A response to Habermas, Google Translation

December 31, 2013

by Nicolas Amoruso

0 Comment

This paper aims to highlight some issues for understanding a little better reflections of Theodor Adorno Wiesengrund referred to the socio-political role of music in general and jazz in particular, in modern capitalist society. The way forward to meet this purpose begins by noting conditions that allowed the approach to musical environment, and present a brief reference to the emergence and evolution of jazz, and finally get to analyze critically and in more depth some Adorno postulates accurate.Finally, some preliminary conclusions are expected to serve as triggers for future research are presented.

CHRISTMAS AND MUSIC

The music was present in the life of Adorno in his early childhood and has since developed an important role in his life and in his work. His mother, Maria Calvelli Adorno, was professional and singer along with her ​​sister, who was a pianist, taken care of early musical instruction Theodor. Later his education was formalized its entry into the Kaiser Wilhelm Gymnasium in college Johann Wolfgang Goethe University in Frankfurt, with piano lessons Sekles Bernhard, with the lessons of musical composition of Alban Berg, and their frequent contacts with musicians and composers of the time. 
Fleeing the Nazis and after passing through different cities, he settled in New York in 1938 where he continued to develop his critical theory. However, his residence in this city not significantly modified their first impressions of jazz that left inscribed in his essay " Über Jazz "1936 [1] .

In his writings he recognized two areas in music: Popular music and serious music. He claimed that while at first the key feature is the standardization and the relationship between the part and the whole is fortuitous, the second part is an expression of everything and therefore can not replace the mechanical segments stereotyped patterns [2] . This serious music later in his Aesthetic Theory defined as genuine music, defined as a tool to sense the passage of the state by the individual direct and personal expression artist [3] . For Adorno there was no clear division between jazz and popular music, held that it was not a genuine music and instead of representing the feelings of these artists, represented the interests of the capitalist state. It was, for him, another product of the culture industry, defined as an element of the fascist totalitarian state, then adopted by capitalism, which uses principles of factory organization for the production of intangible goods (values, ideologies, symbolic content guidelines behavior, customs, etc..) in order to shape a particular style of culture called "mass culture."

Adorno thought that jazz was a "Gebrauchsmusik", ie consumer music to accompany the dance and entertain, and that this contributed to strengthening the cultural industry, which the author is also the entertainment industry [4] . The fun had promoted a negative, since it implied an adherence to the regime: "Sporting mean agreeing. Fun is only possible as isolated and separated from the whole social process, as absurdly resignation from the beginning to the inevitable claim of any work (...) always means fun not to think " [5] . Jazz, according to Adorno, was oriented manipulative control of subjectivities and I identified consumers of this music with those men who were killing time tolerated because not account for their social status, which could not escape.

ORIGIN AND EVOLUTION OF JAZZ

Many authors agree define jazz as the result of the meeting of African and European musical tradition in a particular scenario that was the United States, which since its inception has become a major buyer of slaves in order to satisfy the need for hand having the force (mainly cotton, tobacco and sugar) colonies in Southeast agricultural plantations [6] .

The West African music was remarkably functional and lacked the "musical art" that claimed the European Baroque. Hentoff and Mc.Carthy [7] , following anthropological research, recognize eight basic types of songs that regulated the African cultural pattern. Among these are the songs of mothers to educate their children, lyrics courtesy to influence young girls, the songs of religious leaders to guide the community, the songs of the warriors to promote courage, and Songs of workers to return their tasks bearable.

The "cultured" Europe, in contrast, require their music performers, composers and listeners excessive training, which was derived in which only a limited elite could enjoy it. Its aim was to express through art the sense of perfection.

For the African black, forced to work on plantations U.S. in exchange for food and shelter, music was essential: It helped him cope with the anguish of the oppressive regime while it served to reduce

boredom of your routine [8] . Back in 1860, Richard F. Burton, British consul famous for his explorations in Africa and Asia, held that "the fisherman accompanies his oar, the carrier loading and the housewife his task of cleaning the grain songs" [9] . In agricultural belts, in port areas and around all forced labor, did these "work songs" powerfully rhythmic and syncopated (often chained slaves had to work the rhythmic unison, and these songs marked the movement).

