mercoledì 12 aprile 2017

Maps of Meaning: The Architecture of Belief by JORDAN B. PETERSON

Maps of Meaning: The Architecture of Belief by JORDAN B. PETERSON
You have 53 highlighted passages
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Last annotated on April 12, 2017
Preface DESCENSUS AD INFEROSRead more at location 141
Note: PRE@@@@@@@@@@ Edit
Something we cannot see protects us from something we do not understand. The thing we cannot see is culture,Read more at location 142
Note: LA PROTEZIONE DALL INCOMPRENSIBILE Edit
The thing we do not understand is the chaos that gave rise to culture.Read more at location 143
Note: c Edit
I was raised under the protective auspices, so to speak, of the Christian church. This does not mean that my family was explicitly religious. I attended conservative Protestant services during childhood with my mother, but she was not a dogmatic or authoritarian believer, and we never discussed religious issues at home. My father appeared essentially agnostic,Read more at location 149
Note: CRESCIUTO IN FAMIGLIA RELIGIOSA Edit
When I was twelve or so my mother enrolled me in confirmation classes, which served as introduction to adult membership in the church. I did not like attending. I did not like the attitude of my overtly religious classmates (who were few in number) and did not desire their lack of social standing.Read more at location 156
Note: ALLONTANAMENTO A 13 a Edit
No one really opposed my rebellious efforts, either, in church or at home—in part because those who were deeply religious (or who might have wanted to be) had no intellectually acceptable counter-arguments at their disposal. After all, many of the basic tenets of Christian belief were incomprehensible, if not clearly absurd. The virgin birth was an impossibility; likewise, the notion that someone could rise from the dead.Read more at location 164
Note: POCA OPPOSIZIONE ALLA RIBELLIONE Edit
I started working as a volunteer for a mildly socialist political party, and adopted the party line. Economic injustice was at the root of all evil,Read more at location 179
Note: SOCIALISMO Edit
I had attended several left-wing party congresses, as a student politician and active party worker.Read more at location 190
Note: c Edit
My college roommate, an insightful cynic, expressed skepticism regarding my ideological beliefs. He told me that the world could not be completely encapsulated within the boundaries of socialist philosophy. I had more or less come to this conclusion on my own, but had not admitted so much in words.Read more at location 196
Note: IL COMPAGNO CINICO CHE INSTILLA DUBBI Edit
Socialist ideology served to mask resentment and hatred, bred by failure. Many of the party activists I had encountered were using the ideals of social justice to rationalize their pursuit of personal revenge. Whose fault was it that I was poor or uneducated and unadmired? Obviously, the fault of the rich,Read more at location 203
Note: SOCIALISMO COME MASCHERA DI UN FALLIMENTO Edit
It was not socialist ideology that posed the problem, then, but ideology as such. Ideology divided the world up simplistically into those who thought and acted properly, and those who did not.Read more at location 211
Note: BUONI E CATTIVI Edit
What people valued, economically, merely reflected what they believed to be important. This meant that real motivation had to lie in the domain of value, of morality. The political scientists I studied with did not see this, or did not think it was relevant.Read more at location 225
Note: NOZIONE DI VALORE E MORALITÁ Edit
My confidence in socialism (that is, in political utopia) vanished when I realized that the world was not merely a place of economics.Read more at location 228
Note: c L ECONOMIA NN È AL CENTRO Edit
1 MAPS OF EXPERIENCE Object and MeaningRead more at location 441
Note: 1@@@@@@@@@@@@@ Edit
The world can be validly construed as forum for action, or as place of things.Read more at location 443
Note: DUE COSTRUZIONI DEL MONDO Edit
The former manner of interpretation-more primordial, and less clearly understood-finds its expression in the arts or humanities, in ritual, drama, literature and mythology.Read more at location 444
Note: CULTURA UMANISTICA Edit
The latter manner of interpretation-the world as place of things-finds its formal expression in the methods and theories of science.Read more at location 448
