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On Some Relationships between Music and Painting Author(s): Theodor W.

Adorno and Susan Gillespie Source: The Musical Quarterly, Vol. 79, No. 1 (Spring, 1995), pp. 66-79 Published by: Oxford University Press Stable URL: . Accessed: 23/10/2013 07:40
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It mustcreatetemporal relationships among its constituent parts.ratherthan dissolving ral dimension at its own selfitself. is to the of time. that musicis a temporal art.which aims. they come togetherin a contextby meansof the organization of their as they passaway.On Music Some between Relationships and Painting Theodor W. temporality which it actually into that survives congeals something independently -an object.The old aim of secular that distracts fromboredom.If time is the medium that. them through time. has time as its problem. Zeitkunst. Adorno Translated by Susan Gillespie For Daniel-HenryKahnweileron his eightieth birthday. Conversely. equivalent objectification appliesto the individual or musical to the extent that events.whosevirtualeffectis as if they lastedonly a symphonic second. a fact that lives on in the relationship to time of autonomous music.seemsto resistevery music's nevertheless is the veryaspectthrough reification.justifytheirtemporal synthesize relationship. basedon the strength of the unityof whatoccurs transcendence. so to speak. 66 This content downloaded from 200. antithetically.24.76 on Wed.whichbindsitselfto time at the sametime as it sets itselfagainstit. that it unfoldsin time. as flowing. in profoundrespect and friendship1 The self-evident. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . in the dual time that is not self-evident for it. not lose itselfto it.23. This poralart.potentially. it itselfmustact upontime.that of the divertissement testifies to this. and to the temposequence. muststem itselfagainstthe emptyflood. that it means. as there. the temHere. The nomenclature "form"refersthe temporalarticulationof music to the ideal of its spatialization.What one termsmusical formis thereforeits temporalorder. a thing. content. music. followingthe example of certainmovements of the truly Beethoven. sense. within it.

through becoming gradually which Music suffers a that nearlyalways "paints. go principle a formapproaching which.Music andPainting 67 the spatialart. only whereeach purin a pureway.Busoni's lecticalcontinuum dedication "To the in words" musician wasa badcompliment for Rilke:it identified with is what about the latter's pursuprinciple of time in a merelyfictitious manner.76 on Wed. but of art as something antithetical to reality. To this extent. circlingfigures.through Not. as if it were space. vague of artsin general.24. precisely poetry. and of space." It has been driven to [the point] where literal convergence arrivesat the limits not only of the individual arts. theircontradiction. the latteris incomparably morepresentin a picturewhereit has dison the surface or the expression of amongthe relationships appeared whathas been painted.meansits dynamization negation. mustbe underas in the a of convergence.The momentone art of the key categories of the directiontakenby Debussy. is whatdistinsageof time that is holdingits breath. stage process it obeysthe romantic againstwhich it is rebelling. stood. suesits immanent principle In music. as a It is no less truethat painting. temporal ing that behavesdynamically.treating ing the spatialization time without consideration.which makesthingsall too easyfor itselfwherethe meanings The artsconverge of the wordsareconcerned. lets of the lossof temporal synthesizing organization. In dynamization growing the artsmergeinto one another.and paintthrough as if it werecapturing events. with all the inconsistencies that characterizethe magician'sact.even afterthe rejectionof Wagnerand the neoromanof synaesthesia-"Ihearthe light"-the movement tic principle toward tendencies: paintinghas continuedamongthe anti-Wagnerian toward proofof its subterranean stayingpower. today. Thosepictures seemthe most transcendence toward approaches seemslike a pasin whichwhat is absolutely simultaneous successful this. however. syncretism.The pseudomorphosis for Stravinsky2 and a continuation painting. moresimilar. This is also the teaching of Stravinsky'scourt the constraint of its own becomesmoredistantfromit by repudiating in the of and falls into notion an undiamaterial. deadlyaccuracy driveling. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . guishes is only anotherwayof sayingthe samething. who cameof age in the overshadow of the French whelming paintingof his era.23. the to its That from it historyof paintingamounts sculpture. it assumes space. best. and manyabstract to do with as the futurists desired painters attempt in at the of while exhausts illusion time.Raumkunst. Today's turn makes the tendency's emancipation from that "as if.Its idea reworking time. itself. not least. alone. Time is not This content downloaded from 200." pseudomorphosis.