Furthermore Africans who came to America, loaded with pagan traditions and found that the Christian religion was imposed them. Accustomed to their rites that included songs and dances, began to include clapping, rhythmic movements and black voices of a very particular celebrations church bell. That is how the "Spirituals" (history of gospel) were born as expressions of faith.

After the civil war, many slaves were freed and moved to urban areas in search of employment and a better quality of life (beginning the industrializing phase of the U.S. economy in which the demand for labor was higher in areas in urban agriculture). One of the main urban settlements for these free African American citizens was New Orleans, former capital of the state of Louisiana. This city had a multicultural and flexible: It was founded by French colonists, assigned to the Spanish empire, recovered by the French control of the time of Napoleon and finally sold to the United States. This is where discovered musical instruments and where their first wages allowed them to purchase (until then his output had been limited by precarious instruments themselves manufactured with elements at their disposal as bones, cans, gourds, wood, etc.. [ 10]).

The profession of "entertain white" was logically preferred, partly because they were good at it and partly because they allowed out of worst forms of labor or slavery. However, these freedmen remained outside any formal musical education, so to address these chose to play instruments as they sang. Instead of structuring their songs based on classical melody, harmony and rhythm, improvised organizational principles, made instruments were an extension of his voice.

This cluster of conditions, along with many other spontaneous beyond the analysis converged in the birth of jazz style and "New Orleans" by 1910, which differed from "ragtime" [11]  to venture more freely rhythmic improvisation and by use of the "blue notes" [12] .

In a short time emerged numerous jazz groups and began to migrate to other cities, extending its influence into the north and coming to New York and Chicago. These cities had experienced a significant increase in its black population product of the economic boom, thanks to which so did the entertainment industry and her local trafficking of alcohol, illegal gambling and prostitution that provided shelter to the new bands. At these nightclubs style "Cotton Club" [13] , the music was performed by blacks to white audiences. These are the years marked by the "Chicago" style (which replaced the style "New Orleans" and the style "Dixieland"), in which the great orchestras (such as King Oliver, Jerry Roll Morton, Paul Whiteman and Duke stood out Ellington) rather than personal expression of the great soloists (Louis Armstrong as the head of his "Hot Five" and "Hot Seven", Rex Stewart, and Coleman Hawkins).

During the subsequent economic depression 1929 crash was decimated the entertainment industry, so, with the aggravation of the great influence acquired the radio, many nightclubs closed. The Chicago Jazz became an intimate circle of jazzmen who visit each other and organize private meetings in their homes. Many musicians moved away forever from the stage and others migrated to Europe in search of work. There arose the "hot clubs" local who gave shelter to jazz fans and, infected by the presence of musicians like Benny Carter and Sidney Bechet, saw emerge the first great European jazz musicians the likes of Django Reinhardt and Stephane Grappelli . 
Already in this period, extinct alcohol prohibition and accompanied by the increasing popularity of white musicians as Benny Goodman and Glen Miller, jazz no longer considered a marginal music. Began the "swing era" in which the orchestra became the ideal for showcasing soloists and they did flourish under the first great female vocalists: Billie Holiday and Ella Fitzgerald.

The years of the Second World War were thorny for the development of jazz while U.S. musicians were forced to join the army in Europe were persecuted by the Nazis that defined as "entartete musik" (decadent music) [14] .

In 1938 saxophonist Henry Minton opened a bar on the first floor of the Cecil hotel located in the Harlem neighborhood of Manhattan in New York. The place was called "Minton's Playhouse" and served as a space for "jam sessions" that would play a major role in the evolution of jazz from swing to bebop. These jam sessions began early 40s and they were part of Thelonious Monk, Kenny Clarke, Charlie Christian, Dizzy Gillespie and guest musicians from other clubs such as the "Savoy Ballroom", the "Apollo Theater" and "Clark Monroe 's Uptown House "where he came from Charlie Parker [15] .

