Philosophy of New Music

ISBN-10: 0816636664
ISBN-13: 9780816636662
Edition: 2006
List price: $34.95 Buy it from $26.72
30 day, 100% satisfaction guarantee

If an item you ordered from TextbookRush does not meet your expectations due to an error on our part, simply fill out a return request and then return it by mail within 30 days of ordering it for a full refund of item cost.

Learn more about our returns policy

Description: In 1947 Theodor Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music. Intensely polemical from its first publication,  More...

New Starting from $26.72
what's this?
Rush Rewards U
Members Receive:
coins
coins
You have reached 400 XP and carrot coins. That is the daily max!

Study Briefs

Limited time offer: Get the first one free! (?)

All the information you need in one place! Each Study Brief is a summary of one specific subject; facts, figures, and explanations to help you learn faster.

Add to cart
Study Briefs
History of Western Art Online content $4.95 $1.99
Add to cart
Study Briefs
Italian Grammar Online content $4.95 $1.99
Add to cart
Study Briefs
Portuguese Grammar Online content $4.95 $1.99
Add to cart
Study Briefs
History of World Philosophies Online content $4.95 $1.99

Customers also bought

Loading
Loading
Loading
Loading
Loading
Loading
Loading
Loading
Loading
Loading

Book details

List price: $34.95
Copyright year: 2006
Publisher: University of Minnesota Press
Publication date: 5/27/2006
Binding: Hardcover
Pages: 248
Size: 6.00" wide x 9.00" long x 0.75" tall
Weight: 0.990
Language: English

In 1947 Theodor Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music. Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even Schoenberg reviled it. Despite the controversy, Philosophy of New Music became highly regarded and widely read among musicians, scholars, and social philosophers. Marking a major turning point in his musicological philosophy, Adorno located a critique of musical reproduction as internal to composition itself, rather than as a matter of the reproduction of musical performance. Consisting of two distinct essays, "Schoenberg and Progress" and "Stravinsky and Reaction," this work poses the musical extremes in which Adorno perceived the struggle for the cultural future of Europe: between human emancipation and barbarism, between the compositional techniques and achievements of Schoenberg and Stravinsky. In this completely new translation--presented along with an extensive introduction by distinguished translator Robert Hullot-Kentor--Philosophy of New Music emerges as an indispensable key to the whole of Adorno's illustrious and influential oeuvre. Theodor W. Adorno (1903-1969) was the leading figure of the Frankfurt school of critical theory. He authored more than twenty volumes, including Negative Dialectics (1982), Philosophy of Modern Music (1980), Kierkegaard (Minnesota, 1989), Dialectic of Enlightenment (1975) with Max Horkheimer, and Aesthetic Theory (Minnesota, 1997). Robert Hullot-Kentor has taught at Harvard and Stanford universities andwritten widely on Adorno. He has translated various works of Adorno, including Aesthetic Theory.

Theodor W. Adorno is the progenitor of critical theory, a central figure in aesthetics, and the century's foremost philosopher of music. He was born and educated in Frankfurt, Germany. After completing his Ph.D. in philosophy, he went to Vienna, where he studied composition with Alban Berg. He soon was bitterly disappointed with his own lack of talent and turned to musicology. In 1928 Adorno returned to Frankfurt to join the Institute for Social Research, commonly known as The Frankfurt School. At first a privately endowed center for Marxist studies, the school was merged with Frankfort's university under Adorno's directorship in the 1950s. As a refugee from Nazi Germany during World War II, Adorno lived for several years in Los Angeles before returning to Frankfurt. Much of his most significant work was produced at that time. Critics find Adorno's aesthetics to be rich in insight, even when they disagree with its broad conclusions. Although Adorno was hostile to jazz and popular music, he advanced the cause of contemporary music by writing seminal studies of many key composers. To the distress of some of his admirers, he remained pessimistic about the prospects for art in mass society. Adorno was a neo-Marxist who believed that the only hope for democracy was to be found in an interpretation of Marxism opposed to both positivism and dogmatic materialism. His opposition to positivisim and advocacy of a method of dialectics grounded in critical rationalism propelled him into intellectual conflict with Georg Hegel, Martin Heidegger, and Heideggerian hermeneutics.

Robert Hullot-Kentor has taught philosophy, literature, and the arts at Harvard, Boston University, Stanford, and Long Island University. He has translated several of Adorno's major works, including Aesthetic Theory, and has recently published Current of Music, a reconstruction of Adorno's unfinished study of radio broadcast music.

Translator's Acknowledgments
Translator's Introduction: Things beyond Resemblance
"I still hear" and the Question of Music Appreciation
Imperious Taste/Inflicted Souvenir
The Universal Musical Prodigy
Sounding Allegiance and Musical Quality
Unpublishable Manifesto
Marginal Translation
Lawfulness and Regression
Tendency of the New
Blares Silently
Note on the Translation
Preface
Introduction
New Conformism
False Musical Consciousness
"Intellectualism"
Radical Music Not Immune
Antinomy of New Music
Loss of Differentiation
On Method
Schoenberg and Progress
Jolting of the "Work"
Tendency of the Material
Schoenberg's Criticism of Semblance and Play
Dialectic of Loneliness
Loneliness as Style
Expressionism as Objectivity [Sachlichkeit]
Total Organization of the Elements
Total Development
The Idea of Twelve-Tone Technique
Musical Domination of Nature
Reversal into Unfreedom
Twelve-Tone Melos and Rhythm
Differentiation and Coarsening
Harmony
Instrumental Timbre
Twelve-Tone Counterpoint
Function of Counterpoint
Form
The Composers
Avant-Garde and Doctrine
Break from the Material
Music as Knowledge
Stance toward Society
Stravinsky and the Restoration
Authenticity
Intentionlessness and Sacrifice
The Hand Organ as Primordial Phenomenon
The Rite of Spring and African Sculpture
Technical Elements in The Rite of Spring
Rhythm
Identification with the Collective
Archaism, Modernism, Infantilism
Permanent Regression and Musical Form
The Psychotic Aspect
Ritual
Alienation as Objectivity
Fetishism of Means
Depersonalization
Hebephrenia
Catatonia
Music about Music
Denaturation and Simplification
Dissociation of Time
Pseudomorphism of Painting
Theory of Ballet Music
Typology of Listening
The Deception of Objectivism
The Final Trick
Neoclassicism
Attempts at Expansion
Schoenberg and Stravinsky
List of Compositions
Arnold Schoenberg
Alban Berg
Anton von Webern
Igor Stravinsky
Author's Note to the Fifth Edition (1969)
"Misunderstandings": Adorno's Response to the Commentary on Philosophy of New Music (1950)
Publication History
Notes
Index

×
Free shipping on orders over $35*

*A minimum purchase of $35 is required. Shipping is provided via FedEx SmartPost® and FedEx Express Saver®. Average delivery time is 1 – 5 business days, but is not guaranteed in that timeframe. Also allow 1 - 2 days for processing. Free shipping is eligible only in the continental United States and excludes Hawaii, Alaska and Puerto Rico. FedEx service marks used by permission."Marketplace" orders are not eligible for free or discounted shipping.

Learn more about the TextbookRush Marketplace.

×