Música envejecida y retorno a la libertad. Las críticas a la Escuela de Darmstadt de T. W. Adorno y su propuesta de una “musique informelle”

This paper intends to analyze Theodor W. Adorno’s critique of the compositions and compositional procedures of the Darmstadt School, considered as a development of certain dodecaphonic techniques, in order to deal with Adorno’s proposal of an informal music, on the one hand, as a counterpoint and a sublation in respect to these musical developments and, on the other hand, so as to link this proposal with the ideal of freedom he had seen in free atonality aswell as with the kind of work carried out, according to his view, in Schönberg’s and Beethoven’s late compositional style.