This new style was introduced as a revolutionary in an era convulsed itself. The American Federation of Musicians (AFM acronym in English) recordings were prohibited during the war, which added to people was not met with the same regularity to clubs and lounges, the emergence of bebop had to wait until 1945. But the delay did not slow upheaval unleashed, matched only by the innovations of Armstrong on the ragtime. These musicians rampant advocated a much broader decision-consciousness. "It showed intemperate and defensive, and revealed some ignorance and naivete: They talked as if he had discovered bop harmony, compared to Stravinsky with Parker, spoke of the role of new melodic drummer," asserted Mc.Carthy Hentoff and  [16] . There were new things to say after the war jazz and learned to say them.

Bebop was partly a response to the boredom of routine swing, playing at a furious pace and filling the spaces brief granted only with the orchestra to the widest possible harmonic and melodic ideas. Seems to have taken the existing musical elements and were released. Unlike the swing was played by small groups (decline of the big bands), where the drums and bass were matched musically with trumpet and piano solos in performing. It was a much more complex style, placed much greater emphasis on the development of different rhythms at once, showing excitement and frenzy, and improvisation was essential.

Was defined by their faster times and more complex harmonies. Pointed to the circumlocution rather than the exact definition (direct utterance was considered crude and unimaginative, not directly attacked any note). Solos and accompaniments were intentionally awkward and discordant. Music to the ears of the audience was noticeably different from those dance ringtones Benny Goodman and Glenn Miller. The bebop appeared accelerated nervous and fragmented. Melodically this style was characterized by the use of the diminished fifth (one of the dissonances made on the diatonic scale). In practice arpeggios tended to move up and then down the ladder. The ascending arpeggios used are characterized by the diminished seventh note and scale a diatonic scale was used to which is added a chromatic note between the fifth and sixth grade (bebop scale).The series of perfect cadences were replaced, so the bars were not resolved as they should: The basic harmonic progressions II - V - I (supertonic - dominant - tonic) or IV - V - I (subdominant - dominant - tonic) suffered variations and V (dominant) is replaced, for example, by a bII7 (lower supertonic augmented seventh). Also frequently occurred that was not resolved pattern formed on the tonic, but in another dominant, giving rise to the repetition of a harmonic sequence that was passing through different shades.

Another significant essence of style was structural relaxation, because instead of playing a note at its due time, often played before or after, creating dissonance. Thus the rhythm flowed smoothly and was more important than time. 
Between January 1949 and March 1950 and as a result of sessions led by trumpeter Miles Davis (which included Charlie Parker, Gerry Mulligan, Max Roach and Lee Konitz ), displayed a new style called "cool jazz" [17] . These sessions were held at the club "Royal Roost" of New York (known as "Metropolitan Bopera House") and called "Birth of the Cool" (with the same name were recorded and will be published in 1957 by the label "Capitol ").

Miles Davis established a new musical trend include major changes in jazz, based on the technique of bebop and combining with melodic aspects of the swing. The cool revolutionary sentiment retains its predecessor but in a mature and developed state: dissonance removed, placed emphasis on reducing the soft tones and accents of the rhythm section giving a softer approach, while giving it more importance arrangements.

As this style diffused among white youth of the west coast of the hand also white musicians like Chet Baker and Stan Getz, emerged a new generation of black musicians tried to recover the roots of jazz they felt they were missing. Thus was born the "hard bop" of artists such as Clifford Brown, Charles Mingus, Cannonball Adderley and John Coltrane, and differed from bebop to consist of simple melodies and more relaxed rhythm sections.

In the early sixties introduced the "free jazz", where atonality is a new rule and rhythmic conception destroys the concept of tempo. The jazzmen of this style tries to avoid any kind of progression, and commitment to follow a path of improvisation based solely on your imagination. In the seventies style "fusion", where integration with elements from the blues, rock and pop is experienced appears. In the eighties a variant, the "acid jazz" conjugaría sounds of funk, soul and jazz.

From then until now coexist these and other styles, with varying prevalence of each other according to the time.

THE ONSLAUGHT Adorno

Why Adorno insisted both criticize this music? What were the arguments wielded to include jazz in the music culture industry? 
Then specific issues are presented to provide evidence of their arguments and try to analyze them in terms of the brief history of the evolution of jazz forth above.

