Philosophy Of Modern Music

Philosophy Of Modern Music

by Theodor W. Adorno
     
 

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ISBN-10: 0826499600

ISBN-13: 9780826499608

Pub. Date: 10/11/2007

Publisher: Bloomsbury

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. But it is more than this because, as always with Adorno, a wide range of social and cultural questions are

Overview

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. 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. In many ways, Philosophy of Modern Music is a product of Adorno's exile in the United States, where he wrote the book while National Socialism fell apart in his European homeland.

Product Details

ISBN-13:
9780826499608
Publisher:
Bloomsbury
Publication date:
10/11/2007
Pages:
210
Product dimensions:
0.44(w) x 5.06(h) x 7.81(d)

Table of Contents

Translators' Introductionvii
Prefacexv
Introduction3
Choice of Subject Matter3
New Conformism5
False Musical Consciousness7
Intellectualism11
Modern Music Unprotected16
The Antinomy of Modern Music18
Growing Indifferentism20
On Method24
Schoenberg and Progress29
Disturbance of the Work29
Inherent Tendency of Musical Material32
Schoenberg's Criticism of Illusion and Play37
Dialectics of Loneliness41
Loneliness as Style46
Expressionism as Objectivity48
Total Organization of the Elements of Music51
Total Development54
The Concept of Twelve-Tone Technique60
Musical Domination of Nature64
Loss of Freedom67
Twelve-Tone Melos and Rhythm71
Differentiation and Coarsening77
Harmony81
Instrumental Timbre87
Twelve-Tone Counterpoint90
Function of Counterpoint94
Form95
The Composers104
Avant-Garde and Theory112
Renunciation of Material117
Cognitive Character124
Attitude Towards Society129
Stravinsky and Restoration
Authenticity135
Sacrifice and the Absence of Intention138
Hand Organ as a Primeval Phenomenon143
Sacre and African Sculpture145
Technical Elements in Sacre148
"Rhythm"153
Identification with the Collective157
Archaism, Modernism, Infantilism160
Permanent Regression and Musical Form165
The Psychotic Aspect167
Ritual169
Alienation as Objectivity171
Fetishism of the Means172
Depersonalization174
Hebephrenia176
Catatonia178
Music about Music181
Denaturation and Simplification185
Dissociation of Time187
Music--A Pseudomorphism of Painting191
Theory of Ballet Music193
Modes of Listening197
The Deception of Objectivism201
The Final Trick203
Neo-Classicism206
Experiments in Expansion209
Schoenberg and Stravinsky212
Note219

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