Abstract

The chapters collected in Henry Burnett’s Nietzsche, Adorno e um pouquinho de Brasil (Nietzsche, Adorno and a Little Brazil) focus on investigating various cultural tendencies in Europe and Brazil in terms of popular music, or Volkslied. This is Burnett’s focus not only because he wants to analyze Nietzsche’s failed alliance with Wagnerian art regarding the “rebirth of tragedy”—the concern of the first part of the book—but also because he wishes to reflect on music’s role as a guiding thread in debates in early twentieth-century Western culture. In particular, in the second part of the book, Burnett considers the role of popular music as the modus operandi of cultural edification in Western capitalism. ..