The jazz as slavery manifesto

Eugene Lunn, in his book "Marxism and Modernism" includes a quote from the text of Adorno, "Perennial Fashion - Jazz" in 1953 where he argues that "The Jazz was less expression of primitive needs and archaic music of slaves with features sadomasochistic " [18] . Adorno tried to explain this phenomenon through musical psychology. For him there was an identification with the aggressor attacked. When orchestras recently freed blacks occupied white entertainment, for Adorno, it was demonstrated that a relationship of domination is accepted. However it is noteworthy that the subordination was present previously and the first jazzmen were free men, emancipated recently that autonomously chose this way of life than other harder, alienating and oppressive work.

Hobsbawm says "Jazz is music diaspora, among other things. His story is part of the mass migration from the old south and, for economic reasons and often psychological, jazz make free and without commitment people who spend time on the road "[19] . For these young black men will play jazz was the only way to freedom at their disposal. The life of the show allowed them to survive in a society that, although slavery had been abolished, racism did not allow the social inclusion of men of color and also allowed them to achieve a minimum independence. "The goal was the liberation and not money (...) The city, night and run by gangsters Keynesianism made ​​during the depression Kansas City was an oasis where black musicians could at least eat (too would call to a life of prosperity hot dogs, bean dishes, jugs of whiskey, with perhaps a small stipend from a girl) " [20] .

Art or music? Authentic mass oppression?

Standardization of jazz represented, for Adorno, playing repetitive processes of capitalist industry. He argued that "in late capitalism, can only escape from what happens at work, in the factory or office, approaching it in time" [21] . He believed that illusion of freedom promised was just a fetish, and hidden inside the mechanical processes of Fordist machine. He claimed that "the continued repetition serves to emphasize the listener ritual identification and adaptation, until he becomes a second nature" [22] .

While true art, as in their view, should provide a means of liberation that allows escape oppression and could not be used by the culture industry, the jazz meet the goal of indoctrinating the masses and instill the work methodology capitalist industry."The formula of jazz is the insertion, in the general movement of the subject represented by irregular rhythms, which aligns with regularity at all, even in her weakness and her pregnancy, due to the admission of his figurative impotence so is taken and awarded by the collective. Therefore, the jazz makes an identification scheme, in compensation for their restraint and the recognition of its nullity, the individual is forced to participate vicariously in the power and magnificence of the collective, in which magic circle that is located " [23] .

However the only jazz machinery is linked to the railroad, which for its construction was subjected to forced labor blacks who revived the work songs of the first plantations times. In the most industrialized cities like Detroit or Cleveland, jazz was not developed as fruitfully as in other cities, despite the high concentration of black population.

Contrary to those primitive work songs that set the tempo to work in unison, jazz, with its alterations, could not serve as training for the accuracy of the manufacturing equipment. Unquestionably, the musical representation of the assembly line of Fordism was embodied more in the pop song (and subsequently in the rock and roll) than jazz.

Moreover, as Hobsbawm recalls, "jazz is important in the history of contemporary art because it provided a way to create art that was different from the forefront of high culture" [24] . Although Adorno was determined to prove that jazz performers could not play "serious music" (referring to classical music) and should comply with the "stylized barbarism," [25] , did not take into account that this musical style allowed these men, with the limitations were due to lack of any kind of musical education (and in many cases, education of all kinds), could make a significant contribution to music. Made "people without interest in culture, become creators of a serious art" [26] .

While modern capitalist society attempts to confuse art with cultural industry, the first concept is the creation and expression of a feeling experienced by an artist, while the latter is consistent in providing business entertainment and fun to the masses and adds Adorno, "The reasons are the economic background. It is too obvious that we could live without the whole culture industry " [27] . Mature jazz (from bebop style) did not show any interest in winning a large audience. There was an implicit rejection of popularity. Added Hobsbawm: "Reject the success (unless it meets the uncompromising conditions that puts the artist) is a characteristic attitude of the avant-garde, and jazz, has always lived the paying customer, concessions to the box office seemed especially dangerous for the performer who aspired to the condition " [28] .