History had transcended precisely of all its a all-sided to development gettingready begin profound. the sounds. This content downloaded from 200. have becomeextraordinarin themselves. the possibilityof crass infantilism. line is not applicable to it. The unit of construction is reduced to the relations amongthese tones. organized time-planned.that one is almost form. use of moreor less traditional methods of soundproduction. in the that achieved. a certain the awayof numerimpoverishment.but rather--precisely spatialized fromthe top downas a whole.23. withering help hearing of the overvalued ous musicalelementsin favorof the manipulation an extrememeatones.thereis a no less on a smallscale.and Webern. of "blocks. tone thematictransition--become in the senseof the newlyavailable continuum still retain progressions is so uniof that art.The thingsthat in traditionalmusic. of. that treatstime like a cartoon.wherethese characteristics one cannot although temptedto suspectsomeexternalcompulsion. it is believe that and hard to elements. as an expressionof decay. in its place.The apologetic historyof musicone argument been developed at the expenseof the others has always dimension this particularity and was fallsflat. this would be abandoned. wouldliterally the ideaof integral Otherwise mergeinto composition The convergence of musicandpaintingalso opensup disintegration.applyspecifito the dimension-the entireartof development and cally temporal irrelevant to the composers." The conceptof as peoplelike to saynowadays.76 on Wed. In general. Composers areoperating with individual tones the waypainters with operate individual colorvalues. amongothers. so to speak. like dots. of sophistication a kind of forgetting of whathas been hand in handwith primitivism.including Schoenberg. and composes it out. disposed as only visualsurfaces once were. in the use of means. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions .goes sureof differentiation. It expresses itselfmostclearlyin painterly procedure in the realmof musicthat makes but can also be observed the mostrecentdevelopment.althoughas a rulethe tonesmayno longerbe fromeach other. but maybe moredenselylayered. The inteof total and the atomization into tones gration planning correspond. it is able to stave off this element only to the extent that it reflects it within itself. at least in music. The mostrecentmusical production something areconcerned. any morethan it knowstruepolyphony. at theirsimultaneity. discoveries ily nuancedand differentiated exploiting madeby the earlyStravinsky.24. Berg. separated still they represent almostthe entiretyof the composition. The form3 of this kind of musicis thoroughly it is homophonic.68 TheMusical Quarterly into a geometric as coexistence. composed.Equivalent to the large-scale procedurethat so disposes.

rial.contradict each then there is a Tenother. to temporal alwaysinvolvesreference thingsand is nevera completely and hence "timeless" form. Yet the unfathomable the trueceilingof the most difficulty. Forthis reason. in Messiaean's recentdevelopment. tensions. do not.time is immanent in the painting. The constitution of time. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions .24. indeed.if the elementsof the paintingdo not seek to get awayfromeach other.Compositionally. by its verynature.Yet this process.If these are lacking. in time. in the ragefor identity. the ear an ear-at the sametime it mustnot refuse. Kantobserves that even the pureact of thinkinginvolvestraversing the temporal seriesas a necessary conditionof its possibility. things the way is pavedfor spatialization: spaceas identicalwith absolute material. however.that anythingorganized organization the factscannotbe expressed otherwise than taneous. the formal of simultaneity into the structure of transforming principle the specificunityof the elementsin the painting.can in no waybe conceivedwithoutthe elementof the temporal. only preartistic sion. In the contextof his chapteron schematization v. impulse as a determination that belongsto it objectively.cannotbe forcedinto identitywith via temporal is not recognize its Other. tautologically.23.fromconstruction. the more time is stored up in it. [q. To this extent.]. with goodreason.apart fromthe time that is spenton its production. If one wanted to clarify the equally constitutive relationshipof music to transformed purelyinto a mateand as the in that occur it are reduced to tonal materials. fromthe individual above. andby no means is essentially one of belongsmerelyto the modeof its production. the and the balanceof tensionsin the paintingaresediobjectivization mentedtime. as a medium. In a picture. This is the trueintervention of the subjectin music. this wouldseemto meanthat musicshouldnot only organize itselffrom but also frombelow. of identitymaintains its claimeven at the cruxof aesthetnonidentity ics. is to be soughtin the formula. in contradiction to Kant.againstthe dictumthat insistson the invariant natureof the senses--asestablished anthropological by naturethe eye is always an eye. and not only of its empiricalrealization.everything is simultaneous. The more emphaticallya painting presents itself. it is not even necessaryto reflect on the fact that This content downloaded from 200. If the tendencytoward the spatialization of musicdefendsitself.but successive.76 on Wed.Music andPainting 69 As time itself.Hegel'sinsightinto the independent pure. fact that synthesis. Its synthesis consistsin bringing togetherthingsthat exist next to each otherin a processthat is immanent in the thing itself.

