

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.... Read More
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 the single most influential contributor 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 long-awaited collection of twenty-seven essays represents the full range of Adorno's 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, making this volume the definitive resource on Adorno's musical thought.
Details
- Price: $41.95
- Pages: 760
- Carton Quantity: 10
- Publisher: University of California Press
- Imprint: University of California Press
- Publication Date: 8th August 2002
- Trim Size: 6 x 9 in
- Illustration Note: 1 music example
- ISBN: 9780520231597
- Format: Paperback
- BISACs:
PHILOSOPHY / Political
MUSIC / Ethnomusicology
Reviews
- New York Review of Books"To understand the significance of music for the musicians who created it and the society in which it was produced is therefore a challenge to music-lovers. Perhaps no writer on music devoted more energy to this task than Theodor Wiesengrund Adorno, and the translations into English of his writings on philosophy and music and their diffusion have been multiplying in recent years while, at the same time, his ideas have become widely influential in the US and Europe."
- The Wire“Adorno is a great stylist.”
Author Bio
Table of Contents
Preface and Acknowledgments
Translator's Note
Abbreviations
Introduction (by Richard Leppert)
1. LOCATING MUSIC: SOCIETY, MODERNITY, AND THE NEW
Commentary (by Richard Leppert)
Music, Language, and Composition (1956)
Why Is the New Art So Hard to Understand? (1931)
On the Contemporary Relationship of Philosophy and Music (1953)
On the Problem of Musical Analysis
The Aging of the New Music (1955)
The Dialectical Composer (1934)
2. CULTURE, TECHNOLOGY, AND LISTENING
Commentary (by Richard Leppert)
The Radio Symphony (1941)
The Curves of the Neddle (1927/1965)
The Form of the Phonograph Record
Opera and the Long-Playing Record (1969)
On the Fetish-Character in Music and the Regression of Listening (1938)
Little Heresy (1965)
3. MUSIC AND MASS CULTURE
Commentary (by Richard Leppert)
What National Socialism Has Done to the Arts (1945)
On the Social Situation of Music (1932)
On Popular Music [With the assistance of George Simpson] (1941)
On Jazz (1936)
Farewell to Jazz (1933)
Kitsch (c. 1932)
Music in the Background (c. 1934)
4. COMPOSITION, COMPOSERS, AND WORKS
Commentary (by Richard Leppert)
Late Style in Beethoven (1937)
Alienated Masterpiece: The Missa Solemnis (1959)
Wagner's Relevance for Today (1963)
Mahler Today (1930)
Marginalia on Mahler (1936)
The Opera Wozzeck (1929)
Toward an Understanding of Schoenberg (1955/1967)
Difficulties (1964, 1966)
Bibliography
Source and Copyright Acknowledgments
Index
Translator's Note
Abbreviations
Introduction (by Richard Leppert)
1. LOCATING MUSIC: SOCIETY, MODERNITY, AND THE NEW
Commentary (by Richard Leppert)
Music, Language, and Composition (1956)
Why Is the New Art So Hard to Understand? (1931)
On the Contemporary Relationship of Philosophy and Music (1953)
On the Problem of Musical Analysis
The Aging of the New Music (1955)
The Dialectical Composer (1934)
2. CULTURE, TECHNOLOGY, AND LISTENING
Commentary (by Richard Leppert)
The Radio Symphony (1941)
The Curves of the Neddle (1927/1965)
The Form of the Phonograph Record
Opera and the Long-Playing Record (1969)
On the Fetish-Character in Music and the Regression of Listening (1938)
Little Heresy (1965)
3. MUSIC AND MASS CULTURE
Commentary (by Richard Leppert)
What National Socialism Has Done to the Arts (1945)
On the Social Situation of Music (1932)
On Popular Music [With the assistance of George Simpson] (1941)
On Jazz (1936)
Farewell to Jazz (1933)
Kitsch (c. 1932)
Music in the Background (c. 1934)
4. COMPOSITION, COMPOSERS, AND WORKS
Commentary (by Richard Leppert)
Late Style in Beethoven (1937)
Alienated Masterpiece: The Missa Solemnis (1959)
Wagner's Relevance for Today (1963)
Mahler Today (1930)
Marginalia on Mahler (1936)
The Opera Wozzeck (1929)
Toward an Understanding of Schoenberg (1955/1967)
Difficulties (1964, 1966)
Bibliography
Source and Copyright Acknowledgments
Index
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 the single most influential contributor 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 long-awaited collection of twenty-seven essays represents the full range of Adorno's 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, making this volume the definitive resource on Adorno's musical thought.
