ADORNO On Popular MusicWord文件下载.docx
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TheMusicalMaterial
TheTwoSpheresofMusic
[1]Popularmusic,whichproducesthestimuliwearehereinvestigating,isusuallycharacterizedbyitsdifferencefromseriousmusic.Thisdifferenceisgenerallytakenforgrantedandislookeduponasadifferenceoflevelsconsideredsowelldefinedthatmostpeopleregardthevalueswithinthemastotallyindependentofoneanother.Wedeemitnecessary,however,firstofalltotranslatetheseso-calledlevelsintomorepreciseterms,musicalaswellassocial,whichnotonlydelimitthemunequivocallybutthrowlightuponthewholesettingofthetwomusicalspheresaswell.
[2]Onepossiblemethodofachievingthisclarificationwouldbeahistoricalanalysisofthedivisionasitoccurredinmusicproductionandoftherootsofthetwomainspheres.Since,however,thepresentstudyisconcernedwiththeactualfunctionofpopularmusicinitspresentstatus,itismoreadvisabletofollowthelineofcharacterizationofthephenomenonitselfasitisgiventodaythantotraceitbacktoitsorigins.ThisisthemorejustifiedasthedivisionintothetwospheresofmusictookplaceinEuropelongbeforeAmericanpopularmusicarose.Americanmusicfromitsinceptionacceptedthedivisionassomethingpre-given,andthereforethehistoricalbackgroundofthedivisionappliestoitonlyindirectly.Henceweseek,firstofall,aninsightintothefundamentalcharacteristicsofpopularmusicinthebroadestsense.
[3]Aclearjudgmentconcerningtherelationofseriousmusictopopularmusiccanbearrivedatonlybystrictattentiontothefundamentalcharacteristicofpopularmusic:
standardization.[1]Thewholestructureofpopularmusicisstandardized,evenwheretheattemptismadetocircumventstandardization.Standardizationextendsfromthemostgeneralfeaturestothemostspecificones.Bestknownistherulethatthechorusconsistsofthirtytwobarsandthattherangeislimitedtooneoctaveandonenote.Thegeneraltypesofhitsarealsostandardized:
notonlythedancetypes,therigidityofwhosepatternisunderstood,butalsothe"
characters"
suchasmothersongs,homesongs,nonsenseor"
novelty"
songs,pseudo-nurseryrhymes,lamentsforalostgirl.Mostimportantofall,theharmoniccornerstonesofeachhit—thebeginningandtheendofeachpart--mustbeatoutthestandardscheme.Thisschemeemphasizesthemostprimitiveharmonicfactsnomatterwhathasharmonicallyintervened.Complicationshavenoconsequences.Thisinexorabledeviceguaranteesthatregardlessofwhataberrationsoccur,thehitwillleadbacktothesamefamiliarexperience,andnothingfundamentallynovelwillbeintroduced.
[4]Thedetailsthemselvesarestandardizednolessthantheform,andawholeterminologyexistsforthemsuchasbreak,bluechords,dirtynotes.Theirstandardization,however,issomewhatdifferentfromthatoftheframework.Itisnotovertlikethelatterbuthiddenbehindaveneerofindividual"
effects"
whoseprescriptionsarehandledastheexperts'
secret,howeveropenthissecretmaybetomusiciansgenerally.Thiscontrastingcharacterofthestandardizationofthewholeandpartprovidesarough,preliminarysettingfortheeffectuponthelistener.
[5]Theprimaryeffectofthisrelationbetweentheframeworkandthedetailisthatthelistenerbecomespronetoevincestrongerreactionstothepartthantothewhole.Hisgraspofthewholedoesnotlieinthelivingexperienceofthisoneconcretepieceofmusichehasfollowed.Thewholeispre-givenandpre-accepted,evenbeforetheactualexperienceofthemusicstarts:
therefore,itisnotlikelytoinfluence,toanygreatextent,thereactiontothedetails,excepttogivethemvaryingdegreesofemphasis.Detailswhichoccupymusicallystrategicpositionsintheframework—thebeginningofthechorusoritsreentranceafterthebridge—haveabetterchanceforrecognitionandfavorablereceptionthandetailsnotsosituated,forinstance,middlebarsofthebridge.Butthissituationalnexusneverinterfereswiththeschemeitself.Tothislimitedsituationalextentthedetaildependsuponthewhole.Butnostressiseverplaceduponthewholeasamusicalevent,nordoesthestructureofthewholeeverdependuponthedetails.
[6]Seriousmusic,forcomparativepurposes,maybethuscharacterized:
Everydetailderivesitsmusicalsensefromtheconcretetotalityofthepiecewhich,inturn,consistsoftheliferelationshipofthedetailsandneverofamereenforcementofamusicalscheme.Forexample,intheintroductionofthefirstmovementofBeethoven’sSeventhSymphonythesecondtheme(inC-major)getsitstruemeaningonlyfromthecontext.Onlythroughthewholedoesitacquireitsparticularlyricalandexpressivequality—thatis,awholebuiltupofitsverycontrastwiththecantushrmus-likecharacterofthefirsttheme.Takeninisolationthesecondthemewouldbedisrobedtoinsignihcance.AnotherexamplemaybefoundinthebeginningoftherecapitulationoverthepedalpointofthefirstmovementofBeethoven’s"
Appassionata.’’Byfollowingtheprecedingoutburstitachievestheutmostdramaticmomentum.Byomittingtheexpositionanddevelopmentandstartingwiththisrepetition,allislost.