The naive comment that idealiter. of the forestof tones that archesover the listener. Bruckner's if is. backinto time through in the most of art can only be understood certainthat the language The adequate relationto the theoryof signs.Withoutwriting distinction music. This content downloaded from 200. orchestra wouldnot be what it it did not divestitselfof it. but is always.mustbe thoughtof togetherwith time. The appropriate in front of it.70 TheMusical Quarterly musicoccursin spaceand that as a resultspatialrelations fall within is the musical that of concern [in]a phenomenon itself--something number It of contemporary suffices recall that the act to compositions.24.are temporal transposed and moreof time with them into the picturethan mereassociations. It "is which it prescribes.already even what hangs on the wall as something absolutelyspatial can only view of the be perceived in temporalcontinuity. This qualitative its which of music to visible without it could relationship insignia. On the otherhand.76 on Wed. to pointsclearly spaceas a The process of composition has conconditionof its objectification. not that alone. everything becausethe paintingis no longerequalto it.intermittently.whichwasnot eliminated stubborn object-relatedness until quite late. like it. Marcoto Stockhausen.Its spatialnature.but also resembles it representation in somerespects.the historical [therecan be] no highlyorganized betweenimprovisation andmusica coincidesqualitatively composita with that betweenlaxnessand musicalarticulation. to bearthis out. neitherpossess nor construct out duration. the of painting.not incidental. term&riture indicates."4 viewingof a profound bearswitnessto the fact that painting. of notationis essentialto art music. the act of reading. and then in a waythat is not beyonddispute.this meansnothis showing latenttemporality ing else than that the painting's in subcutaneous like art. it lackedthe elementof the embracing.perhaps contemporary through. it is translated as an imageof the temporal.for principle to exist a priori.the absolute spaceof the paintinga temin moment which elements the temporally disparate poraldifferential. awakens.And the graphic is nevermerelya sign for music. If all that it appears the sametime. It lets go of the illusion of absolute timelessness alongwith otherillusions. also a result. as the neumesonce did. fromthe doublechoirsof San tinued. They bring fromthe empirical world.paintingapproaches writing. The isolatedelementsof the picture. of the act which concludes standing painting. the time that is implicit within it. as the No simultaneity areconcentrated.Writingis timeless As it fixesthe temporal.farbeyondtriviality. But even wheremusicforgotits spatialaspect. to the purely hence also the veryelementwhoseantithesis painterly servesto ignite the painting's power. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . in purelymusicalterms.

