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LEADER 03990cam a2200373 a 4500

001 ocm27187222;

003 OCoLC;

005 20141212103311.0;

008 921215s1993 nyua b 001 0 eng ;

010 a| 92046202;

015 a| GB93-62346;

019 a| 29595066;

020 a| 0521433215 (hardback);

035 a| (Sirsi) o27187222;

035 a| (OCoLC)27187222;

049 a| EREM;

050 00 a| ML423.A33b| P2 1993;

082 00 a| 781.1/7/0922| 20;

100 1 a| Paddison, Max.=| ^A325914;

245 10 a| Adorno's aesthetics of music /c| Max Paddison.;

260 a| New York :b| Cambridge University Press,c| 1993.;

300 a| xii, 378 pages :b| illustrations ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 330-364) and index.;

520 a| This is an introduction to the aesthetics and sociology of music of the German philosopher and music theorist T.W. Adorno. Its main aim is to offer a conceptual context within which to situate Adorno's writings on music. Starting with a thematic survey of the early writings from the 1920s the music of Bartok, Hindemith, Stravinsky and the Second Viennese School is discussed in relation to the philosophical influences which Adorno had absorbed at this time. Adorno's idiosyncratic reception of Marx and Freud is examined in the context of his aesthetic theory. The central part of the book discusses Adorno's approach to analysis (through a consideration of his theory of form and a critique of his analysis of the Berg Sonata op. 1), his approach to a sociology of music (through a study of the relation between autonomous musical works and their social function as commodity) and his philosophy of history (through an examination of his philosophical interpretation of the music of the eighteenth nineteenth and early twentieth centuries). The study closes with a critical assessment of Adorno's concept of musical material in the context of his best-known book Philosophy of New Music.;

600 10 a| Adorno, Theodor W.,d| 1903-1969.=| ^A30472;

650 0 a| Musicx| Philosophy and aesthetics.=| ^A18895;

596 a| 3;

998 a| 497909;

999 a| ML423.A33 P2 1993w| LCc| 1i| 30372008136506d| 9/1/2020e| 3/4/2020f| 6/24/2016g| 3l| MSTm| JMUSICn| 6r| Ys| Yt| MGESBKu| 4/11/1994x| BOOKz| MCIRCo| .STAFF. enhanced, moved from closed to main stacks 10/15/24 -jjab;

Adorno's aesthetics of music / Max Paddison.

Author/creator	Paddison, Max
Format	Book
Publication Info	New York : Cambridge University Press, 1993.
Description	xii, 378 pages : illustrations ; 24 cm
Subjects	Adorno, Theodor W., 1903-1969. Music--Philosophy and aesthetics.

Contents	Adorno in context -- Reading Adorno -- Considerations on method -- Constellations: towards a critical method -- The writings on music: a thematic outline -- History, nature, second nature: the debates with Lukacs and Benjamin -- The problem of form: Bartok, Hindemith, Stravinsky and the Second Viennese School -- Towards a critical method: levels of interpretation -- The development of a theory of musical material -- Theories of artistic material: precursors and contemporaries -- The Adorno-Krenek debate -- On the social situation of music -- The problem of mediation -- Hegel: mediation and the dialectic -- Adorno's Marxian model: the social mediation of music -- Freud: art and sublimation -- Max Weber adapted: rationality and mimesis -- A material theory of form -- The immanent dialectic of musical material -- Immanent analysis: Berg, Sonata op. 1 -- Adorno's interpretation of Berg: critique and commentary -- Proposals for a material theory of musical form -- Social content and social function -- The social dialectic of musical material -- Musical production -- Musical reproduction (I): performance -- Musical reproduction (II): distribution -- Musical consumption -- The historical dialectic of musical material -- Adorno's philosophy of music history -- Bach and the style galant -- Beethoven and Berlioz -- Wagner and Brahms -- Debussy and Mahler -- The disintegration of musical material -- Issues in the philosophy of New Music -- The decline of the modern.
Abstract	This is an introduction to the aesthetics and sociology of music of the German philosopher and music theorist T.W. Adorno. Its main aim is to offer a conceptual context within which to situate Adorno's writings on music. Starting with a thematic survey of the early writings from the 1920s the music of Bartok, Hindemith, Stravinsky and the Second Viennese School is discussed in relation to the philosophical influences which Adorno had absorbed at this time. Adorno's idiosyncratic reception of Marx and Freud is examined in the context of his aesthetic theory. The central part of the book discusses Adorno's approach to analysis (through a consideration of his theory of form and a critique of his analysis of the Berg Sonata op. 1), his approach to a sociology of music (through a study of the relation between autonomous musical works and their social function as commodity) and his philosophy of history (through an examination of his philosophical interpretation of the music of the eighteenth nineteenth and early twentieth centuries). The study closes with a critical assessment of Adorno's concept of musical material in the context of his best-known book Philosophy of New Music.
Bibliography note	Includes bibliographical references (pages 330-364) and index.
LCCN	92046202
ISBN	0521433215 (hardback)

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Music	Music Stacks	ML423.A33 P2 1993	✔ Available	Place Hold

Adorno's aesthetics of music / Max Paddison.

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