584 Notes to pp. 390–393
105 Ibid., p. 83.
106 Adorno, Minima Moralia, p. 150.
107 Adorno and Gehlen, ‘Ist die Soziologie eine Wissenschaft vom Menschen?’,
p. 250.
108 Ibid.
109 See Negative Dialectics, p. 374.
110 Adorno, ‘Postscriptum’, GS, vol. 8, p. 92.
111 Ibid.
112 Ibid., p. 91.
113 See Adorno, ‘Late Capitalism or Industrial Society?’, ‘Can One Live after
Auschwitz?’, p. 123f.
114 See Adorno, Introduction to Sociology, p. 153; Adorno, ‘Free Time’,
Critical Models, p. 174f.
115 Ibid., p. 175. It may be pointed out that Adorno’s death prevented him
from carrying out his intention of bringing together his various texts on
sociological theory into a volume that would bear the title Integration –
Disintegration, preceded by an introductory essay on this theme. See Rolf
Tiedemann, ‘Editorische Nachbemerkung’, GS, vol. 9.2, p. 404.
116 Adorno, ‘Theory of Pseudo-Culture’, p. 35 (translation slightly changed).
117 Adorno, ‘Vers une musique informelle’, Quasi una fantasia, p. 269.
118 He had been invited originally in 1948 by René Leibowitz through the
good offices of Wolfgang Steinecke. In the summer courses, the young
composers who were present became increasingly preoccupied with
Schoenberg’s twelve-tone technique. ‘In 1949 the Second Viennese School
made its début in the concert programmes. Olivier Messiaen was active as
a teacher in Darmstadt and wrote the piano piece “Mode de valeurs et
d’intensités”, which is said to be the first piece of serial music. In 1950
Edgar Varèse taught in Kranichstein; the sound waves of electronic music
attracted attention, Luigi Nono’s op. 1 was given its premiere – and pro-
voked a furious scandal. In 1951, the summer courses joined forces with
the 24th Music Festival of the IGNM, while the Second International
Twelve-Tone Congress witnessed the world premiere of Schoenberg’s
“Dance round the Golden Calf”. Herbert Eimert and Pierre Schaeffer
debated the problems of electronic music and musique concrète’ (Wulf
Konold, ‘Adorno – Metzger: Rückblick auf eine Kontroverse’, p. 93).
119 See Adorno to Frederick Goldbeck, 30 April 1954, Theodor W. Adorno
Archive, Frankfurt am Main (Br 483/19); Rolf Tiedemann, ‘Nur ein Gast
in der Tafelrunde’, p. 178.
120 The notes for this lecture have been reprinted in Adorno, Zu einer Theorie
der musikalischen Reproduktion, NaS, vol. 2, p. 319ff.
121 Adorno to Kolisch, 4 June 1954, ibid., p. 383.
122 Adorno, ‘Für die Kranchsteiner Idee’, GS, vol. 19, p. 630ff.
123 Carla Henius, Schnebel, Nono, Schoenberg oder Die wirkliche und erdachte
Musik, pp. 81 and 83.
124 Adorno, ‘The Ageing of the New Music’, Essays on Music, p. 182 (trans-
lation altered). Claus-Steffen Mahnkopf has summed up Adorno’s
criticisms as follows: ‘Serialism, in Adorno’s view, hypostatizes the pre-
artistic, purely physical material, fetishizes autonomized techniques;
replaces composition with handicraft and the mere, atomized arrange-
ment of material, instead of configuring it in a musically qualified way;