THEODOR ADORNO’S PHILOSOPHY OF ART AND REPETITION AS A METHOD OF CHANGE
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Published:
Jun 20, 2020
Keywords:
standardization, pseudo-individualization, popular music, repetition, cultural product
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Abstract
The study establishes a theory for analysis of popular music according to Theodor Adorno’s philosophy, through the concepts of standardization, pseudo-individualization, and the two types of listening to popular music: rhythmic-obedient and emotional. It points out his philosophy and continues with a critical analysis
of contemporary products of popular music – American artist Daniel Lopatin’s Eccojams, Part 1. It also refers to some contemporary music critics such as Simon Reynolds and Marvin Lin. This work is an attempt to look at the attitude towards popular music during the first half of the 20th century and the condition of its influences today, at the beginning of the 21st century. The study uses some aspects of Adorno’s negative attitude towards the value of modern cultural
products and it addresses the attempts of contemporary artists and theorists to
discover ways out of the illusion and repressive function of the modern cultural
industry. At the end, all this is connected with the use of repetitiveness and the
modern effects of music technology of Lopatin as a way of setting new narratives
in popular culture.
of contemporary products of popular music – American artist Daniel Lopatin’s Eccojams, Part 1. It also refers to some contemporary music critics such as Simon Reynolds and Marvin Lin. This work is an attempt to look at the attitude towards popular music during the first half of the 20th century and the condition of its influences today, at the beginning of the 21st century. The study uses some aspects of Adorno’s negative attitude towards the value of modern cultural
products and it addresses the attempts of contemporary artists and theorists to
discover ways out of the illusion and repressive function of the modern cultural
industry. At the end, all this is connected with the use of repetitiveness and the
modern effects of music technology of Lopatin as a way of setting new narratives
in popular culture.
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How to Cite
Mitevski, Darko. 2020. “THEODOR ADORNO’S PHILOSOPHY OF ART AND REPETITION AS A METHOD OF CHANGE”. Journal of Contemporary Philology 3 (1), 173–182. https://doi.org/10.37834/JCP2030173m.
Section
Culture
Copyright © 2014 Blaže Koneski Faculty of Philology, Skopje
Journal of Contemporary Philology (JCP)
Современа филологија
References
Adorno, T.W. (2001). The Culture Industry: Selected essays on mass culture. London: Routledge Classics.
Adorno, T.W. (2005). On Popular Music. In S. Frith and A. Goodwin (eds.). On Record: Rock, Pop, and the Written Word, 256-268. London: Routledge Publications.
Keller, C. (2015). Cloud of the Impossible: negative theology and planetary entanglement. New York: Columbia University Press.
Lin, M. (2019). Daniel Lopatin’s Chuck Person’s Eccojams Vol. 1. In W. Stockton and D. Gilson (eds.). The 33 1/3 B-sides: New Essays by 33 1/3 Authors on Beloved and Underrated Albums, 168-171. New York: Bloomsbury Publishing.
Reynolds, S. (2011). Retromania: Pop Culture’s Addiction to Its Own Past. New York: Faber and Faber.
Adorno, T.W. (2005). On Popular Music. In S. Frith and A. Goodwin (eds.). On Record: Rock, Pop, and the Written Word, 256-268. London: Routledge Publications.
Keller, C. (2015). Cloud of the Impossible: negative theology and planetary entanglement. New York: Columbia University Press.
Lin, M. (2019). Daniel Lopatin’s Chuck Person’s Eccojams Vol. 1. In W. Stockton and D. Gilson (eds.). The 33 1/3 B-sides: New Essays by 33 1/3 Authors on Beloved and Underrated Albums, 168-171. New York: Bloomsbury Publishing.
Reynolds, S. (2011). Retromania: Pop Culture’s Addiction to Its Own Past. New York: Faber and Faber.