understanding adorno

7/27/2019 understanding Adorno

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On the Fetish-character inOn the Fetish-character inmusic and the Regressionmusic and the Regression

of Listeningof ListeningReading notes for the 1938 essayReading notes for the 1938 essay

by Theodor Adornoby Theodor Adorno


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Reading AdornoReading Adorno

Adorno is a member of theAdorno is a member of the FrankfurtFrankfurt

schoolschool of philosophers and social critics.of philosophers and social critics.

These thinkers were (are) stronglyThese thinkers were (are) strongly

influenced by the thought of Karl Marx,influenced by the thought of Karl Marx,

and also by Freudian ideas; they useand also by Freudian ideas; they use

these ideas as tools for social criticism.these ideas as tools for social criticism.

This essay uses MarxThis essay uses Marxs idea ofs idea ofcommodity fetishism to analyze thecommodity fetishism to analyze the

phenomenon of popular music.phenomenon of popular music.


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More background on AdornoMore background on Adorno

Adorno is not only a philosopher but a musician andAdorno is not only a philosopher but a musician andcomposer, a student of Schoenbergcomposer, a student of Schoenbergs student Albans student AlbanBerg.Berg.

TheThe popular music Adorno is writing about is jazz in thepopular music Adorno is writing about is jazz in the

late 1930s. But his ideas are at least as valid forlate 1930s. But his ideas are at least as valid forcontemporary popular music as they were for the jazz ofcontemporary popular music as they were for the jazz ofhis day.his day.

For some background on AdornoFor some background on Adornos theory of music, heres theory of music, hereare two web address:are two web address:

http://www.moyak.com/researcher/resume/papers/var9mkm.hthttp://www.moyak.com/researcher/resume/papers/var9mkm.ht

http://plato.stanford.edu/entries/adorno/http://plato.stanford.edu/entries/adorno/
http://www.moyak.com/researcher/resume/papers/var9mkm.htmlhttp://www.moyak.com/researcher/resume/papers/var9mkm.htmlhttp://plato.stanford.edu/entries/adorno/http://plato.stanford.edu/entries/adorno/http://plato.stanford.edu/entries/adorno/http://www.moyak.com/researcher/resume/papers/var9mkm.html


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The basic ideaThe basic idea

Music both popular and the classicalMusic both popular and the classical

music played in concert halls and on themusic played in concert halls and on the

radio is driven primarily by commercialradio is driven primarily by commercial

interests.interests. Music, with all the attributes ofMusic, with all the attributes of

the ethereal and sublime which arethe ethereal and sublime which are

generously accorded it, serves in Americagenerously accorded it, serves in America

today as an advertisement fortoday as an advertisement forcommodities which one must acquire incommodities which one must acquire in

order to be able to hear music.order to be able to hear music.


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The basic idea (continued)The basic idea (continued)

In other words, commercial music exists toIn other words, commercial music exists to

sell CDsell CDs, stereos, i-pods and concerts, stereos, i-pods and concert

tickets rather than these things existing totickets rather than these things existing to

make music available. Both the musicmake music available. Both the music

makers and the listeners have becomemakers and the listeners have become

submerged in the commercial process,submerged in the commercial process,

and neither is really musically free.and neither is really musically free.


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Commodity fetishismCommodity fetishism

A fetish is a substitute object of desire. So, in the mostA fetish is a substitute object of desire. So, in the mostfamiliar kind of case, sexual desire might be displacedfamiliar kind of case, sexual desire might be displacedonto garments worn by the individual whom one cannot,onto garments worn by the individual whom one cannot,for whatever reason, directly desire or have.for whatever reason, directly desire or have.

Karl Marx said thatKarl Marx said that commoditiescommodities can be fetishes. In thiscan be fetishes. In thiscase, the displaced desire is the desire for freedom, andcase, the displaced desire is the desire for freedom, andfor the fruits of your labor. Herefor the fruits of your labor. Heres what happens.s what happens.

