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In this classic work, Adorno revolutionized music theory through an analysis of two composers he saw as polar opposites, Arnold Schoenberg and Igor Stravinsky. Philosophy of Modern Music presents a profound study of key musical works of the twentieth century.

In this classic work, Adorno revolutionized music theory through an analysis of two composers he saw as polar opposites, Arnold Schoenberg and Igor Stravinsky. But it is more than this because, as always with Adorno, a wide range of social and cultural questions are brought to bear on the analysis.

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The book is divided into nine ed sections, each with its . Leggi recensione completa. Audio culture: readings in modern music. Christoph Cox is Associate Professor of Philosophy at Hampshire College, in Massachusetts

The book is divided into nine ed sections, each with its own introduction. Section headings include topics such as "Modes of Listening," "Minimalisms," and "DJ Culture. In addition, each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts. Christoph Cox is Associate Professor of Philosophy at Hampshire College, in Massachusetts. He writes regularly on contemporary art and music for Artforum, The Wire, Cabinet, and other magazines.

Philosophy of modern music. Philosophy of modern music. by Theodor W. Adorno. 1 2 3 4 5. Want to Read. Are you sure you want to remove Philosophy of modern music from your list? Philosophy of modern music.

To read the "Philosophy of Modern Music" is to understand Adorno's departures for his thought is the most exposed. Written in short cursive, aphorisitic-like paragraphs, almost approaching a sketch of a thought is to reveal a complexity, but one which engages his subject. The two polar opposites here are composers, Arnold Schoenberg(representing the progressive elements in music), and Igor Stravinsky(representing the backward-looking retrogressive elements).

music, philosophy and related disciplines. Theodore Gracyk is Department Chair and Professor of Philosophy at Minnesota State University Moorhead, USA. The Routledge Companion to Philosophy and Music is essential reading for anyone interested in philosophy, music and musicology. He is author of Rhythm and Noise: An Aesthetics of Rock (1996); I Wanna Be Me: Rock Music and the Politics of Identity (2001); Listening to Popular Music (2007); and On Music (Routledge, 2013). Andrew Kania is Associate Professor of Philosophy at Trinity University in San Antonio, USA.

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Comments: (2)

Anarawield
Although out-of-print this is an event in the history of music comparable to primary musical works.It had to be Theodor Adorno a consummate intellect that created a new mode of contemplating contemporary art, music simply being the realm he knew more intimately,literature a close second. His prolific student from the late Fifties, Jurgen Habermas once said of Adorno, that he created theory spontaneously, simply within the course of a discussion, adept at synthesizing his thoughts as he spoke. But Adorno's importance for contemporary expression was assured,in that Adorno brought the complexity of philosophic,social and political thought to music. Something hardly done prior, and is only now within the past ten years beginning to be realized. See numerous studies on Adorno and his approach to speaking about music. To read the "Philosophy of Modern Music" is to understand Adorno's departures for his thought is the most exposed. Written in short cursive, aphorisitic-like paragraphs, almost approaching a sketch of a thought is to reveal a complexity, but one which engages his subject. The two polar opposites here are composers, Arnold Schoenberg(representing the progressive elements in music), and Igor Stravinsky(representing the backward-looking retrogressive elements). Adorno had considered the private artist working in seclusion as the highest form of rebellion, of subversion, for Adorno had contempt for the marketplace and how that magnetized and transformed art. Something of the market, in the late Forties was prevalent in jazz and film. Had Adorno lived into the age of computers and simulation,he would have seen to full extent how his thought has been realized in ever purified forms. Adorno thought Schoenberg's discovery of the 12-Tone dodecaphonic compositional method as a sign of progress. 12-Tone in a profound way was a synthesis, a conduit of the theoretical advancements of the history of music.It was both a beginning and an endpoint. But Schoenberg's method, althought quite new and unfinished allowed for all the parameters of music to be defined and developed, "Total Organization of the Elements of Music" is one paragraph here or section, "Differetiation and Coarseness" yet another referring to thinking about sound, as a sculptor would of his/her materials, shapting them, giving them form and direction. Stravinsky contrarywise indulged in looking backward, at the folksongs of his native Russia for music materials to be manipulated and the projection of sound without its deep attenuation. A view that is subjective now in retrospect,for Stravinsky was a grand orchestrator and a craftsman. But in Stravinsky, in particular his early period of the marvelously powerful ballet music, sound is pulverized,and is forced into suppressed forms,usually ashifting alternating suite of pieces,refocusing our short attention spans as required and, all in the projection of an image, a screeen for which the ballet takes place. But Adorno had takened issue with Stravinsky's subject matter as well as his technical means, a puppet in "Petrouska" one given over to a master without hope nor recourse.Likewise the "Rite of Spring" a virgin is simply sacrificed without recourse and we have the human image portraying the inevitability of natural forces, something Europe was about to experience first hand with the rise of fascism. These sections here are "Depersonalization" and "Fetishism of Means", explains Stravinsky's creativity stepping backwards within himself. In "Modes of Listening" Adorno refers to the "Shock" value that pummels the listener and the degradation of hearing into a music you merely submit to, whereas in Schoenberg there is more a sense of give and take,of the music allowing contemplative time. Again to my mind this is all relative, for these festures I find in both composers oeuvre. Still I find a conceptual power in Adorno,one that still nourishes today in the mileau of after-postmodernity.
GAMER
The newer translation by Robert Hullot-Kentor is more comprehensible (to a non-German speaker) than this version. This was the only widely-available translation until recently.
Philosophy of Modern Music (Stagbooks) download epub
ISBN: 0722066406
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Publisher: Sheed & Ward Ltd