Music to accompany the dance

Adorno Gebrauchsmusik qualified to jazz or music consumer, to accompany dance. He explained that the defect which caused the mass entertainment was that supposed distraction generated under the system: "Having fun always means not to think, to forget the pain even where it is shown. At the base of the fun is impotence " [29] . 
Though clearly the most primitive dance styles were essentially not stop being an expression of a social class position: His topics related to life in the plantations and mines, to report abuses of masters over slaves, to demand equality for blacks, among others. Moreover, since 1940, jazz came to the intellectual avant-garde, the public began to analyze the music and reflect on it. 
Such jam sessions (jam sessions) who attended the musicians after their public performances are evidence that "although their living playing dances, not touched for dancing. The musicians of the orchestra were playing for each other. "  [30]  His life was spent split into these two musical worlds [31] .

Sexual Liberation or neutering??

Adorno noted that, in its development, industrialized culture promised a way of life that in reality it was impossible to reach."The culture industry puts jovial frustration in this pain since both drunkenness and asceticism. The supreme law is that his subjects will never achieve what they want, and just laugh and thus must be content " [32] he said. This situation, analyzed from a psychological side, represented for the author a sexual relationship fails to materialize. This machinery deployed capitalist society works as an erotic device is offered and refuses in the act: the image of liberation and denies the reality of freedom. He added: "That's the effect of all the erotic device. Everything revolves around sex, precisely because it can never be fulfilled " [33] . A failure is guaranteed by the fear of castration, which is the fear of losing something else (which by the way, since you do not). In psychology the idea of castration is what is missing, and as all lack is genuine source of anguish.

This scenario was repeated for Adorno on jazz. In his first essay on this music (" Farewell to Jazz ", 1933), reported that it was a" emasculation music "(music by castration) and compared the high notes trumpet Armstrong with sharp tones of the singers castrated [34] . Eugene Lunn transcribed another passage the author, who in " Über Jazz "proclaimed:" Sexual liberation promised by the hot jazz hides a real fear of the implicit in the performance of solo castration threat of helplessness that results in identification with the community to the feared " [35] . Adorno inferred that own jazz syncopated sequences, were the expression of the message of powerlessness meant to convey: "It's on the run effect but not-as intended-leak bad reality but escape from the last thought of resistance that can actually have left yet " [36] . The generated self frenzy sex not reach solved, no release, "As for the naive consciousness jazz appear at times although standardizado be long, as an expression of irrefrenados erotic impulses, actually opens the way for these impulses, and reconfirm only to behead so the system " [37] .

However, Adorno did not take into account the interventions improvised solo, already present in the most premature styles, and preponderant in the bebop and cool. Through these musicians take to the creation and emancipate the rigid existing structures. The embodiment may be present then, in this creative freedom, in the undeniable difference between the written and the headdress, the autonomy to modify the provisions.

Revolution or submission?

Adorno argued: "Jazz is all that is said in his eulogy, ie , only to the extent that, once out of their rebellious origins and taken to the great organization of the cultural industry , has been debasing, being introduced in that form at the top of the men in the service of blatant commercial interests " [38] . However we need to review to what extent has served this music to commercial interests and not on the contrary has opposed them. 
's jazz, as mentioned above, was born as a genuine expression of an oppressed class that demanded freedom: black Americans. The revolution raised by bebop, was both a musical and political manifesto: jazzmen were marginal, sad, homeless men, proletarians, drunks or drug addicts, forming a mass that opposed the dominant ideology. People who lived for music is not commonly interested in politics, but for black musicians, who suffered the brutal and pervasive racial discrimination, things were different. "Charlie" Bird "Parker played ' Now's the Time 'insisting that the time had come for social change. Charles Mingus composed ' Fable of Faubus 'response to racism in the Arkansas Governor Orval Faubus [39] .John Coltrane recorded ' Alabama 'after four black girls should die in a bomb blast in a church in Birmingham. When Martin Luther King began his campaign for civil rights, the entire jazz community, black and white, seamless supported him " [40] .

It was protest music, music of oppressed people realized his condition outside the system that excluded. "The Central European cultural Bolsheviks associated with the proletariat and the revolution" [41] . Is in favor of freedom of opportunity and against racial segregation. Promoted unity and identification of blacks, who were deeply proud of this musical style that recognized as your own, as authentic [42] . Jazz became the music of the Beat Generation.

