Música e ideologia em Theodor W. Adorno : um estudo sobre a obra dos anos 1930 e 1940

Abstract

The present work aims to present and discuss Adorno's considerations about the relationship between music and ideology present in his texts from the 30's and 40's. Therefore, this dissertation analyzes Adorno's arguments present in his musical writings of the historical period in question. First, we carry out an analysis of the relationship between music and ideology from the perspective of music composition and production. In this sense, we discuss and expose topics that are central to Adorno's musical perspective, ranging from considerations about musical evaluation criteria, passing through an exposition of criticisms of specific musical genres, to reflections on the relationship between music, politics and society, as well as on the intertwining between music and the market. In a second moment, we present considerations about the relationship between music and ideology from the perspective of musical reproduction and reception. Here, first of all, we present central aspects that concern the relationship between music and ideology from a reproduction perspective and, more specifically, about radio and the structural impacts that affect the music that is reproduced through this medium. Also in this chapter, we analyze the Adornian arguments that point to the scope of musical reception, such as the concepts of regression of listening, pseudo-individuality, pseudo-activity, among others. In a third and final moment, we seek to present, in addition to considerations, an interpretation about the possible meanings of the concept of ideology in Adorno's texts that were written in the historical period that we propose to analyze in this research. In order to do so, we consider both the argumentative contexts that Adorno deals directly with the concept of ideology, and, even if in a secondary way, the position of some theorists who focus on studies on the concept of ideology, such as Terry Eagleton, John Thompson and Raymond Geuss.