they do meet in a thirddimension: is a language of sculpture. they speakall the moreclearly. peoplehave takento callingabstraction. communication of something externalto this complexion of the work. which requiresfirm conventions linking what is expressedwith its signifier. designated each case.24.or of musicor painting. connotesmorethan that one thinksthe womanrepresented thereis alive. "There larity.Music andPainting 71 when lookedat intenselya painting. in writing. The similarity to language increases with the decrease in communication. distraction of attention fromits object-relatedness. It is plain to see that.with a devastating expression. languages here one shouldreflecton the material of material. so it is quiteconceivable that the language naminglanguage of sculpture or painting.It is set freeon the strength of what in painting. the more thoroughly This content downloaded from 200.76 on Wed. ings themselves. commonality The convergence of the various thingsin theircommunication. after one that to the same We have to do all. and paintingcannotbe directwriting. is modern. It becomesa signby virtue of a breakbetweenit and everything 1Acriture in music designated. The breaking off of intentionthrough the creationof the thingsof whichwe knownot what they are"-is artwork--"making what lendsthe workits character as a sign. is the stampof a quality. opposite linguistic gestures speaking behavior. belongs sphere. that in themwhatwe findis a translation of the language of thingsinto an infinitely but perhigherlanguage. This will hardly be the case. of painting. If paintingand musicdo not converge simiby meansof growing both are language.immanent not the character. here with name-less.only encodedwriting. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . and certainly not where areconcerned.maybe grounded in certain kindsof objectlanguages. in fact.not whathas been painted. In music through this has occurredthrough the mortal contraction of all its imitative moments.the moreprofoundly and thoroughly they are comin and the of this essential form6aretheir posed themselves. figures can be What as suchwith somejustification.Hence &criture has a historical it character. music and painting become more closely related. as well. non-acoustic from the languages.forexample.the fleshof a Rubensnudecomes alive. themselves. haps. but its traditionalexpressivity."5 mediabecomesevidentthrough the emergence of theircharacter as But this is the of or language. not only its programmatically descriptive elements.23.Paintingand musicspeakby virtueof the waythey are not by the act of representing constructed.What is alive is ratherthe paintsignificant paintings what is the extent that they areabout tellinga story. of men. otherwise it remains mereimitation.of poetry.As the language of then at least in part--in the poetryis grounded-if not exclusively.

24. painting. itselfto its impulse. behavingas if it werein unbroken synthesizing Both artsbecomeschemata of a material and of itselfin the Gestalt. eitherwithin it or anywhere Then its character as writingwouldbe lost. nonsubjective of the broken-off.23. media. fromits own language. in the originsof painterly glyphiccharacter is possessed in Paul &criture.which divestsitselfof familiar objectsin paintingand of the familiar idiomin music. It is induced by the distant. painting music. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . suggests what is merelysubjectively desired. Musicand paintingbecomewritingthrough perceives theirrenunciation of the communicative. in illusory elementsthat in traditional artare combined synthesis-a that points. abandons to something not only of its relationas a signifier that is independent but also of its kindred relationto an expressive meantto be expressed. work longerintend anything and that cannot that is not its own phenomenon toward something outsideit.In both media.has an affinity with pureexpression.72 TheMusical Quarterly they alienatethe naive person's feelingsby meansof whathe or she as the abstract.the elementof an expression lacking expressive the would no concreteto be wreststhe workawayfromcommunicating as anything a symbol. similarlypremonitorytrem- This content downloaded from 200. longercrackle to whatshouldbe understood approximation hapsthe mosttolerable by the work'scharacteras writing and by the convergence of painting and music. in paintingand music. unlinguistic. toward the constructive polarization no longerthe old expression of the command I.on the one hand.To the degreethat the latterdominates the work.76 on Wed. toward in this way. in in the polarization as occurs between the two that.and. do wouldno examples with electricity is perThis crackling with electricity. one mustnot seek the convergence of paintand music in the constructive in but rather ing exclusively principle. still exertsfascination today.what be experienced as abstraction on the construcmayjustifiably depends tive principle. The workwouldregress.If paintingor musicweresimply without the element.The would like constructive to the principle stamp workas writingderived in paintingas in music. toward a changedform7 Fornonobjective like atonal musicthat of the expressive. be hiddenin symbolic unity. hieroatelypresentand possible.This affinity What is groping breakbetweenthe sign andwhat it signifies.however. At the sametime. on the other. It would not be erroneousto term this characterof writing seismographic. which is precisely the elein both in that is truth because it ment. But because the latter is not a preartistic as innumerable state. revealsitselfas a subjectthat is identicalwith itself. that. language.

