Abstract

The philosophy and aesthetics of music have been shaped by the philosophy of life since the end of the 18th century. At the beginning of the 20th century, however, the relationship between the philosophy of music and the philosophy of life changed fundamentally – due to the development and popularization of various related cultural theories. From then on, the philosophy of life, the philosophy of music and cultural criticism formed a complex triangle. Many European and North American intellectuals availed themselves of established concepts of the philosophy of life such as ‘non-rationality’, ‘organicity’ and ‘vitality’ as contrasting foils for their own cultural-pessimistic theories, which revolved around the ‘critique of technology’, ‘pessimism of progress’, ‘posthistoire’, ‘dehumanisation’, ‘the uncontrollable machine’ and the ‘hypertrophy of administration’. At the same time, cultural criticism transformed the philosophy of music having been shaped by the philosophy life. This chapter reconstructs the triangle by means of Theodor W. Adorno’s music philosophy, especially his theoremes on avant-garde music. It demonstrates how, in the middle of the 20th century, cultural-pessimistic and life-philosophical ideas mutually explained and questioned each other in light of the contemporary compositional techniques and the philosophical discourse on them.