| As a proper noun,“New music” has different connotations in different historical periods: “Ars nova” in the 14 th century,mono-melodic music in the 17 th century,Liszt and Wagner in the 18 th and 19 th centuries,and Schoenberg and Stravinsky in the 20 th century have all been referred to as “new music”.Adorno’s new music thought discussed in this thesis mainly refers to Schoenberg’s expressionism music in the 20 th century,including Stravinsky’s primitive music,neoclassical music and serial music.As a kind of avant-garde music,“new music” is a revolutionary art which pursues innovative aesthetic program,has subversive influence on traditional creation system and has certain trend of social politics.The first chapter mainly discusses the philosophical foundation of the new music and Adorno’s views on Schoenberg and Stravinsky.Adorno’s philosophical thinking about new music cannot be separated from his “anti-system” and “anti-identity”philosophical system.Because of its abstract characteristics,music is similar to philosophy,thus becoming the ideological carrier of Adorno’s interpretation of his philosophical theory and critical theory of culture industry.Adorno believes that Schoenberg’s expressionist music is a “useful attempt to resist reality”,and the“otherness” in his music reveals the false music of “pseudo-individuation” in the cultural industry.Stravinsky’s modern music is more radical.The use of materials in the primitivism period reflects a regression of civilization,while the organization of music in the sequential music period according to the way of mathematical arrangement is a kind of “imitative of freedom that has not been fully trained”.The second chapter mainly discusses how new music breaks through traditional barriers in artistic expression and presents itself as a triple pioneer face of noise,solitude and truth.First of all,this thesis tries to start from the huge noise brought by modern sound devices,and process “Noise”,the acoustic waste material,into “Music Noise” through the form of expanding the artistic boundary,so as to trigger an acoustic revolution that breaks through the inertia of music aesthetic culture.The new music represented by expressionism presents a kind of noisy,abstract and painful modern music listening sense in acoustic impression.Secondly,Adorno believes that the subject in modern society and the industrial society have become a kind of “circular contradictory two sides”.The fine division of labor in modern industrial society has changed the labor relations between people,and since then,people in the society have become mutually incommensurable lonely individuals.The style innovation and artistic practice of new music are resisted by the traditional style and eventually become the opposite of the society.Its unique negation brings profound loneliness.Finally,from the perspective of the evolution process of the theory of truth in Western philosophy,the author points out that Adorno’s theory of truth intends to emphasize that real art should assume the critical function of false art and repressed society with its transcendence and explication.The third chapter mainly discusses the aesthetic redemption of new music.Based on the dilemma of traditional music,this thesis introduces the two forms of music,which are temperament and self-discipline,and the new music,as the self-discipline music,can interact with the social change,save the music art from the tonal tradition and identity philosophy,and realize the salvation from the tradition to the modern.On the other hand,avant-garde and epidemic are contradictory sides in the immediacy dimension.When avant-garde music faces the negative avoiding of individual and collective,it should realize that epidemic is difficult to obtain dialectical connotations such as “timeliness” and “individuality” and lacks historical dimension.Only in the diachronic dimension can it achieve transformation and unity. |
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