Note: CULTURA SCIENTIFICA Edit
No complete world-picture can be generated without use of both modes of construal. The fact that one mode is generally set at odds with the other means only that the nature of their respective domains remains insufficiently discriminated.Read more at location 452
Note: LA REALTÀ. UN MIX Edit
Adherents of the mythological worldview tend to regard the statements of their creeds as indistinguishable from empirical “fact,” even though such statements were generally formulated long before the notion of objective reality emerged. Those who, by contrast, accept the scientific perspective—who assume that it is, or might become, complete-forget that an impassable gulf currently divides what is from what should be.Read more at location 453
Note: IL DOPPIO INGANNO Edit
2 MAPS OF MEANING Three Levels of AnalysisRead more at location 901
Note: 2@@@@@@@@@@@@@ Edit
Human beings are prepared, biologically, to respond to anomalous information—to novelty. This instinctive response includes redirection of attention, generation of emotion (fear first, generally speaking, then curiosity), and behavioral compulsion (cessation of ongoing activity first, generally speaking, then active approach and exploration).Read more at location 902
Note: LE DISSONANZE COGNITIVE COME PROTEZIONE Edit
3 APPRENTICESHIP AND ENCULTURATION Adoption of a Shared MapRead more at location 5920
Note: 3@@@@@@@@@@@@ Edit
Ideologies may be regarded as incomplete myths—asRead more at location 5921
Note: IDEOLOGIA E MITO Edit
The philosophy attributing individual evil to the pathology of social force constitutes one such partial story.Read more at location 5923
Note: FILOSOFIA DEL MALE Edit
Although society, the Great Father, has a tyrannical aspect, he also shelters, protects, trains and disciplines the developing individual—andRead more at location 5923
Note: LA PROTENZIONE DELLA CENSURA Edit
Subjugation to lawful authority might more reasonably be considered in light of the metaphor of the apprenticeship. Childhood dependency must be replaced by group membership,Read more at location 5925
Note: LEGALITÀ COME PROTEZIONE. PROTEZIONE IN FASE DI SVILUPPO Edit
membership provides society with another individual to utilize as a “tool,” and provides the maturing but still vulnerable individual with necessary protection (with a group-fostered “identity”).Read more at location 5927
Note: LO SCAMBIO: RAFFORZAMENTO VS PROTEZIONE Edit
The capacity to abide by social rules, regardless of the specifics of the discipline, can therefore be regarded as a necessary transitional stage in the movement from childhood to adulthood.Read more at location 5928
Note: CONFORMISMO Edit
Discipline should therefore be regarded as a skill that may be developed through adherence to strict ritual, or by immersion within a strict belief system or hierarchy of values.Read more at location 5930
Note: RUOLO DELLA DISCIPLINA Edit
Adoption of this analytic standpoint allows for a certain moral relativism, conjoined with an absolutist higher-order morality. The particulars of a disciplinary system may be somewhat unimportant. The fact that adherence to such a system is necessary, however, cannot be disregarded.Read more at location 5940
Note: CONVIVENZA DI RELARIVISMO E TIRANNI: ORDINE FERREO MA PURCHESSIA Edit
4 THE APPEARANCE OF ANOMALY Challenge to the Shared MapRead more at location 6374
Note: 4@@@@@@@@@@@@@@ Edit
integrated morality lends predictability to behavior, constitutes the basis for the stable state, and helps ensure that emotion remains under control. The emergence of anomaly constitutes a threat to the integrity of the moral tradition governing behavior and evaluation. Strange things or situations can pose a challengeRead more at location 6385
Note: L EMERGENZA DELLA ANOMALIA. DEL DIVERSO Edit
A prolonged drought, for example, destructive at the social level—or the occurrence of a serious illness or disability, destructive at the personal—can force the reconstruction of behavior and the reanalysis of the beliefs that accompany, follow, or underlie such behavior.Read more at location 6389
Note: MUTAZIONI DEL CONTESTO Edit
The appearance of a stranger—or, more commonly, a group of strangers—may produce a similar effect.Read more at location 6391
Note: LO STRANIERO Edit
