David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
Learn more about PhilPapers
Sociological Theory 18 (1):145-170 (2000)
Adrono's jazz essays have attracted considerable notoriety not only for their negative and dismissive evaluation of jazz as music but for their outright dismissal of all the claims made on behalf of jazz by its exponents and admirers, even of claims concerning the black origins of jazz music. This paper offers a critical exposition of Adorno's views on jazz and outlines an alternative theory of the culture industry as the basis of a critique of Adorno's critical theory. Adorno's arguments are discussed in the context of his wider theoretical commitment to a model of structuration-in both musical and social relations-that establishes a dividing line between a moral aesthetic praxis that can be approved as having "truth-value" and one that betrays and subverts the truth. In Adorno's analysis, jazz finds itself positioned on the wrong side of that line and, accordingly, is condemned. It is argued that it is Adorno's commitment to a formalist model of art works that has been superseded by modern aesthetic practice in both so-called "serious" art as well as in the works of the culture industries that binds him to a regressive model of aesthetic praxis. An alternative theory of the culture industry is outlined that explores its positive functions in enhancing the resources available for culture creation through its transmission of aesthetic codes, and in mediating relations between so-called high and low art
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
Mark Banks (2010). Autonomy Guaranteed? Cultural Work and the “Art–Commerce Relation”. Journal for Cultural Research 14 (3):251-269.
Similar books and articles
Berthold Hoeckner (ed.) (2006). Apparitions: New Perspectives on Adorno and Twentieth Century Music. Routledge.
James Buhler (2006). Frankfurt School Blues : Rethinking Adorno's Critique of Jazz. In Berthold Hoeckner (ed.), Apparitions: New Perspectives on Adorno and Twentieth Century Music. Routledge
Theodore Gracyk (2002). Jazz After Jazz : Ken Burns and the Construction of Jazz History. Philosophy and Literature 26 (1):173-187.
Tom Huhn (ed.) (2004). The Cambridge Companion to Adorno. Cambridge University Press.
Maggie O'Neill (ed.) (1999). Adorno, Culture, and Feminism. Sage Publications.
Bed P. Paudyal (2009). Mimesis in Adorno's Aesthetic Theory. Journal of Philosophy: A Cross-Disciplinary Inquiry 4 (8):1-10.
Joseph D. Lewandowski (1996). Adorno on Jazz and Society. Philosophy and Social Criticism 22 (5):103-121.
Added to index2009-01-28
Total downloads265 ( #9,303 of 1,911,757 )
Recent downloads (6 months)50 ( #11,971 of 1,911,757 )
How can I increase my downloads?