According to Adorno "culture has always helped to tame the revolutionary instincts and barbarians. The industrialized culture does more. Teaches and instills the necessary condition to tolerate the relentless life " [43] , however the facts show that the message of jazz promotes intransigence and rebellion rather than tolerance and appeasement.

Dialectics in jazz

Adorno claimed that all artistic creation involved a dialectical process: "The dialectical relationship between the artist and the material is really effective from the moment that the artistic material acquired own independence of things" [44] . This process marked the release of the antinomy of bourgeois society. Conflict between individual freedom and social constraint 
Based on this guessed that jazz can never be considered a genuine art because it was not produced in any dialectical process , instead of looking to an enhanced merely repeated the interests of the culture industry. However, it is necessary to see how the work in this music transcended classical standards with predetermined breaking musical structures. It could be said then, that was released from the constraints of the environment.

On the other hand, from the revolution of bebop and the particularities of the "jam sessions", one can question the analysis was Adorno based on the "liquidation of the subject" which, he argued, was produced in Western society through the contemporary cultural industry. The jam sessions prevented the existence of final versions of the songs, because only variations according to who the performers and what his mood is engendered. Each had its own reading, with its own rhythm and phrasing. Therefore it was difficult to separate the artist's work, it was always linked to this feeling of musicians. This feature made the jazz becomes more aesthetic and less commercial. A subjective interpretation of an objectified reality that transcended the boundaries of the band and stretched consumers and encouraged reflection (as opposed to passive and thoughtless consumption stimulated by the culture industry) was forged. Jazz suggested an alternative scenario, proposed reinvent what exists.

PRELIMINARY FINDINGS

Main attacks Adorno allude to jazz fetishism course of this musical style. He argues that behind the soloists interventions that seek to demonstrate a free and independent development, hides in syncopation, the repressive organization and ratification of subordination to the system [45] . "Jazz, as is known, is characterized by syncopation, ie, for departures from the measure obtained by introducing similar measures, seudocompases in comparably stumbled voluntarily fools of excentric-clowns, who became popular thanks to the comedies American film, and must provide the paradigm of embarrassed, helpless subject and, moreover, ridiculous in their expressive reactions " [46] . Considers that, in order to escape the classic patterns of music, jazz performers, eventually become rules (so rigid and structured as traditional) that created new patterns, and interventions soloists are standardized so like the rest and meet only a decorative function.

However, throughout this work, have been exposed reasons that demonstrate that there are differences between jazz and commercial music style pop and rock music: jazz does not use scales of the European school, the place of rhythm is essential , improvisation and creation is its essence, is a music of minorities. The rhythm section do not respect the classical patterns of repeats at regular intervals, they are fickle and the notes are not located in the default for the compass but arrive later or earlier than expected (generating the characteristic style, places the swing). In fact the history of jazz drummer is a story of emancipation from military bands playing in New Orleans: Although obtained from them much of their instruments (for the newly freed slaves, one of the few ways to get them, resales were then army disarmed the civil war), strove to fully differentiate.

Also difficult to understand this philosopher who argued that "life in late capitalism is a permanent rite of passage. Each must demonstrate that no residue is identified with the power by being hit. This is the basis of the syncopations of jazz, which mocks the obstacles and at the same time makes rules " [47] , although the analysis is still Robert Witkin [48]  and Diedrich Diederichsen [49]  is found a significant inference when trying to understand the thinking of Adorno: The main articles for jazz were written in the thirties (" Farewell to Jazz ", 1933," Über Jazz ", 1936), before coming to the United States, leading to assume that refer to the New Orleans style, Chicago style and the beginning of the swing style. On the other hand, was listening jazz big band, and including Paul Whiteman [50] . And finally, as opposed to what we do takes in his work on classical music, does not engage in any comprehensive study of jazzmen, comparing his artistic life with his private life.