You areYou are alienatedalienated(estranged, separated) from the fruits(estranged, separated) from the fruitsof your labor. The products you help make are too farof your labor. The products you help make are too farfrom your control for you to recognize them as your own.from your control for you to recognize them as your own.In return for your labor, you get dollars, which are only aIn return for your labor, you get dollars, which are only a

small percentage of the value you have added to thesmall percentage of the value you have added to theproduct.product.


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Commodity fetishism (continued)Commodity fetishism (continued)

Marx defines the fetish character of theMarx defines the fetish character of the

commodity as the veneration of the thingcommodity as the veneration of the thing

made by oneself which, as exchangemade by oneself which, as exchange

value, simultaneously alienates itself fromvalue, simultaneously alienates itself from

producer to consumer.the relation ofproducer to consumer.the relation of

the producers to the sum total of their ownthe producers to the sum total of their own

labor is presented to them as a sociallabor is presented to them as a socialrelation existing not between themselves,relation existing not between themselves,

but between the products of their labors.but between the products of their labors.


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Commodity fetishism (cont.)Commodity fetishism (cont.)

So instead of a relationship between you andSo instead of a relationship between you and

some musicians, who would play for you insome musicians, who would play for you in

exchange for some service you would render toexchange for some service you would render to

them, there is now a relationship between yourthem, there is now a relationship between yourdollars and their CD.dollars and their CD.

But the dollars and the CD are part of a capitalistBut the dollars and the CD are part of a capitalist

system that is driven by the need to makesystem that is driven by the need to make

money, not the need to make and hear goodmoney, not the need to make and hear good

music.music.


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Commodity fetishism (3)Commodity fetishism (3)

To put this in everyday terms, you work hard. You knowTo put this in everyday terms, you work hard. You knowyou should get back more than you do, and what you getyou should get back more than you do, and what you getshould not just be money but also freedom andshould not just be money but also freedom andenjoyment. When you can get enough money to afford aenjoyment. When you can get enough money to afford agood concert ticket, it feels like you are getting back agood concert ticket, it feels like you are getting back a

little of what you put out. The price of the ticket, spentlittle of what you put out. The price of the ticket, spenton your own pleasure, makes you feel good.on your own pleasure, makes you feel good.

But this is actually an illusion, say Marx and Adorno.But this is actually an illusion, say Marx and Adorno.Underneath the surface of the transaction, commercialUnderneath the surface of the transaction, commercialinterests are takinginterests are taking even moreeven more of the fruits of your laborof the fruits of your labor

from you. And what they are giving you in exchange isfrom you. And what they are giving you in exchange isfake music. It is bland, repetitive, and formulaic. Itfake music. It is bland, repetitive, and formulaic. Itdisappears quickly, to be replaced by more of the same,disappears quickly, to be replaced by more of the same,because that is what makes money. It is notbecause that is what makes money. It is not freefree..


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Popular (and classical) music asPopular (and classical) music as

fetishfetish What do you really like when you like a popular song, aWhat do you really like when you like a popular song, a

rap concert, or a performance at the symphony? Not therap concert, or a performance at the symphony? Not themusic, says Adorno. Rather, itmusic, says Adorno. Rather, its the (illusory) feeling ofs the (illusory) feeling of

your own wealth (when you buy the concert ticket); theyour own wealth (when you buy the concert ticket); thefeeling of belonging, of being cool, when you like whatfeeling of belonging, of being cool, when you like what

is popular, or of being individual when you likeis popular, or of being individual when you likealternative music or non-commercial rap. (Thealternative music or non-commercial rap. (Theillustration of the ham radio operator. Translate it to yourillustration of the ham radio operator. Translate it to yourown case!)own case!)

