Music Industry and sounds workshops: musical innovation as micro-politics of listening

Abstract

The text discusses the idea of innovation in music, starting from a questioning of Adorno’s aesthetic thought, both in their phase of partnership with Horkheimer coined the concept of “cultural industry” and, in particular, in his writings on musical aesthetics. On attempt to point out the pertinence and the misunderstandings of Adorno’s musical philosophy, by showing that the conditions for innovation predetermine the author proposes the creation or disregards artistic aspects inapprehensive by the range of their conceptual scope. The failure of musicology denounces itself both as a prioritization of the sound material like defining aesthetic value or despising the unpredictable consequences arising from the experience of listening permeated by the media system and the Internet. We ask if it was possible to think of musical innovation and experimentation as an investment process which there is an implicit political conduct of resistance to dominant axioms stabilized by listening habits.