PABLO DE MORAIS

Our research object refers to the meaning attributed by T. W. Adorno to everything that could not be assimilated by the Hegelian idealist system with regard to the musical sphere, that is, the romantic aesthetic proposals in the face of the historical process of expansion and exhaustion of music tonal. We intend to outline, following Adorno, the meaning of musical content as the truth revealed in the “moment of the negative” according to the historical experience of the crumbling of the meaning of totality and the alienation of subjectivity. The articulating element of this dialogue between G. W. F. Hegel and Adorno will be the musical work of L. von Beethoven from the Adornian perspective in Beethoven: Philosophie der Musik. In the first part, we will outline the Hegelian problems of identification and dissociation between form and content in music, of the meaning of music as an art within the scope of the Romantic Art Form of the modern era and as an art essentially linked to modern subjectivity. In the second part, we will consider Adorno as a reader of Hegel, who understands an immediate relationship between the philosopher and Beethovenian romanticism.