Filosofia della musica moderna

adorno has his head up his ass a little i think but this thing still has some value to the small subsection of the world that is interested in both post-hegelian metaphysics and avant-garde western classical. he says a dumb thing somewhere in there to the effect of "music has always been a bourgeois Leggi tutto

Bracing. This work is at once approachable and hermetic. Familiarity with Schoenberg and Stravinsky seems to be the only real price of admission, yet behind the matter at hand is Adorno's broader philosophical battle ground: Hegel and the legacy of German Idealism (through to Marx and the critique of Leggi tutto

Adorno feels that music is characterized primarily by its dialectical nature -- its pull between reflecting its entire culture and its purely individual composer, between its mathematical objectivity and its phenomenological subjectivity, between its attempt at total aesthetic freedom and its relati Leggi tutto

Gibt irgendwie alles schon Sinn was der dude da erzählt und ist irgendwo interessant aber leider alles invalide weil musikmäßig so bar for bar schönberg von Strawinsky so intergalaktisch gecookt wird dass es nicht mehr normal ist

Ah. Adorno. Sometimes the sweep of thought leave me baffled. But most of the time the prose leaves me bewildered. His system of values is so despicable, but then again, many of his analyses are so spot on. And no-one can bash people like Adorno: "Universal necrophilia is the last perversity of style Leggi tutto

Very few people are able to write intelligently about music. No one does it better than Adorno. Most people like the chapter about Schönberg and dislike the one on Stravinsky. For me, its opposite.

This book is "also" about music. Coyness aside, it stands with DoE and In Search of Wagner as a fulsome social critique and ideological demystification.