Philosophy of Modern MusicA landmark work from the founder of the Frankfurt School. A key work in the study of Adorno, of interest to students and general readers alike. |
Contents
Choice of Subject Matter 3 New Conformism 5 False | 24 |
Disturbance of the Work 29 Inherent Tendency of Musical | 37 |
Total Organization of the Elements of Music 51 Total Develop | 67 |
TwelveTone Melos and Rhythm 71 Differentiation and Coars | 95 |
The Composers 104 AvantGarde and Theory 112 Renuncia | 129 |
STRAVINSKY AND RESTORATION | 135 |
Hand Organ as a Primeval Phenomenon 143 Sacre and African | 157 |
Alienation as Objectivity 171 Fetishism of the Means | 178 |
Dissociation of Time 187 MusicA Pseudomorphism of Paint | 191 |
Theory of Ballet Music 193 Modes of Listening 197 | 212 |
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Common terms and phrases
absolute according achieved actually Adorno aesthetic alien Arnold Schönberg artistic aspect authenticity becomes Beethoven Berg Berg's bourgeois character chord composer concept consciousness consequence construction contradiction contrapuntal contrast counterpoint critical culture defined demands dialectical Die glückliche Hand dissonance domination dynamics element emancipated Erwartung essence everything example expression Expressionism Expressionistic force formal free atonality function gesture H. T. Lowe-Porter harmonic Hegel hermetic historical idea illusion impulse individual L'Histoire du Soldat language logic longer matter means melodic modern music movement nature negation objective opus organization perception Petrouchka phase Piano polyphonic possible precisely present principle procedure production progress Quartet regression relationship renunciation result reveals rhythmic Sacre Schoen Schoenberg shock simply social society sonata sound Stravinsky Stravinsky's music structure style technical tendency thematic theme thereby tion tonal traditional music Trans transformed truth twelve-tone music twelve-tone technique valid voices Wagner Walter Benjamin Webern Wozzeck