Cultures may be upset internally, as well, as a consequence of the “strange idea”—or, similarly, by the actions of the revolutionary.Read more at location 6394
Note: STRANE IDEE INTERNE. ERESIE Edit
the capacity to abstract has also undermined the stability of moral tradition. Once a procedure has been encapsulated in image—and, particularly, in word—it becomes easier to modify, “experimentally”; but also easier to casually criticize and discard.Read more at location 6397
Note: L ASTRAZIONE FACILITA LA MDIFOCAPILITÀ. LA DIMENSIONE LONTANA E I SUOI PARADOSSI Edit
Our capacity for abstraction is capable of disrupting our “unconscious”—thatRead more at location 6402
Note: c Edit
Such disruption leaves us vulnerable to possession by simplistic ideologies, and susceptible to cynicism, existential despair, and weakness in the face of threat.Read more at location 6404
Note: IL VUOTO DELLA DISTRUZIONE E I SUOI PERICOLI Edit
We are conscious enough to destabilize our beliefs and our traditional patterns of action, but not conscious enough to understand them. If the reasons for the existence of our traditions were rendered more explicit, however, perhaps we could develop greater intrapsychic and social integrity. The capacity to develop such understanding might help us use our capacity for reason to support, rather than destroy, the moral systems that discipline and protect us.Read more at location 6416
Note: IL RAPPORTO CON LA TRADIZIONE. ASTRAZ E CONSAPEVOLEZZA. Edit
Note: CONOSCIAMO LE LACUNE DELLA TRADIZIONE MA NN IL SUO RUOLO Edit
5 THE HOSTILE BROTHERS Archetypes of Response to the UnknownRead more at location 8301
Note: 5@@@@@ @@ @@@ Edit
mythological hero.Read more at location 8307
He faces the unknown with the presumption of its benevolence—with the (unprovable) attitude that confrontation with the unknown will bring renewal and redemption.Read more at location 8307
Note: L EROE CHE AFFRONTA LO SCONOSCIUTO. LA CRISI. E SI RIGENERA Edit
the eternal adversary.Read more at location 8310
This “spirit of unbridled rationality,” horrified by his limited apprehension of the conditions of existence, shrinks from contact with everything he does not understand. This shrinking weakens his personality, no longer nourished by the “water of life,” and makes him rigid and authoritarian, as he clings desperately to the familiar, “rational,” and stable. Every deceitful retreat increases his fear; every new “protective law” increases his frustration,Read more at location 8311
Note: IL MALE. PAIRA DI CAMBIARE. IL FASCISTA Edit
The fascist wants to crush everything different, and then everything;Read more at location 8319
Note: c Edit
CONCLUSION: THE DIVINITY OF INTERESTRead more at location 12219
Note: CONC@@@@@@@@@@@@ Edit
Anomalies manifest themselves on the border between chaos and order, so to speak, and have a threatening and promising aspect. The promising aspect dominates, when the contact is voluntary, when the exploring agent is up-to-date—when the individual has explored all previous anomalies, released the “information” they contained, and built a strong personalityRead more at location 12220
Note: LA PERSONAITÀ CURIOSA Edit
The threatening aspect dominates, when the contact is involuntary, when the exploring agent is not up-to-date—when the individual has run away from evidence of his previous errors, failed to extract the information lurking behind his mistakes,Read more at location 12223
Note: LA PERSONALITÀ PAUROSA Edit
interest—thatRead more at location 12226
exploratoryRead more at location 12226
Pursuit of individual interest means hearkening to this spirit's call, journeying outside the protective walls of childhood dependence and adolescent group identification, and returning to rejuvenate society. This means that pursuit of individual interest—development of true individuality—is equivalent to identification with the hero.Read more at location 12230
Note: GIOVENTÙ EROICA Edit
Such identification renders the world bearable, despite its tragedies, and reduces neurotic suffering, which destroys faith, to an absolute minimum.Read more at location 12233
Note: BENEFICIO DELL IDENTIF CON L EROE Edit
Risk your security. Face the unknown.Read more at location 12235
Note: MESSAGGIO Edit

Theodor Ludwig Wiesengrund-Adorno

Da ragazzo avevo preso una cotta per le avanguardia storiche della musica europea, cosicché fu per me inevitabile finire nell’abbraccio asfissiante della prosa adorniana.