among optical things. Even the return of an undismimesis rendered element tortedmimeticmoment. its materials and their nearingthe absolute in contrast with and alien to reified forms. Forit cannotbringit into permimeticelement.This rationality. Foras long as art. of the earlymimeticbehaviors that precede they markthe incursion art and that all art secretlydreams of objectifying. tracesof these startlereflexes. blingduringcatastrophes. seemingly objectiverationality itselfwith the over the courseof art'slong the formof conventions. each other.Music andPainting 73 the In reactionto it. by dint of its sovereign controlover the natural materialconditionof the nonrationality of fully [as]the immanent rationality This art.24. In &criture. on. offersnumerous already withoutthe quasi-optical Thus.has amalgamated it. musicaltheorysimplycannotmanage term"tonecolor. disposition over it. all objectivized retain the elusive which arestill Gravencharacters.remainheterogeneous.But also falsified has been constrained fect unisonwith the other."One need only tryto replaceit with anotherterm. tion aboutit. that firstuncovers the smallest other Later develunit. Kitschis nothingbut moreprofoundly falseby reification. it is freeto impulsein a pureway. Tone coloralways it as reflecwere-but existed--incidentally.23. of the prevailing signs. and lend them duration.however. do so.It is as if with the coloristic dimension. in human in such reactions as or gooseblushing beings perceptible withoutsurrendering them to the flesh. Kandinskywas probably the first to have talked about sounds in his paintings.the by the semioticsystems art'smimeticaspectis falsified.retainedin the works. Thereis none to be found. The moreexpression of esthetics. the artsarestartled.76 on Wed. into the innermost of music. Yet this very example seems to demonstratehow imperfectthe equation between the two spheres is. is the where threshold its advanced and its developed archaicaspectsconverge. of artisticprogress: limit. As suchseismograms of involuntary occurrences. artwill not be able to abandon itselfto its mimetic for the firsttime.and hence to articulate dimensions each one separately as such. analogous opments seem to have occurredin paintinghad penetrated composition leastfromthat momenton when peoplebeganto demand that music's be unified. is an aspectof awareness of the and it is this awareness musicalcontinuum. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . they responses. whereas the term "picturetone" harks back to a kind of arts-and-crafts This content downloaded from 200. increasingly The tradition hints of this which musichas only relatively recentlybegunto pay attention. "Tone color" has something compelling about it.arethe graphic characters in in thrallto the rational which is its powerof disposition over the material.

said been once. What is badaboutsynesthesia is identicalwith what is unobjective. occursin the speaking.76 on Wed. We also speakof volume. arepushingin that direction. by linking various mediaand exploitingvarious--dubious -analogies between whathas already theirphenomena. are not and dissonance color harmony colors.23.The gamesthat wereplayedunderthis rubric. tensions. bly whichanyone who has convincedhimselfof the immanence of convergence is douto the back that was in increasfamiliar. of cal always appearing in the other On formal hand. This may help explain the lack of This content downloaded from 200. in the fact that the convergence is not is grounded The difficulty elements locatedonly in procedures.In painting. the It before media failedby abstract themselves permitted utopia. as a solo trumpet. spatial if only on meremetaphors.24. followingthe exampleof musiperhaps process.The converbreaking It gence of musicand paintingis the oppositeof such tautology. that is with temporalexpressions. painting.go synesthesia of forms.the tensionwithin accountof the complementary the momentarycannot be named otherwise than musically. not in what is said.linguistic (although. whose program bears traces of this element. soundslouderthan four.that its temporal dimension that precisely is graphically.conceptslike qualities. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . it is subjectto Loos'sverdict. the superfluous and sectarian "colortone music. with the compelling can be fixedonly as spatial. authenticity beyond apocryphal to relationof one medium The borderline betweenthe immanent in other a the of Scriabin's the and syncretistic combination style the earlier one runsalongthe samemeridian that marked Prometheus GesamtkunstThe Wagnerian betweenJugendstil and Expressionism. as werethe dreamof that convergence werkand its derivatives it.74 TheMusical Quarterly ratherlike the "colortone music" the modernism.insteadof makingthe transition by wayof its own extremity. in on a the artof the mid-nineteenth inglydifferentiated century Tristan and Baudelaire. in them). Still.always alsopossesses realfact that music. fromeach to the other mixingmedia. music.8 The personwho makesa principle of synesthesia wouldlike to say twice.the materials themselves it can only be realized admittedly. as something that by empirical necessity occurs in space. can probablybe more compellingly related to space than painting to time.gaveevidenceof a genuinely form.we inevitably paradox speak line.this time in the senseof the in space. peoplewroteduring 1920s. ratherthan fromthe who expectconvergence In articulation music. is doubt."like a number of otherapocryphal expernew experience in distorted iments. Still.Eventhe Schoenbergian of Klangfarbenmelodie.althoughthey makesportof thoseartists to come fromthem.

