Generative-Destructive Aesthetics as an Answer to the "End of Art" : Some Reflections on Th. W. Adorno's Music Aesthetics

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The following essay tries to turn a thorough reading of Adorno's analyses and reflections on aesthetics - and on music aesthetics in particular - to good account for a sufficient understanding and aesthetically productive assimilation of the "end of art"-thesis. I have endeavored to show in part I that a thesis concerning the "end of art", which in this context implies advancement modernism (Fortschrittsmoderne), is very conspicuous in Adorno's works, where advancement modernism is to be understood as modernism negating tradition (in an abstract sense), ousting especially the expressive music of the nineteenth century and insisting on permanant innovation. Using Adorno's interpretation of Mahler and Berg as a point of departure, I have demonstrated in part II that Adorno's work does feature a concept of modernism which incorporates the two fundamental postulates of postmodernism - integration of tradition and popular art -, simultaneously submitting them to severe criticism (part III). To conclude, availing myself of the concept "generative-destructive aesthetics" gained from a perusal of Adorno's works, I have ventured to provide evidence for the relevance of Adorno's approach to a productive understanding of the "end of art"-thesis today.
2002-03-24