Praticamente non esisteva altro da leggere per essere introdotti a dovere in quel mondo, la Piccola Biblioteca Einaudi prevedeva solo Adorno e imitatori di Adorno, e l’editoria italiana – per esperienze di livello - prevedeva solo il catalogo Einaudi.
Si trattava di libri “impossibili”, con un periodare tra il proustiano e il gergo dell’Agenzia Entrate, ma non avendo allora termini di paragone per me quello era anche l’unico modo di scrivere un libro sulla musica. Lo davo in qualche modo per scontato: la Grande Cultura è così.
Oltretutto, la passione, che ti fa scalar montagne, puo’ arrivare fino al punto di farti leggere un libro di Adorno dalla prima all’ultima pagina, con interi quarti d’ora passati sotto sforzo senza capire e con la necessità di ripartire ogni volta daccapo. Con passaggi talmente oscuri da essere più oscuri della musica di cui parlano.
Alla fine – forse per disperazione - una sorta di senso te lo inventavi tu (proprio come quando ascolti una musica!). Insomma, ci sono autori incompresi e autori “troppo compresi” (sovracompresi), nel senso che fai finta di comprenderli. Adorno, nel mio caso, rientrava nella seconda categoria. Ma allora non volevo e non potevo pensare a niente del genere.
Oggi posso pensarlo, dai primi anni ottanta è passata molta acqua sotto i ponti, la condanna al catalogo Einaudi è un ricordo (grazie di tutto cara saggistica Einaudi ma a-mai-più-rivederci). Oggi posso per esempio leggere il Roger Scruton di “Understanding Music: Philosophy and Interpretation” e illudermi che cio’ che lui dice su Adorno in fondo coincidesse con quanto pensavo in un angolo remotissimo della mia coscienza di diciottenne.
***
Adorno politicizza tutto quel che tocca, allora questo era un pregio…
… But his lack of clarity, his jerky and unsequential style of analysis and his attempt to politicize the entire discussion of modernism in music, so as to force it into a neo-Marxist framework that has lost whatever plausibility it might once have had, place great obstacles before the reader. The least we might say is that his contributions to musicology are flawed by a narrow-minded obsession with ideas whose time has passed…
L’adulazione per l’austero Maestro francofortese era generalizzata, con qualche rara eccezione…
… Richard Taruskin, in his History of Western Music,' treats Adorno with the impatience that he invites, this is a rare departure from the now routine adulation that is bestowed by the American musicological establishment…
Ma si trattava più di un’ammirazione politica che musicologica…
… In the first instance, therefore, we should see the adulation of Adorno as politically inspired…
I suoi nemici designati erano il pop e il capitalismo, una diade inseparabile…
… His criticism of popular music is presented from an avowedly left-wing perspective, as part of the cultural critique of capitalist society…
Adorno era “dalla parte del popolo” (e dove credevate che fosse?) ma disprezzava con tutto il cuore la musica del popolo…
… He showed American musicologists that you can despise popular culture and still believe in the ideological rescue of its captives. You can be a cultural elitist and yet on the side of the underdog…
Era un élitista. T.S. Eliot ci fa capire cosa cio’ significasse…
… Eliot defended high culture as the citadel in which the past and its treasures are sequestered, maintained by people conscious of their membership of an elite, who must nevertheless cultivate within themselves the kind of humility and self-sacrifice that have been associated with the Christian religion… As a result Eliot's book has had little impact on the academic establishment in America, and the critique of mass culture has proceeded as though it were a left-wing monopoly…
Ma il parallelo Adorno-Eliot si ferma all’ elitismo: il primo era rivoluzionario, il secondo in continuità con la Grande Tradizione (Dante su tutti)…
… Yet Eliot was a modernist, who believed modernism to be continuous with the great traditions of European artistic expression. He vindicated the artistic experiments…
***
Nella visione di Adorno la musica commerciale plagia le menti della massa asservendola a fini di sfruttamento…
… Ordinary Americans, in Adorno's view, were oppressed by the music that they had been misled into liking, just as they were oppressed by advertising, by the consumer culture, by Hollywood, by the idols of the marketplace-in…
La critica del pop è in fondo una critica del capitalismo…
… critique of their musical culture was primarily a critique of the capitalist system..
