PABLO DE MORAIS

Based on the chapter on music in Hegel's “Vorlesungen über die Ästhetik” and Adorno's book “Beethoven: Philosophie der Musik”, I propose an investigation into the ways in which Hegel and Adorno dialectically reflected on the Beethoven sonata form. In the first part of the work, following Hegel, I try to delineate the movement of deepening inwardness from the relationship between musical form and Verständnis and between musical content and Gefühl, advancing to the moment of full reconciliation in the vocal music of modernity, from which I propose what could be Hegel's position towards the Beethovenian sonata form, trying to show to what extent this position is linked to the problem of the relationship between subjectivity and freedom. In the second part of the work, which focuses on Adorno, I explore Adorno's speculative reflection on the relationship between Hegel and Beethoven, observing an immediate relationship between Beethoven's sonata form and Hegel's philosophy, but also conceiving the former as “truer” than the latter in what for Adorno would be the manifestation, in Beethoven, of truth in the “moment of particular synthesis”.