no longer boxedwithin it. be introducingthe societal element that prevents that majorityfrom listening in the way that up to now only some have been able order. it would.The classicist estheticwantsto of thingsthat belongto different breakthe resistance to the categories the culture's culture. in a way that transcends its individual The dividingup of the arts constitution. perhapsunconsciously.and hence the immersion in ingfulapperception worksof art that arefreeof generalconventions. unifying justas. and justas reactionary. academicism alwaysimposed Nowadays. theiressentialcomposition. Shouldthe latterdefenditselfby referring to the average listeningof the majorityof human beings.9 thereis scarcely any difference.Somethingin the individual artshas rebelledagainstthis simultaneously and dividing always unifying thrust. way atonality possible. The latter. the spatialand the temporal art in opposition to each otherderive fromthe need to classify. it satisfies need to unifyby establishing a realmwithin whichlimitsareset whoseinternaldivisionservesonly to affirm the One.76 on Wed. wascomplicitwith the normative that academicism has commonplaces on concrete artistic needs.only a singlehumanbeingwere musicand hearradically capableof adequately imagining emancipated the coherence of its elements as the of ing meaningful--and number thosewho can is no longersmall--thiswouldsufficeto disprove the taboosthat have been decreedby the psychology of perception. in the act of hearing. can be seen mostclearly-as in Lessing's "Laocoon" from the division the esthetic criteria that aremeant -by extracting to decidethe dignityof the artwork fromon high. that is. are insistenton people especially them in periods of classicist esthetics. prove that it is by no means necessary. on the otherhand. for this purpose. If. tion existsfor it to transgress [the boundaries of] its genre. and not otherwise than the currentnorm.Why.23. They The established boundaries that set convergeas something spiritual. This content downloaded from 200. To have recourse to the sensory is no more apparatus immutable lawsof bindingthan it once wasto referto the supposedly the beautiful. to do so nowadays is to privilege conservative like Hindemith at the expenseof those who composers advanced.24. rulingconcept fromwhich its termsarederived.Music andPainting 75 betweenthe two mediaexamined under consistency terminological Seen fromthe decisiveaspect.Yet it monodological is only when the workcommitsitselfto its uniquely circumsingular in the that first makes that the condistance.whoselawssupposedly of atonalmusic. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . for it to be thus. accordingto unvaryinglaws of anthropologyor the immutablenature of the human beings.that of the aspectof theirconvergence. also employs reflection for exampleby psychological to excludethe meanreferring gestalttheory. however.

