For a long time, popular music has been presented as a field of loisir, devoid of artistic value, social expression of barbaric subcultures and product of a cultural industry aimed at mass distraction. In this perspective, the criticism of Theodor W. Adorno is crucial and, even today, his theses – on the aesthetic inferiority of popular music compared to the “cultivated” music and on the deplorable socio-cultural effects of its diffusion – are still a shared judgment. Even for this reason, they deserve attention. After showing, we will focus on the critics about Adorno’s Theory by the most recent and important scholars.
La critica di Adorno alla popular music
CORCHIA, LUCA
2017-01-01
Abstract
For a long time, popular music has been presented as a field of loisir, devoid of artistic value, social expression of barbaric subcultures and product of a cultural industry aimed at mass distraction. In this perspective, the criticism of Theodor W. Adorno is crucial and, even today, his theses – on the aesthetic inferiority of popular music compared to the “cultivated” music and on the deplorable socio-cultural effects of its diffusion – are still a shared judgment. Even for this reason, they deserve attention. After showing, we will focus on the critics about Adorno’s Theory by the most recent and important scholars.File in questo prodotto:
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