However without detracting from the importance of this assessment, it is almost inconceivable the idea that Adorno, living in New York, has never heard the great soloists of the era of bebop and cool. On the other hand in his 1953 article, " Perennial Fashion - Jazz "and mentions makes this musical style in his later works" Dialectic of Enlightenment "and" Impromptus. Series of printed music items back "no shows have changed their thinking.

Following the Marxist conception collecting Baxandall and Morawski, "the best art plays cognitive function to penetrate through the clouds that obscure ideological social realities" [51] . It would be too risky to claim that jazz actually managed to light a clouded, however, no doubt that provided some light. Allowed the oppressed classes to gain a place in the history of music, and above all, let them express themselves in their own words to a system that sought to silence them.

No decisive verdict to refute Adorno Case: Nothing can prove unquestionably that jazz music is genuine and has not contributed to reproduce the ideology of the ruling class. However it is clear that the presence of this musical style allowed relegated to deploy a real art form, which enabled people without resources or training to be creators of a serious art, which served as a form of protest against a racist system class and exclusive, which predisposed to grow thoughtfully music, which led to developing the aesthetic aura and stop being passive and thoughtless consumers of a mass art who was alien and antagonistic.

If, following Diederichsen, "The experience of music, Adorno, is always linked to happiness. In his later work shows that the feeling of happiness is related philosophically with the concept of denial, cancellation of aesthetic appearance " [52] , we can assume that the author failed to realize that jazz was not intended to deny reality. While the culture industry propagates entertaining distraction to generate in order for consumers to forget everything it promises modern capitalist society and fails, which excite to get plenty of advertising material and can not buy, and rebuild through the characters he creates, a way of life that can never achieve [53] , the jazz, however their contribution sought generate creativity, awareness and modification of a situation of oppression, abuse and subjugation.