The entertainment system, and the money you give it,The entertainment system, and the money you give it,

contain the fruits of your labor, which you want. But thecontain the fruits of your labor, which you want. But thefreedom and satisfaction you want wonfreedom and satisfaction you want wont be found byt be found bygiving the system money. It wont be found, saysgiving the system money. It wont be found, says

Adorno, by listening to commercial music.Adorno, by listening to commercial music.


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Regressive ListeningRegressive Listening

The commodity system of music requires regressiveThe commodity system of music requires regressive(i.e., childish) listeners.(i.e., childish) listeners. Their (our) primitivism is notTheir (our) primitivism is notthat of the undeveloped, but of the forcibly retarded.that of the undeveloped, but of the forcibly retarded.Whenever they have a chance, they display the pinchedWhenever they have a chance, they display the pinched

hatred of those who really sense the other but exclude ithatred of those who really sense the other but exclude itin order to live in peace.in order to live in peace. Regressive listening isRegressive listening is tied to production by advertising.tied to production by advertising.

[It] appears as soon as advertising turns into terror, as[It] appears as soon as advertising turns into terror, assoon as nothing is left for the consciousness but tosoon as nothing is left for the consciousness but to

capitulate before the superior power of the advertisedcapitulate before the superior power of the advertisedstuff and purchase spiritual peace by making thestuff and purchase spiritual peace by making theimposed goods literally its own thing.imposed goods literally its own thing.

WatneyWatneys ad: We demand (what you are selling us).s ad: We demand (what you are selling us).


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Regressive ListeningRegressive Listening

The illusion of freedom: Alternative music.The illusion of freedom: Alternative music.Notice AdornoNotice Adornos remarks (top of page 540) abouts remarks (top of page 540) aboutthe wire fences between different kinds ofthe wire fences between different kinds ofmusic, and the remarks from the bottom of 544music, and the remarks from the bottom of 544to 546 about individuals trying to break free fromto 546 about individuals trying to break free fromthe system and establish an individual taste.the system and establish an individual taste.

AdornoAdornos point: there is a commercial slots point: there is a commercial slotwaiting for every individualist.waiting for every individualist.

Vocabulary tip:Vocabulary tip: reified = made into an objectreified = made into an object


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Advertising as terrorAdvertising as terror

Why does Adorno describe advertising asWhy does Adorno describe advertising as

terror? Do you think he is right?terror? Do you think he is right?

How does the advertising system work toHow does the advertising system work to

promote music? Does it shape musicalpromote music? Does it shape musical

taste?taste?


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Thinking about AdornoThinking about Adorno

How much truth is there in AdornoHow much truth is there in Adornoss

analysis of popular music?analysis of popular music?

How does the commercial music andHow does the commercial music and

entertainment system work?entertainment system work?

How did you acquire the musical tastesHow did you acquire the musical tastes

you have?you have?

How much musical training do you have?How much musical training do you have?


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Is popular music simple-minded?Is popular music simple-minded?

Is classical music (as played by orchestrasIs classical music (as played by orchestras

and on the radio) just as commercial asand on the radio) just as commercial as

popular music, as Adorno claims?popular music, as Adorno claims?

Does commercialism tend to swallow upDoes commercialism tend to swallow up

musical originality, substitute simple-musical originality, substitute simple-

minded formulas, and keep the audienceminded formulas, and keep the audience

simple-minded?simple-minded?


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Can you think of some ways that Adorno isCan you think of some ways that Adorno is

wrong? In particular, can you think of exampleswrong? In particular, can you think of examples

of genuine originality in popular music?of genuine originality in popular music?

What about musical taste? Are you growing inWhat about musical taste? Are you growing inyour ability to hear and appreciate different kindsyour ability to hear and appreciate different kinds

of music? Do you hear more than you used to?of music? Do you hear more than you used to?

What about your musical expression? Do youWhat about your musical expression? Do you

sing? Dance? Are you a better musician thansing? Dance? Are you a better musician than

you used to be?you used to be?

understanding adorno

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