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Theodor W. Adorno has been a label in the history of theatricals and music industry in Germany. He was born in Frankfurt am Main in September 11, 1903 by a very well-off family. Adorno was born and bred in the realm of music by having a professional singer for a mother, a singer and a pianist for an aunt (Agathe). This highly influenced Adorno's childhood in that he began to appreciate music in ways most people didn't (Adorno, et al. 2002). At a tender age of twelve, he was able to execute Beethoven pieces on a piano. This was truly remarkable and depicted how conversant he was in music and how well he integrated this talent.
It is also evident that, at the beginning, Adorno was into the traditional form of music involving familiarizing with music tools e.g. the piano. During this time, Adorno had remarkably immersed himself into the culture of music in an attempt to understand it fully. It was not until later that he devoted his life analyzing music in another concept encompassing the modern form of relaying music. This came to his attention when he heard the innovative form of technique that engulfed the field of music.
He also came to understand that music is not only about the sounds that come from the instruments but a form of language in the process. Therefore, just like other languages music had to be uniquely studied and put into practice. It was not until 1924 that Adorno's traditional music perception came to an asunder. He met with Alban Berg, who was famous for teaching and mastering modern culture of music. Berg assimilated him in his proficient music school. This was an amazing time for Adorno's musical education and he had to conceptualize everything from tone to tone.
Adorno emerged a sharpened individual from the music school in Viena and complementarily referred to Berg as "a master and teacher". It is certain that with no doubt Adorno's appreciation for music was unending and totally voluntary. He outdid himself by criticizing Schoenberg in regard to atonality and the technical 12-tone technique in a letter he jotted in 1934 (Cunningham, et al. 2006). Stating that this technique was responsible in the causing great harm to the spontaneity brought about by music. Adorno did not even care that Schoenberg was Berg's former teacher and that criticism will show disrespect. He had strong virtues in regard to music and would stop at nothing in fighting for music. He made sure that no one misplaced any facts about music or even addition of pseudo facts on the same.
This clearly discerned that Adorno was not only a musician literally per se, but a professional in the making. He comprehended the minor disciplines that were masked within each and every musical ideology. Adorno was in line in trying to open up the minds of multitudes of people in interpreting and understanding music and art. Coincidentally, Adorno was also completing his doctoral studies in the field of philosophy and thus he found it eligible to marry the two (Rosenberg, et al. 1957). The grafting of philosophy and music was quite an outstanding strategy since it endorsed overall perusal of music in respect to philosophical facts. The main reason as to why Adorno regarded matching these distinct disciplines was the need for searching of truth.
Adorno believed that music was a tool in relaying a form of man's untransfigured suffering. He insisted that majority of proficient musicians and artists in general could easily avoid the contradictory episodes in the social forum by developing independent or autonomous art. Autonomy spelt out music or arts' complete liberty from any form of political, social, theological and political interferences. Thereby, giving a musician or an artist the power to compose his/her work in total efficacy emanating definite truth which was a reflection of man's history. Adorno detested the use of documents as he is seen relating them with art and music.
Traditional musicians like Wagner, as decoded by literal analysis were having a hard time catching up with new episodes in music. They lost a lot of audience to the modern musical culture and couldn't fathom ways of renaissance. Later in Adorno's life in America, he is depicted vehemently criticizing popular music of the 20th century, dictating that it is to some extent standardized and repetitive in nature. He understands that music should be diversified and captionalizes immense social truth. Instead of art especially music being accorded the stature of change in the society, it should be amplified as a societal exponent in order to relay and express the feelings of the society in general (Riley, et al. 1995).
It is evident that Adorno's perception to music is diverse and highly appreciates it. We can also decipher that musicians have to be flexible in regard to changing times in order to maintain support from their audience. Notably, genres like jazz and other forms of popular music are entirely new artistic compositions and not a corruption of the traditional music culture. Adorno reiterates by saying that we live in a world full of erroneous misgivings e.g. society contradictions and therefore through music and other forms of arts, we should try imminently to detest these vices. He also understood that music couldn't survive autonomously and in the same context reflect all the issues of the society, but he believed that music had a key role in creating awareness in the society. Adorno contemplated on the notion of popular music trying to discern whether it was market/commercial driven or not. This so because he understood that music was entirely social-driven rather than the later.
In conclusion, it is clear-cut that Adorno had a different perspective towards music as compared to many people. He believed that music was a language that was to be listened keenly and directives acquired to enhance a better social life-form. Music and art alike are indispensable models in our society and they deserve a lot of attention in order to figure out what they are warning or advising about. Adorno is a complete genius in trying to compartmentalize music and philosophy in the same docket. His postulations about music are sane and outright.