KONFORMIZMUS A MODERNIZMUSBAN? A XX. SZÁZADI ZENE KRITIKÁJA SZTRAVINSZKJ ZENÉJÉN ÉS ADORNO SZEMÜVEGÉN KERESZTÜL
CONFORMISM IN MODERNISM? - CRITICISM OF 20TH CENTURY MUSIC THROUGH THE MUSICAL PIECES OF STRAVINSKY AND THE LENS OF ADORNO

Summary/Abstract: The aim of this study is to present the criticism of the 20th century music through the works of Igor Stravinsky, from a theoretical and philosophical point of view. Stravinsky's folkloristic and neoclassical works form the basis of one of the most important treatises on the philosophy of music, Philosophie der Neuen Musik, published in 1949. Theodore W. Adorno, who examines the pieces of the period along the two compositional poles he has identified, rejects Stravinsky's compositional style altogether and sees it as a regression of music, while he considers Arnold Schoenberg's technique to be progressive and a pioneer of modern music. In his thesis, he discusses in detail the impact on society of the reintroduction of folk, baroque and ancient music motifs into music, and how Stravinsky and his followers are embedded in the conquest of mass culture. The thesis is a sharp critique, essentially branding most contemporary composers as conformists. Although it is no longer possible to define boundaries in music in the 21st century, Adorno's treatises are worth considering in order to understand the processes that took place in music in the 20th century. Its impact on society, its after-effects, and can provide a basis for understanding the reasons for the negative connotations surrounding Stravinsky's music.

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