that the disadvantaged areall too readyto susappears in others. is motivated by their own determinationas divergence.24.however.Nothingmakesit impossible that something that still as a privilege. attempts. It reduces the qualitative of mastery aspect progressive of the individual differences arts.In the permanent crossing has an obsoletering-the destrucarts-even the plural"arts" already in favorof the essential tion of art'suniversals and theirabandonment is This is the individual work consummated. hearing listening to be changed.the birthright of musicandpaintingoccursat the The convergence irrelevancy. form-givingprocessesthat manifest themselves as an identical principle in the encounter with their materials. principle. authority verything practical which the new artrebels. itself the and betweenartworks enceablething causalrelationship and theirlisteneror viewer. expenseof theirmerelynatural more powerful.76 TheMusical Quarterly The socialtraining that consignsthe majority to an outmoded level of have be in would to have would changed. Something in The to a lethal painting.Benethis even artistic had reached before detto Crocerecognized practice of the presentera the estheticsignature this point-so it is probably that the work of art must that even the primary criterion--namely to the mostgeneralconceptdefiningits realm--iscoming conform border and unraveling of the underattack.The lattergivesthe recipient his against in otherwordsby its own quality. namelyfor the receptive the difference between solidifies the determinable and that musicno more to alone than to physicsalone.becomeincreasingly as ideological. of each composition1o within culmination of the rationalizing esthetics. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . due by its richness and articulation.with the naive reflection of many to make a critical out the of artists. as &riture. of the on the strength differences. the art industry art to beingfor something else.Forthis reason. They become This content downloaded from 200. Justas todayall become criteria have genre-derived invalid--in esthetictheory. itselfto his preformed not by adapting modestlevel.shouldbelongto all. esthetics--already subjected conceive of as art else. It gains belongs subjective perception its objectivity by virtueof the fact that these two polesaremutually of this kind mustalsobe the casewith mediated within it. relegates That art can be adequately even if it doesnot conunderstood formto the rulesof beingfor something an tendency over nature.they amongart'smedia.attempts to bringadvanced art into line with so-calledcommunications theoryare thoroughly besidethe point.76 on Wed.23. rather by Hegel--to for something critique than derived fromwithin itself. The truesourceof pect as an anomaly the mostrecentpsychological error. That the media are drawingcloser to each other.

and with it the convergence. whereit accords with the esthetic[conceptof construction] as insofar he demands that a heterogeneous material--inSchellingthis is the is.the conceptof construcbecomesincreasingly tion. however.Kahnweiler's identified an form has probably altered of already reaction--thereaction that presumes the reification of the artwork of itself. naturalistic contentof the painting. frommathematics. reference to "deformation" as "constructivist" remains. Theircharacter [musical] that is stark. as the &criture. As a result.on the one hand.It acceptance. irrespective outsideitself. which encourages convergence. and musicdo converge as construction. and this suddenness of the resulting has a temporal quality. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . painting ods of construction beginto becomecommensurable. It aimsto introduce rational orderinto the matethat the conditions of sucha rial. where it would actually be much more natural thanks to This content downloaded from 200. extraneousthing.the artworks of here the heterogeneous their"thingness".24.Nature itselfis seen as an aspectof subjectivity. in orderto salvagethe instant its reference to anything it in the interestof Kahnweiler's terminology. In techthe conceptof construction is borrowed nology. of writingby retaining construction no longerhas such a verydifferent meaning. possibility. as in philosophy. in specifically Schelling. according to its own the transparency phenomedivestthemselves non an opticalone. It is supposed to revealitself to be as muchat one with its material as [is]the idealof art. without the intermediarylayer of an object or idiom: unity not by means of a third.Music andPainting 77 by "deformation"1-ofthe writing. the awareness they shareof difference--adifference Worksof art arewritingin theirflashing forth. It is questionablewhether.The methIn fact. In the two cases. But it does mayinitiallyhave been borrowed have its nonsensual modelin philosophy. and of the as writingis linkedto idiomon the other.the ecriture. which meanwhile has achievedunquestioned derivesfromthe visualrealm. The conceptof estheticconstruction. It was not until quite late that the concept of construction migratedinto music.becomesmoremysterious if it not does fade awayaltogether. but with the covertassumption if not actual the of construction are themselves. powerful as the artsfindthemselves moredirectlyconfronted with the naked materialwith which they work. fromironconstruction.if the thinglikeobjectand the thinglikeidiomhave both utterlyvanished. principles alsopreformed in the material.76 on Wed.23. as chaverynaturethat for the Kantof the Critique of PureReason for an orderwhosestructures areexternally otic. reserved imposedshouldbe constructed in itself. mediaareat one. As writing. process proceeds.