- Price: $41.95
- Pages: 760
- Carton Quantity: 10
- Publisher: University of California Press
- Imprint: University of California Press
- Publication Date: 8th August 2002
- Trim Size: 6 x 9 in
- Illustrations Note: 1 music example
- ISBN: 9780520231597
- Format: Paperback
- BISACs:
PHILOSOPHY / Political
MUSIC / Ethnomusicology
– New York Review of Books"To understand the significance of music for the musicians who created it and the society in which it was produced is therefore a challenge to music-lovers. Perhaps no writer on music devoted more energy to this task than Theodor Wiesengrund Adorno, and the translations into English of his writings on philosophy and music and their diffusion have been multiplying in recent years while, at the same time, his ideas have become widely influential in the US and Europe."
– The Wire“Adorno is a great stylist.”
Preface and Acknowledgments
Translator's Note
Abbreviations
Introduction (by Richard Leppert)
1. LOCATING MUSIC: SOCIETY, MODERNITY, AND THE NEW
Commentary (by Richard Leppert)
Music, Language, and Composition (1956)
Why Is the New Art So Hard to Understand? (1931)
On the Contemporary Relationship of Philosophy and Music (1953)
On the Problem of Musical Analysis
The Aging of the New Music (1955)
The Dialectical Composer (1934)
2. CULTURE, TECHNOLOGY, AND LISTENING
Commentary (by Richard Leppert)
The Radio Symphony (1941)
The Curves of the Neddle (1927/1965)
The Form of the Phonograph Record
Opera and the Long-Playing Record (1969)
On the Fetish-Character in Music and the Regression of Listening (1938)
Little Heresy (1965)
3. MUSIC AND MASS CULTURE
Commentary (by Richard Leppert)
What National Socialism Has Done to the Arts (1945)
On the Social Situation of Music (1932)
On Popular Music [With the assistance of George Simpson] (1941)
On Jazz (1936)
Farewell to Jazz (1933)
Kitsch (c. 1932)
Music in the Background (c. 1934)
4. COMPOSITION, COMPOSERS, AND WORKS
Commentary (by Richard Leppert)
Late Style in Beethoven (1937)
Alienated Masterpiece: The Missa Solemnis (1959)
Wagner's Relevance for Today (1963)
Mahler Today (1930)
Marginalia on Mahler (1936)
The Opera Wozzeck (1929)
Toward an Understanding of Schoenberg (1955/1967)
Difficulties (1964, 1966)
Bibliography
Source and Copyright Acknowledgments
Index
Translator's Note
Abbreviations
Introduction (by Richard Leppert)
1. LOCATING MUSIC: SOCIETY, MODERNITY, AND THE NEW
Commentary (by Richard Leppert)
Music, Language, and Composition (1956)
Why Is the New Art So Hard to Understand? (1931)
On the Contemporary Relationship of Philosophy and Music (1953)
On the Problem of Musical Analysis
The Aging of the New Music (1955)
The Dialectical Composer (1934)
2. CULTURE, TECHNOLOGY, AND LISTENING
Commentary (by Richard Leppert)
The Radio Symphony (1941)
The Curves of the Neddle (1927/1965)
The Form of the Phonograph Record
Opera and the Long-Playing Record (1969)
On the Fetish-Character in Music and the Regression of Listening (1938)
Little Heresy (1965)
3. MUSIC AND MASS CULTURE
Commentary (by Richard Leppert)
What National Socialism Has Done to the Arts (1945)
On the Social Situation of Music (1932)
On Popular Music [With the assistance of George Simpson] (1941)
On Jazz (1936)
Farewell to Jazz (1933)
Kitsch (c. 1932)
Music in the Background (c. 1934)
4. COMPOSITION, COMPOSERS, AND WORKS
Commentary (by Richard Leppert)
Late Style in Beethoven (1937)
Alienated Masterpiece: The Missa Solemnis (1959)
Wagner's Relevance for Today (1963)
Mahler Today (1930)
Marginalia on Mahler (1936)
The Opera Wozzeck (1929)
Toward an Understanding of Schoenberg (1955/1967)
Difficulties (1964, 1966)
Bibliography
Source and Copyright Acknowledgments
Index