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"A book of landmark importance. It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music. No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one. For in miniature, it contains everything one needs: a collection of exceptionally important writings on all the principal aspects of music and musical life with which Adorno dealt; totally reliable scholarship; and powerfully illuminating commentary that will help readers at all levels read and re-read the essays in question."-Rose Rosengard Subotnik, author of Deconstructive Variations: Music and Reason in Western Society
Product Description
Theodor W. Adorno (1903-1969), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and - more than any other subject - music. To this day, Adorno remains one of the most influential contributors to the development of qualitative musical sociology which, together with his nuanced intertextual readings of musical works, gives him broad claim as a continuing force in the study of music. This collection of 27 of his essays represents the full range of his music writing. Nearly half of the essays appear in English for the first time, all of the essays are fully annotated, and the previously translated essays have been corrected and missing text restored.
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As with a number of other philosopher-aestheticians, Adorno addressed questions about music's fundamental nature, which for him, as for others, invited consideration of musical meaning; the question of meaning in turn invited speculation about music's relation to language, the subject of the essay "MUSIC LANGUAGE, AND COMPOSITION" (1956; this voulume, pp. 113-26). Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
As with a number of other philosopher-aestheticians, Adorno addressed questions about music's fundamental nature, which for him, as for others, invited consideration of musical meaning; the question of meaning in turn invited speculation about music's relation to language, the subject of the essay "MUSIC LANGUAGE, AND COMPOSITION" (1956; this voulume, pp. 113-26). Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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