we also the radicalization than the arts. The essay"Ober einigeRelationen (Frankfurt: Suhrkamp. [Tr. It is no accidentthat the turmoil is intertwined with regression.inescapin each other-touches on the phenomenon of converablymediated In it we see how at the mimetic one time.[Tr. Daniel-Henry Kahnweiler (1884-1979)wasa member banking he also A self-described Picasso and Braques. the woundleft by the rational enableus to experience one betweenthe musicaland the theatrical state. in a festschrift entitledPour firstappeared Musik undMalerei" Daniel-Henry Kahnweiler 1965).depends progress to with the barbaric or whether it succumbs it the regressive element. vol.76 on Wed. including in German andFrench. of musicandpaintingarenot only relationships of their tionships means. to the chaotic element at the of without source art impulse--related the neat separawhich it wouldnot exist at all--musthave resisted order. famof a German 1. 16.affinities like the tion. thingswereto be reported Notes is basedon the text in Theodor W. Cubistartists neo-Kantian.The forms betweenpatterns and some created wildlyproliferating by painters.then it cannotbe adequate to both in a pure. about if complementary musician painting.Today. methodsor of that triumphs literalness equallyin the cult of absolute whichdoes One cannotfail to hearsuchregression. this.24. suddenly strongly.the progressive tendencyis transformed into an ancientone that is sharply to the dialectically opposed domination overnature. He was an importantsupporterof This content downloaded from 200. manyprodit wouldnot surprise the ucts of the mostrecentmusical practice.] (Stuttgart. 33-42.Gesammelte This translation Schriften zwischen 1978).but also of theirmaterials-andthe two arealways.23. Adorno. With the current of the old undivided convergence. gence.If art is the recollection of nature increasing in the midstof domination overnature. As it reachesan extreme.78 TheMusical Quarterly lack of concretecontent. imperfection. something of the conceptof art as appliedto the arts. -the makers over into as their three-dimensionality organisms. absolute in the conceptof art into something not transform higher. play evidenceof illusionthat nonperspectivist paintinghad destroyed--are withinthem is so musiclike. wasall the that also glimpsea conditionmoreadvanced backbeforeart as a separate reaches sphereof activity.especially the conceptof sabotaged musical construction.but the irrationalist music's ideologythat in Germany. The mostextremeestheticprogress whether its retainspowerover art on What becomes. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions . material.] on Cubism works andseveral wrotecriticism important ily who moved to Paristo become an art collector.unbroken hence its That the relaway.

Translated into kamp. as Philosophy of New Music. vol.1963).Anne G. Benjamin.] 8. This term. [Tr. Daniel-Henry Kahnweiler. 23 Oct 2013 07:40:32 AM All use subject to JSTOR Terms and Conditions .] profound 7. (Frankfurt: 2. Schriften 5. translated as "essential on page75 of this essay." transformation of the material. [Tr. Blomster English & Sheed Ward. 176ff.[ the wordDurchgeformtes. Durchbildung.] 11. vol.] 4. [Tr.] 10. [Tr. (Frankfurt. Durchgebildetsein. (London: 1973).trans.] 3. 418. Durchgeformten. Gestalt. Adorno.Philosophie derneuen 2d ed.24. Gestalt. MitchellandWesleyV. 176. That ornament is crime.] 9.identifies formas the resultof a process of composition.1958). 1955).23.Music andPainting 79 W. 174ff.Also in Gesammelte Schriften. [Tr. Schriften. See Theodor SuhrMusik. Confessions esthtiques This content downloaded from 200. 6. WalterBenjamin. 12.76 on Wed. 2. 418. [Tr. (Paris.