NOTES
[1]  "Since 1936 had condemned jazz as an aesthetic expression of , that led to fascism." Traverso, Enzo (25/12/2003). [2]  Adorno, Theodor W. (1941). [3]  Adorno, Theodor W. (1980). [4]  "The culture industry remains the entertainment industry (...) The fun is the prolongation of work under late capitalism." Horkheimer, Max and Adorno, Theodor (1988). [5]  Horkheimer, Max and Adorno, Theodor (1988). [6]  The export of slaves to the United States was organized mainly from Gore Island in Senegal, and this practice was conducted from the seventeenth to the nineteenth century (the importation of slaves was outlawed in 1808 and in 1865 slavery was officially abolished by the 13th Amendment of the Constitution of 1776). According to the census of 1860, there were 4 million slaves in the United States. [7]  Hentoff, Nat and MC.CARTHY, Albert J. (1968). [8]  "The black work song became another example of the effort to return bearable black agonies of slavery, integrating them with images of the African past. As he had no way of escaping the miseries of the work of planting, work softening "Hentoff, Nat and MC.CARTHY, Albert J. (1968). [9]  NEWTON, Francis (1960). [10]  The use of drums was forbidden for slaves in most states, as it was feared they could be used to create a communication system between them and organize a rebellion. [11]  pianistic style emerged in Saint Louis in 1870, close to jazz by its dynamic nature, which is characterized by the superposition of a regular rhythm played with the left hand and a syncopated rhythm right. One of its main exponents was the pianist Scott Joplin (1867-1917). [12]  The so-called "blue notes" are alterations to the traditional harmony of the major scale are decreasing semitone made ​​the third and seventh notes. Thus a particular sound that is characteristic of blues and was adopted by the jazz is obtained. The "blue notes" then become a larger scale in the so-called blues scale. [13] "The Cotton Club" was one of the most famous nightclubs in New York where they played the most famous jazz musicians of the era from the likes of Duke . Ellington [14]  "After the rise of Hitler, always growing and productive German musical culture was completely paralyzed: everything even had a touch of" modern "or innovative was manifestly contrary to the new prevailing ideology, and should be eradicated. So atonal music was forbidden, stigmatized as a manifest symbol of disorder, and anything else that does not conform to the rigid canons of classical and romantic [...] Several factors and elements that made ​​the jazz did not remain a safe from dictators. First, the very spirit of the style, which favored the development of the individual possibilities of the musicians involved in its execution (improvisation) and, above all, the air of rebellion and freedom that had characterized the jazz since its genesis. " BRONFMAN, Dr. Miguel (2001). [15]  Charlie Parker (1920-1955) considered one of the best saxophonists in history was instrumental in the evolution of jazz to bebop and took the banner of this style after the death of Charlie Christian in 1942 from tuberculosis. [16]  Hentoff, Nat and MC.CARTHY, Albert J. (1968). [17]  "Cool" literally "Cool" in English, did not have the same meaning in the world of jazz, which meant fine, worked. [18]  LUNN, Eugene (1986) ..[19]  Hobsbawm, Eric (1999). [20]  Op cit. [21]  Adorno, Theodor W. (1941). [22]  Adorno, Theodor W. and Horkheimer, Max (1969). [23]  Op cit. [24]  Hobsbawm, Eric (1999). [25]  "A jazz performer must touch a piece of serious music, the simplest minuet of Beethoven, the syncopation and only accessed unintentionally touching the preliminary notes with a smile superiority. This 'nature', complicated by instances always present and developed to excess the specific medium, constitutes the new style, that is, a system of non-culture, to which he could recognize a certain stylistic unity, if granted that makes sense to speak of stylized barbarity. " Horkheimer, Max and Adorno, Theodor W. (1987). [26]  Hobsbawm, Eric (1999). [27] Horkheimer, Max and Adorno, Theodor W. (1987). [28]  Hobsbawm, Eric (1999). [29]  Horkheimer, Max and Adorno, Theodor W. . (1987) [30]  . Hobsbawm, Eric (1999) [31]  The jazzmen musical learned to live in two worlds: the one in Which Their earned the living, and the one after hours in Which They played to please Themselves - the world of the 'jam session'. "NEWTON, Francis (1960). [32]  Horkheimer, Max and Adorno, Theodor W. (1987). [33]  Horkheimer, Max and Adorno, Theodor W. (1987). [34]  Witkin, Robert W. (2000). [35]  LUNN, Eugene (1986). [36]  Horkheimer, Max and Adorno, Theodor W. (1987).[37]  Adorno, Theodor W. and Horkheimer, Max (1969). [38]  Adorno, Theodor W. and Horkheimer, Max (1969). [39]  Orval Eugene Faubus (1910-1994), governor of the U.S. state of Arkansas, sent troops from the National Guard to prohibit the entry of nine African American students to high school in Little Rock. In 1954 the U.S. Supreme Court had declared segregation in public schools was unconstitutional. [40]  ATZMON, Gilad (15/11/2004) [41]  Hobsbawm, Eric (1999). [42]  "you see we need music, we've always needed a music - our own. We have nothing else. Our writers write like the whites, our painters paint like them, think like them our philosophers. Only our musicians do not play like the whites. So we created a music for ourselves. " NEWTON, Francis (1960). [43]  Horkheimer, Max and Adorno, Theodor W. (1987). [44]  Adorno, Theodor W. (1985) ..[45]  "The syncopation in jazz purposeless and arbitrarily revoked, is a reflection and a reinforcement of false freedoms of powerless individuals in advanced capitalist society (...) What seems to be a liberating control archaic is indeed its subordination to the modern business logic. " LUNN, Eugene (1986). [46]  Adorno, Theodor W. and Horkheimer, Max (1969)[47]  Horkheimer, Max and Adorno, Theodor W. (1987). [48]  Witkin, Robert W. (March 2000). [49]  Diederichsen, Diedrich (21/09/2003 [50]  Paul Whiteman (1891-1967) violinist and conductor. then lead a military band during the first fundial war, founded one of the orchestras . most popular of the 20 Whiteman "King of Jazz" called himself, though his peers did not recognize as such: the orchestra played at dances a sweet and soft music played score was opposed to "hot jazz".. [51] Baxandall, Lee and MORAWSKI, Stefan (1976). [52]  Diederichsen, Diedrich (21/09/2003) [53]  "The culture industry provide returns to everyday life as paradise. escape and elopement are designed a priori to bring back to the starting point. Distraction promotes resignation want to forget in the first. "Horkheimer, Max and Adorno, Theodor W. (1987).