
Martin Heidegger, Being and Time, trans. by John Macquarrie and Edward Robinson (Oxford: Blackwell, 2000), p. 45.
F. W. J. Schelling, System of Transcendental Idealism, trans. by Peter Heath (Charlottesville: University of Virginia Press, 1993), p. 137.
Andrew Bowie, Aesthetics and Subjectivity: From Kant to Nietzsche (Manchester: Manchester University Press, 1990), p. 38. Bowie develops the parallel between music and schematism in his essay, ‘Adorno, Heidegger, and the Meaning of Music’, in, ed. Tom Huhn, The Cambridge Companion to Adorno (Cambridge: Cambridge University Press, 2004), pp. 262–3.
‘Perhaps there is no more sublime passage in the Jewish Law than the commandment: Thou shalt not make unto thee a graven image, or any likeness of any thing that is in heaven or on earth, or under the earth, etc.’ Immanuel Kant, The Critique of Judgement, trans. by James Creed Meredith (Oxford: Clarendon Press, 1978), p. 127.
Martin Heidegger, ‘The Origin of the Work of Art’, in Off the Beaten Track, trans. by Julian Young and Kenneth Hayes (Cambridge: Cambridge University Press, 2002), p. 22.
F. W. J. Schelling, The Philosophy of Art, trans. by Douglas W. Stott (Minneapolis: University of Minnesota Press, 1989), p. 109.
August Wilhelm Schlegel, Vorlesungen Über Philosophische Kunstlehre (Leipzig: Theodor Weicher, 1911), pp. 224–7.
Theodor W. Adorno, Beethoven: The Philosophy of Music, trans. by Edmund Jephcott (Cambridge: Polity Press, 1998), p. 8.
Curt Sachs, Rhythm and Tempo (New York: Dent, 1953), p. 12.
Theodor W. Adorno, ‘Vers Une Musique Informelle’, in Quasi una Fantasia: Essays on Modern Music, trans. by Rodney Livingstone (London & New York: Verso, 1992), p. 312.
Henri Bergson, Key Writings, ed. by Keith Ansell-Pearson (London & New York: Continuum, 2002), p. 60.
Hussurl considers the ‘tone’ as the being the ‘temporal object’ of immediate consciousness, the preceding tones the having-been objects, and the expected tones the anticipated objects. Music (the melody) is the analogy for time itself. And as in Bergson, the ‘tone’ is the analogy for the ‘now’ that is in time. Edmund Husserl, On the Phenomenology of the Consciousness of Internal Time, ed. by Martin Heidegger, trans. by John Barnett Brough (Dordrecht & Boston: Kluwer Academic Publishers, 1991), pp. 24–5.
G. W. F. Hegel, Hegel’s Philosophy of Nature: Being Part Two of the ‘Encyclopedia of the Philosophical Sciences’ (1830), trans. by A. V. Miller (Oxford: Clarendon Press, 1970), p. 35. Cf. Hegel, Phenomenology of Spirit: ‘History, is a conscious, self-mediating process — Spirit emptied out into Time’, p. 492.
Ludwig Feuerbach, The Fiery Brook, trans. by Zawar Hanfi (Minnesota: Anchor, 1972), pp. 57–8.
Wilhelm Heinrich Wackenroder, ‘The Marvels of the Musical Art’, in German Essays on Music, ed. by Jost Hermand and Michael Gilbert (New York: Continuum, 1994), p. 36.
E. T. A. Hoffmann, ‘Beethoven’s Instrumental Music’, in German Essays on Music, ed. by Jost Hermand and Michael Gilbert (New York: Continuum, 1994), pp. 60–1.
Theodor W. Adorno, ‘On the Contemporary Relationships of Philosophy and Music’, in Essays on Music, trans. by Susan H. Gillespie (Berkeley: University of California Press, 2002), p. 138.
Theodor W. Adorno, Dream Notes, ed. by Christoph Gödde and Jan Philipp Reemsta, trans. by Rodney Livingstone (Cambridge: Polity, 2007).
Ernst Kurth, Musikpsychologie, 2nd edn (Bern: Krompholz, 1947), pp. 85–7.
This is not to say that the goal of modern music is its origin. It does not negate ‘expendable conventions’, in pursuit of its essential medium. In contradistinction to Clement Greenberg, Adorno suggests that the arts converge in a manner that cannot be assumed to be progressive. For Adorno, music has historically lagged behind painting, in that it sought to imitate it, catching up only in the twentieth century. It had been late since the late renaissance of the stile rapprasentativo. Greenberg argues, by contrast, that painting and literature took music, which matured early, for their model. ‘Because of its “absolute” nature, its remoteness from imitation … music had come to replace poetry as the paragon of art. It was the art which the other avant-garde arts envied most, and whose effects they tried hardest to imitate.’ Clement Greenberg, ‘Towards a Newer Laocoon’, in Art in Theory, 1900–2000, ed. by Charles Harrison and Paul Wood (Oxford: Blackwell, 2000), p. 565.
‘Notizen zum Musiktheater heute’, in Luigi Nono, Texte: Studien zu seiner Musik, ed. Jürg Stenzl (Atlantis, 1975), 64.
