Adorno y Mahler: ends and beginnings

Authors

  • Gerardo Guzmán Facultad de Bellas Artes. Universidad Nacional de La Plata

DOI:

https://doi.org/10.24215/24691488e013

Keywords:

Music, progress, avant-garde, Adorno, Mahler

Abstract

The present work explores the relationship of the philosopher Theodor W. Adorno withthe production of the composer and conductor Gustav Mahler, at the crossroads betweenmusic, tradition and evolution. Some of Adorno’s ideas and quotes will be taken from hiswriting «Mahler. A musical physiognomy», included in the book Monographs Musicals(2008), and others of Philosophy of the New Music (2003), regarding the comparisonbetween Arnold Schönberg and Igor Stravinsky. From this, a comment will be made tocontribute and expand other facets from the aesthetic and musical analysis of Mahler.

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References

Adorno, Th. (2008). Monografías musicales (Mahler. Una fisionomía musical, Punto II - Tono). Madrid, España: Akal.

Adorno, Th. (2003). Filosofía de la Nueva Música. Madrid, España: Akal.

Adorno, Th. (1984). Reacción y progreso. Barcelona, España: Tusquets.

Schoenberg, A. (1963). El estilo y la idea. Madrid, España: Taurus.

Paz, J. C. (1958). Arnold Schoenberg: o el fin de la era tonal. Buenos Aires, Argentina: Nueva Visión.

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Published

2018-11-29

How to Cite

Guzmán, G. (2018). Adorno y Mahler: ends and beginnings. Arte E Investigación, (14), e013. https://doi.org/10.24215/24691488e013

Issue

No. 14 (2018): Arte e investigacion 14

Section

Articles

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