Probabilmente il Nostro aveva anche ragione a denunciare una certa decadenza del gusto, ma lo faceva per le ragioni sbagliate…
… Now I believe that Adorno, bad manners apart, was right to care about the decline of popular taste, and right to think that it matters what we listen to and how. But I believe that he arrived at this position from the wrong premises
***
Secondo Marx la cultura e l’arte dipendono dal sistema economico. L’economia è al centro di tutto…
… Culture, according to Marx, belongs to the institutional and ideological superstructure of society. It is the by-product of economic processes…
Nella visione di Francoforte si insiste invece sull’effetto ipnotico della persuasione occulta…
… Against that vision, which seems to relegate culture and the arts to the historical sidelines, the Frankfurt school (Horkheimer and Adorno in particular) argued that a properly theoretical approach to criticism would undermine the false consciousness that facilitated `bourgeois relations of production', and so contribute to loosening the grip of the capitalist economy. The enslavement exerted by capitalism is exerted at every level…
La musica diventa un feticcio
… Adorno took his cue from the theory of `commodity fetishism' expounded in Das Kapital…
E il popolo bue si auto-schiavizza
… In a capitalist economy, he suggested, people are enslaved not by others but by themselves, falling victim to the charm with which they invest the commodities that glitter all around them…
Per questo “tutto cio’ che piace è sospetto”: il piacere è nemico della libertà autentica…
… pleasure becomes the enemy of freedom…
Si comincia a capire l’amore per una scrittura respingente che crea nel lettore una sorta di sofferenza e ripudio. Adorno voleva con sé solo lettori forgiati, dei veri adepti, per i curiosi non c’era spazio.
La musica americana è pre-digerita
… The cultural fetish is marked by its `standardized' nature, its routine presentation of predigested material, and its refusal to question its own status as a commodity…
O meglio, reificata. Per usare un termine marxista…
… in the mass culture of capitalism subjects become objects and objects become subjects!…
***
Si tratta in fondo di osservazioni abbastanza banali se non fossero torturate da un gergo esoterico che riesce a protrarle per centinaia di pagine.
Il gergo serve ad evocare l’indimostrabile
… The jargon merely evokes a conclusion that Adorno fails to prove, namely that Bach is great because his music is on the right side of history-the side that seeks utopia, and which preserves, in objective form, the real freedom of the subject…
L’esistenza di persuasori occulti è infatti indimostrabile.
In quegli anni si parlava di “tolleranza repressiva”…
… Adorno's attack on mass culture belonged to the same movement of ideas as Marcuse's denunciation of `repressive tolerance'…
Cio’ non significa che la critica del consumismo inaugurata a Francoforte sia completamente sballata…
… Having said that, I want to acknowledge that the Frankfurt critique of the consumer society contains an element of truth. It is a truth far older than the Marxist theories with which Adorno and Horkheimer embellished it. Indeed it is the truth enshrined in the Hebrew Bible, reformulated time and again down the centuries: the truth that, in bowing down to idols, we betray our better nature…
Ad ogni modo, Adorno si smarcava dai movimenti del sessantotto
… But the redemption that Adorno promised was not to be achieved by social reform: it was a personal salvation, a turning away from fantasies, on a voyage of self-discovery…
I sessantottini cercavano una liberazione dal dolore e una via verso il piacere. Adorno prometteva lacrime e sangue e del piacere abbiamo già detto cosa pensava.