Theodor W. Adorno, ‘The Aging of the New Music’, in Essays on Music, ed. by Richard Leppert, trans. by Susan H. Gillespie (Berkeley: University of California Press, 2002), p. 191.
Theodor W. Adorno, ‘On the Relationship Between Painting and Music Today’, in Night Music: Essays on Music 1928–1962, trans. by Wieland Hoban (London: Seagull Books, 2009), p. 415.
Theodor W. Adorno, ‘New Music Today’, in Night Music: Essays on Music 1928–1962, trans. by Wieland Hoban (London: Seagull Books, 2009), pp. 398–9.
Heinz-Klaus Metzger, ‘Intermezzo I: Just Who Is Growing Old?’ ed. by Karlheinz Stockhausen and Herbert Eimert, trans. by Leo Black, Die Reihe, 4 (1960), p. 73.
Theodor W. Adorno, ‘Vienna’, in Quasi una Fantasia: Essays on Modern Music, trans. by Rodney Livingstone (London: Verso, 1992), p. 219.
See, ‘On Astrology’ (1932), ‘Doctrine of the Similar’ (1933), and ‘On the Mimetic Faculty’ (1933), in Walter Benjamin, Selected Writings, Vol. 2, 1931–1934, ed. by Howard Eiland & Michael W. Jennings (Cambridge, MA: Harvard University Press, 2005).
David Osmond-Smith, Break-out from the Concert Hall: Luigi Nono and the New Music, Concert Program (Queen Elizabeth Hall, London, 2005), p. 3.
Cited in, Theodor W. Adorno, In Search of Wagner, trans. by Rodney Livingstone (London: Verso, 2005), p. 88.
Theodor W. Adorno, ‘Wagner’s Relevance for Today’, in Essays on Music, ed. by Richard Leppert, trans. by Susan H. Gillespie (Berkeley: University of California Press, 2002), p. 594.
Helmut Lachenmann, ‘Touched by Nono’, Contemporary Music Review, 18 (1999), p. 19.
Georg Lukács, History and Class Consciousness. Studies in Marxist Dialectics, trans. by Rodney Livingstone (London: Merlin Press, 1971), p. 89.
Luigi Nono, ed. by Heinz-Klaus Metzger and Rainer Riehn (Munich: edition text + kritik, 1981), pp. 304–5.
Alastair Williams, ‘New Music, Late Style: Adorno’s “Form in the New Music”’, Music Analysis, 27 (2008), p. 196.
György Ligeti and Carl Dahlhaus, ‘A Debate on Contemporary Music’, in Contemplating Music: Essence, ed. by Carl Dahlhaus and Ruth Katz, Source Readings in the Aesthetics of Music (Hillsdale, NY: Pendragon Press, 1992), iii, p. 795.
Jürg Stenzl, Luigi Nono (Reinbek bei Hamburg: Rowohlt, 1998), pp. 97–8.
Irvine Arditti, Nono’s Fragmente-Stille …, Concert Program (Queen Elizabeth Hall, London, 2007), p. 7.
Michele Bertaggia, ‘Prometeo — Conversation Entre Luigi Nono et Massimo Cacciari’, in Programme Luigi Nono (Paris: Contrechamps, 1987), p. 138.
Cf. Jonathan Rée, I See a Voice: A Philosophical History of Language, Deafness and the Senses (London: Harper Collins, 1999).
In his essay on Prometeo, Cacciari refers to the ‘tempo’ of ‘The Master of the Game’ as, ‘the a-rhythmic succession of the punctual’, according to which, the past is nothing more than having-been… and the present is a space from which we throw ourselves ‘all together’ into the future; or, as Michelstaedter used to say, we ‘enfuture’ ourselves. On the other hand, the tempo of the Master is polyphonic; his dimensions are given simultaneously; the past of such a line, of such thought, of such speech, may be the future of any other. The present is not a space common to ‘all’, but the irreplaceable instant, fugitive, clear and living, of the Unique. Like a New Angel, he chants the instant, but this instant, precisely, is unique and non-reproducible, and by the very fact of this uniqueness and of this unrepeatable quality, it never-ceases-to-be; it is necessary. To think necessity and creation simultaneously, snatching something from the instant — the fugitive nature of the instant — that which can break the ‘movimentum’, is infinite temporality, the ‘development’ from one being to another, as from death to death: this is what constitutes the unique quality of the Master of the Game, his ‘weak messianic force’. Massimo Cacciari, ‘Verso Prometeo’, in Programme Luigi Nono, (Paris: Contrechamps, 1987), p. 153. Translation by Adeline Mannarini.
Walter Benjamin, The Arcades Project, trans. by Howard Eiland and Kevin McLaughlin (Cambridge, MA: Harvard University Press, 2002), p. 462.
Theodor W. Adorno, ‘Die Oper Wozzeck’, in Musikalische Schriften V, ed. Rolf Tiedemann, vol. III, Gesammelte Schriften (Frankfurt am Main: Suhrkamp Verlag, 1986), p. 479.
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Phillips, W. (2015). The Dialectical Image of Music. In: Metaphysics and Music in Adorno and Heidegger. Palgrave Macmillan, London. https://doi.org/10.1057/9781137487254_4
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