Introduction: Theodor Adorno and Popular Music
Born in Frankfurt, 1903, Theodor Adorno is possibly the most important philosopher of music and a towering figure in the discussion of modernism in music or as we call it, popular music. He learnt music from an early age and, alongside philosophy, maintained his studies in composition and piano throughout his years at the University of Frankfurt.
Popular Culture as Enslavement
For Adorno, popular culture is not just bad art – it enslaves us to repetition and leaves no space for any creative freedom. Given the political backdrop of the time, Adorno perceives popular music’s role in shaping culture as a means of escape. His target was mainstream hit songs, the swing jazz of the big bands, light classical music, and film music.
Two Spheres of Music: Popular vs. Serious
In his essay On Popular Music, he introduces the article by identifying “two spheres of music”, that being popular music and serious music. He says that one of the fundamental characteristics of the structure in popular music is standardization.
Beethoven as the Opposite of Standardization
He explains how popular music is a standardised text that is fed to the masses, whereas serious music is unstandardized and is enjoyed and understood by those who are musically educated—for example, the music of Beethoven.
Adorno uses Beethoven as an example of serious music being the polar opposite of popular music. He explains that Beethoven’s music is understood as a “whole”. Each musical element is treated as ‘cogs in a machine’, all working together in order to create something that is musically great.
The third movement of the symphony is inextricably linked to the fourth movement and works as an introduction to the finale; every single detail in the piece works to service the entire whole. This process is not found in popular music as it has not gone through the same intricate musical process.
Standardization and Its Limits
Once standardised, this also means that popular songs are unable to experiment with their sound and create something innovative. In order for a song or musician to become popular they must stick to the rules of ‘popular music’.
It is important to note that serious music does not automatically mean Western Art music, but “good” serious music is music that does not suffer from standardisation (Gendron, 1986). However, in recent years, popular music has been defined through its ability to reach a large audience and not in spite of it (Middleton, 1990: 5).
Pseudo-Individualisation: The Illusion of Originality
In popular music the effects of pseudo-individualisation mean that the same ideas end up being consumed again and again. They may appear unique but only on the surface.
Middleton lists five features noted by Adorno in all popular music samples: blue notes, dirty timbres, syncopations, improvised breaks, and harmonic embellishments (Middleton 1990 : 50). Richard Leppert adds the ‘hook’ (2002 : 339), i.e. ‘a musical or lyrical phrase that stands out and is easily remembered’ (Burns 1987 : 1).
Riffs are another candidate; and Adorno mentions ‘haphazard dissonances’ used as mere splotches of colour (1976 : 25). In the end, for Adorno, many properties can pseudo-individualise if they add distinctiveness to a song that nevertheless has a standard form.
Listening as Passive Consumption
One of the effects that listening to popular music does is that our listening degenerates to the level of immediate somatic reaction―a primitive, childlike, thoughtless level (Adorno 2002 : 291).
Pseudo-individualisation, for its part, keeps them in line by making them forget that what they listen to is already listened to for them, or “pre-digested” (Adorno and Leppert, 2002, p.445). It shows that listeners to these songs keep listening because they like and are attracted to the content because the structure is always the same. Sometimes, these listeners don’t even realise that the structure is the same because the songs in this genre are too standardised.
Clash of Economics and Art
Adorno also states that popular songs are models of heteronomy: one, it acts on the rising consumerist and capitalist culture of the time and second, these songs’ internal structure exhibits heteronomy, for their forms dominate their parts. Far from offering a glimpse of autonomy in a heteronomous world, then, popular songs participate in and confirm the existent heteronomy. There is a clash of economic and artistic goals.
Conclusion and Relevance in the 21st Century
Popular music has adapted and changed over the years, most in a positive way, but the corporatisation of the industry is still problematic. Pop stars like Sabrina and groups like NewJeans curate songs that are crafted for social media virality-short, sharp, and tailored for TikTok snippets-which makes them perfect examples of pseudo-individualisation. Each songtrack feels fresh but ultimately follows a familiar formula of pop stardom and relatability. While the sound may vary, the industry machinery behind it ensures mass appeal, predictability, and repeatable formulas for success. So perhaps Adorno’s views on the political nature of the production of popular music are more necessary and relevant in today’s time.