Adorno contro i cappelloni
… `liberation' which adds sex, sin and idleness to the list of consumer products is merely another name for the old enslavement…
Dove sta la liberazione, allora?…
… It is about art, and the difference between true art and its idolatrous substitutes. True art matters because it puts us in touch with what we really are…
La “vera arte” produrrà la “vera coscienza” e con la “vera coscienza” avremo istituzioni sociali più giuste. Per Adorno si va dalla cultura all’economia e non viceversa, come per Marx.
Un posizione veterotestamentaria, in fondo: redenzione attraverso la sofferenza…
… Like other such critiques, from Ruskin and Arnold to Eliot and Leavis, it is downstream from the Old Testament condemnation of idolatry…
La rivoluzione di Adorno è di tipo estetico…
… The only revolution that Adorno can envisage is one that takes place in the world of culture itself-not a political but an aesthetic revolution…
Occorre liquidare il kitsch e la musica commerciale…
… there is the attempt to give a general theory of kitsch, and a justification for avoiding it… Secondly, there is an assault on American popular music…
Chi è il condottiere su cui Adorno punta tutte le sue carte? Arnold Schoenberg. A lui si affida il compito di distruggere la tonalità (ovvero la borghesia)…
… Thirdly (and derivatively) there is the attack on tonality and the defence of the Schoenbergian alternative….
La fine della tonalità segnerà l’emergere dell’uomo nuovo…
… A new human type has emerged, for whom commitment, responsibility, heroism and heartfelt love are all to be avoided…
Ma cos’è il kitsch? E’ un mondo dove tutto sembra facile. Invece tutto è terribilmente difficile se si vuole combinare qualcosa…
… The world of kitsch is a world of trinkets, which we cling to as proof that we can be good without effort and loved without pain. By contrast, every true artistic gesture constitutes an appeal to our higher nature, an attempt to affirm the other realm in which moral and spiritual order prevails…
Il pop, il rock, il jazz, la classica a imitazione del passato… tutto è kitsch…
… The American song is not art in the manner of Schubert or Brahms, still less in the manner of Schoenberg or Berg: its every feature spoke to Adorno of big business, celebrity singers and mass entertainment…
Queste considerazioni lasciano alquanto perplessi: si fatica ad accettare la liquidazione della musica tradizionale, e anche l’ipotesi dell’imposizione alle masse della musica dall’alto…
… One conclusion to draw from the history of American popular music is that we should take the word `popular' seriously-far more seriously than it was taken by Adorno. Pace Adorno and Horkheimer, this music was not imposed upon the American people by an unscrupulous `culture industry' eager to exploit the most degenerate aspects of popular taste. It arose `by an invisible hand' from spontaneous music-making…
***
Adorno è animato da un’ “ermeneutica del sospetto”. Il nemico - il persuasore occulto - poteva nascondersi ovunque a insaputa di tutti, anche di se stesso…
… Animated by what Paul Ricoeur called `the hermeneutics of suspicion', they have looked for the hidden power behind every custom, and the `structures' that control every choice…
L’alternativa al pop? L’utopia
… His alternative is not another and better popular music. His alternative is utopia…
Il fatto è che questa musica utopica era spesso molto strampalata e completamente inespressiva.
La critica di Adorno era talmente radicale che fini per fagocitarsi: criticare tutto significa non criticare nulla. La cosa fece danni…
… by teaching that popular music must be rejected in its entirety, Adorno opened the way to the inverse attitude, that popular music must be accepted in its entirety. A blanket criticism is no criticism at all…
critiche più circostanziate venne negato ogni spazio. Non erano abbastanza “rivoluzionarie”.