[7]Nothingcorrespondingtothiscanhappeninpopularmusic.Itwouldnotaffectthemusicalsenseifanydetailweretakenoutofthecontext;
thelistenercansupplythe"
framework"
automatically,sinceitisameremusicalautomatismitself.Thebeginningofthechorusisreplaceablebythebeginningofinnumerableotherchoruses.Theinterrelationshipamongtheelementsortherelationshipoftheelementstothewholewouldbeunaffected.InBeethoven,positionisimportantonlyinalivingrelationbetweenaconcretetotalityanditsconcreteparts.Inpopularmusic,positionisabsolute.Everydetailissubstitutable;
itservesitsfunctiononlyasacoginamachine.
[8]Themereestablishmentofthisdifferenceisnotyetsuffcient.Itispossibletoobjectthatthefar-reachingstandardschemesandtypesofpopularmusicareboundupwithdance,andthereforearealsoapplicabletodancederivativesinseriousmusic,forexample,theminuettoandscherzooftheclassicalVienneseSchool.Itmaybemaintainedeitherthatthispartofseriousmusicisalsotobecomprehendedintermsofdetailratherthanofwhole,orthatifthewholestillisperceivableinthedancetypesinseriousmusicdespiterecurrenceofthetypes,thereisnoreasonwhyitshouldnotbeperceivableinmodernpopularmusic.
[9]Thefollowingconsiderationprovidesananswertobothobjectionsbyshowingtheradicaldifferencesevenwhereseriousmusicemploysdancetypes.AccordingtocurrentformalisticviewsthescherzoofBeethoven’sFifthSymphonycanberegardedasahighlystylizedminuetto.WhatBeethoventakesfromthetraditionalminuettoschemeinthisscherzoistheIdeaofoutspokencontrastbetweenaminorminuetto,amajortrio,andrepetitionoftheminorminuetto;
andalsocertainothercharacteristicssuchastheemphaticthree-fourthsrhythmoftenaccentuatedonthefirstfourthand,byandlarge,dancelikesymmetryinthesequenceofbarsandperiods.Butthespecificform-ideaofthismovementasaconcretetotalitytransvaluatesthedevicesborrowedfromtheminuettoscheme.Thewholemovementisconceivedasanintroductiontothehnaleinordertocreatetremendoustension,notonlybyitsthreatening,forebodingexpressionbutevenmorebytheverywayinwhichitsformaldevelopmentishandled.
[10]Theclassicalminuettoschemerequiredfirsttheappearanceofthemaintheme,thentheintroductionofasecondpartwhichmayleadtomoredistanttonalregions--formalisticallysimilar,tobesure,tothe’’bridge"
oftoday’spopularmusic--andfinallytherecurrenceoftheoriginalpart.AllthisoccursinBeethoven.Hetakesuptheideaofthematicdualismwithinthescherzopart.Butheforceswhatwas,intheconventionalminuetto,amuteandmeaninglessgameruletospeakwithmeaning.Heachievescompleteconsistencybetweentheformalstructureanditsspecificcontent,thatistosay,theelaborationofitsthemes.Thewholescherzopartofthisscherzo(thatistosay,whatoccursbeforetheentranceofthedeepstringsinC-majorthatmarksthebeginningofthetrio),consistsofthedualismoftwothemes,thecreepingfigureinthestringsandthe"
objective,"
stonelikeanswerofthewindinstruments.Thisdualismisnotdevelopedinaschematicwaysothatfirstthephraseofthestringsiselaborated,thentheanswerofthewinds,andthenthestringthemeismechanicallyrepeated.Afterthefirstoccurrenceofthesecondthemeinthehorns,thetwoessentialelementsarealternatelyinterconnectedinthemannerofadialogue,andtheendofthescherzopartisactuallymarked,notbythefirstbutbythesecondtheme,whichhasoverwhelmedthefirstmusicalphrase.
[11]Furthermore,therepetitionofthescherzoafterthetrioisscoredsodifferentlythatitsoundslikeamereshadowofthescherzoandassumesthathauntingcharacterwhichvanishesonlywiththeafffirmativeentryoftheFinaletheme.Thewholedevicehasbeenmadedynamic.Notonlythethemes,butthemusicalformitselfhavebeensubjectedtotension:
thesametensionwhichisalreadymanifestwithinthetwofoldstructureofthefirstthemethatconsists,asitwere,ofquestionandreply,andthenevenmoremanifestwithinthecontextbetweenthetwomainthemes.Thewholeschemehasbecomesubjecttotheinherentdemandsofthisparticularmovement.
[12]Tosumupthedifference:
inBeethovenandingoodseriousmusicingeneral--wearenotconcernedher
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