Download PDF by Theodor W. Adorno: Towards a Theory of Musical Reproduction: Notes, a Draft and

By Theodor W. Adorno

ISBN-10: 0745694527

ISBN-13: 9780745694528

At the start of his profession within the Nineteen Twenties, Adorno sketched a plan to write down an immense paintings at the thought of musical copy, a job he back to repeatedly all through his profession yet by no means accomplished. the alternative of the be aware copy instead of interpretation exhibits a first-rate supposition: that there's a basically outlined musical textual content whose precision exceeds what's noticeable at the web page, and that the performer has the accountability to breed it as appropriately as attainable, past easily taking part in what's written. This job, in keeping with Adorno, calls for an in depth knowing of all musical parameters of their historic context, and his reflections upon this job result in a basic research of the character of notation and musical sense.

In a number of the notes and texts introduced jointly in Towards a thought of Musical Reproduction, one unearths Adorno regularly circling round an irresolvable paradox: interpretation can in basic terms fail the paintings, but simply via it will possibly music’s precise essence be captured. whereas he every now and then turns out extra certain in his pronouncement of a musical score’s absolute price simply as a booklet is learn silently, no longer aloud his discourse again and again screens his lack of ability to hold to that trust. it's this caliber of uncertainty in his reflections that actually shows the scope of the discourse and its carrying on with relevance to musical proposal and perform today.

Towards a concept of Musical Reproduction addresses the dialectical relation among the musical ranking (inscription) and its learned sound (performance), the 2 parts assembly in an act of interpretation, on the way to produce what Adorno numerous occasions calls the x-ray snapshot of the paintings, the subcutaneous intensity that lies past floor manifestation. Adorno’s drawback is how tune potential, greater the way it is made significant. The ebook is a fraction, a suite of intensive notes; what survives—more than 2 hundred print pages—is still very massive. Adorno’s reviews and commentaries, perpetually aphoristic, are packed with perception and, into the discount, are richly provocative and regularly provoking.” —Richard Leppert, collage of Minnesota

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Extra resources for Towards a Theory of Musical Reproduction: Notes, a Draft and Two Schemata

Sample text

The audience by the later period had been placed behind a “fourth wall” and was expected to more passively observe and eavesdrop on the scene in front of them (literally), and, once again, to be placed in the position of individual readers rather than a collective and responsive audience. As Margreta de Grazia reminds us, after the Restoration, when the stage was raised above the standing audience’s eye-line, audiences were kept at a distance on the assumption that “To be life-like, the illusion of Hamlet thinking requires privacy and silence, but the presence of an audience precludes both” (de Grazia, 2007 185).

In 1517, he began his “disputation” with the Roman Catholic Church with a letter known as the Ninety-Five Theses, and on refusing to repudiate his criticisms of the papacy and church practices, he was excommunicated. With the equally modern invention of the printing press on hand, translations of the Theses had, by 1519, spread throughout Europe, including France and England. The rest, as they say, is history, since Luther had ignited the Reformation through which Protestantism steadily spread over northern Europe.

The direct “address to the audience,” as by a chorus or in a prologue or epilogue, was so well known that by 1590 it “came to seem outmoded and amateurish” (Hirsh, 2012 18), but rather than being abandoned, it could be adapted. The other type, “speaking to himself,” was newer and may even have been more or less invented by Marlowe and Kyd. 23]), it does not seem impossible that a character may in one speech speak to the audience and speak to himself, while being overheard by the audience but not by other characters.

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Towards a Theory of Musical Reproduction: Notes, a Draft and Two Schemata by Theodor W. Adorno


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