A sua insaputa Adorno fu il padre indiretto del postmoderno, ovvero del “liberi tutti”…
… Adorno has been useful to the postmodern musicologist. By presenting judgement as a form of total condemnation, Adorno consigned judgement to the dustheap…
La musica pop va affrontata con impegno e ascoltata con attenzione, bisogna discriminare per criticare in modo sensato, non si puo’ liquidare tutto in massa. Lo stesso dicasi per la musica tonale…
… It is only by making discriminations within the realm of popular music that we can encourage young people to recognize the difference between genuine musical sentiment and kitsch…
Adorno riteneva la tonalità esausta e ormai costretta a ripetere sempre gli stessi cliché…
… what should we think of modernism, in the other arts as well as in music, now that its manifesto stage is over? Adorno's claim in The Philosophy of Modern Music was that tonality had exhausted itself… We have no doubt that cliches are, in the artistic context, a fault…
Ma, innanzitutto,  con i cliché si puo’ anche essere creativi, pensiamo al lavoro di Becket con i cliché verbali…
… Those approaches to musical cliche recall the treatment of verbal cliche by a writer like Samuel Becket, who uses cliches against themselves…
E poi, se il problema sono i cliché a che serve inventarci una “nuova musica”, si passerebbe solo da un cliché all’altro
… Cliche is an aesthetic, not a syntactical, defect-a misuse of language that belongs to the order of style rather than that of grammar. And we must, if Adorno is right, say something similar about tonality……. If tonality is not a grammar, then the faults that have arisen in the use of tonality will not be cured by inventing a new musical syntax… revolt against figurative painting soon produced abstract, cubist and fauvist cliche-indeed…
L’unica musica priva di cliché, per Adorno, era l’avanguardia
… Adorno's defence of the avant-garde of his day was based on the view that 'standardization' could not take root in this idiom, which would always question its own status as a commodity and refuse to be driven by aesthetic routines…
E a riprova di quanto si diceva, di lì a poco, se c’era una musica ripetitiva che abbondava di cliché, era proprio l’avanguardia.
Evidentemente, la musica non è una semplice grammatica che si rinnova semplicemente grazie ad un rinnovamento sintattico.
Un altro bersaglio di Adorno era il semplicismo pop, responsabile di un grave calo di attenzione nel pubblico…
… Adorno argued that the addiction to musical fetishes-by which he means the standardized effects of popular music-produces a 'regression' in the art of listening, what we might today call a shrinking attention span…
In questo senso oggi andiamo ancora peggio
… shortened attention span and the emergence of addictive forms of entertainment are products of the new media rather than residues of the tonal tradition…
Dall’altro lato c’erano quei compositori compromessi senza speranza con la tonalità
… he tells against the attempts at symphonic form by the tonal modernists-as in the Walton and Britten concertos, or the symphonies of Shostakovitch…
Non restava che la musica seriale. Ma i lavori migliori richiamavano ancora la tonalità. Il bello che contengono quelle opere è proprio cio’ che Adorno condanna…
… The best that the serial idiom has achieved in the direction of sustained argument is surely the Violin Concerto of Berg, which leans at every point upon tonal relations and reminiscences, to the point of belonging fairly within the tradition of voice-led harmony that Schoenberg, in his own Violin Concerto…
La strada indicata da Adorno  si rivelò ben presto un vicolo cieco. Nel frattempo le velleità rivoluzionarie erano sopite anche nella sfera sociale. Possiamo ben dire che lo sforzo inane di questo autore non ha lasciato molti frutti.
***
Ma non si puo’ criticare senza proporre alternative. Quali le alternative per la musica contemporanea, allora?
Difficile dirlo, abbiamo capito che  la tradizione non puo’ e non deve essere liquidata ventilando un’utopica tabula rasa.
Un approccio proficuo potrebbe essere quello esemplificato dai jazzisti americani degli anni 40/50/60 che riprendevano il repertorio tradizionale (il cosiddetto “song book” o standard) per innestare su di esso le loro idee innovative. Ecco, qualcosa del genere è in grado di informare un nuovo approccio coniugando tradizione e novità: l’omaggio della ripresa con l’avventura della rielaborazione.
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