ABSTRACT
Works such as Plus-Minus, Stop, Prozession and Spiral, to cite only some of the most sophisticated projects, have brought opportune perspectives to musical practice at a time when music is no longer regarded as a fine art in the sense previously understood by classical humanism. This chapter focuses on evidence of the aporias facing composers during the post-Webernian period, the consequences of which have meant, for the listener, a calling into question of the legitimacy of musical works and their conceptual world. Current philosophical thought has got no further in surmounting the confrontation being played out between Adorno's negative dialectics and analytic philosophy, an adversary otherwise as objectively redoubtable for Adorno as the Heideggerian ontology against which he exhausted himself, and which is for philosophy no more and no less a track equivalent to that exhibited by art through the multifarious facets of its retrospectivist attitudes.
