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At the beginning of his career in the 1920s, Adorno sketched a plan
to write a major work on the theory of musical reproduction, a task
he returned to time and again throughout his career but never
completed. The choice of the word reproduction as opposed to
interpretation indicates a primary supposition: that there is a
clearly defined musical text whose precision exceeds what is
visible on the page, and that the performer has the responsibility
to reproduce it as accurately as possible, beyond simply playing
what is written. This task, according to Adorno, requires a
detailed understanding of all musical parameters in their
historical context, and his reflections upon this task lead to a
fundamental study of the nature of notation and musical sense.
In the various notes and texts brought together in Towards a
Theory of Musical Reproduction, one finds Adorno constantly
circling around an irresolvable paradox: interpretation can only
fail the work, yet only through it can musics true essence be
captured. While he at times seems more definite in his
pronouncement of a musical scores absolute value just as a book is
read silently, not aloud his discourse repeatedly displays his
inability to cling to that belief. It is this quality of
uncertainty in his reflections that truly indicates the scope of
the discourse and its continuing relevance to musical thought and
practice today.
to write a major work on the theory of musical reproduction, a task
he returned to time and again throughout his career but never
completed. The choice of the word reproduction as opposed to
interpretation indicates a primary supposition: that there is a
clearly defined musical text whose precision exceeds what is
visible on the page, and that the performer has the responsibility
to reproduce it as accurately as possible, beyond simply playing
what is written. This task, according to Adorno, requires a
detailed understanding of all musical parameters in their
historical context, and his reflections upon this task lead to a
fundamental study of the nature of notation and musical sense.
In the various notes and texts brought together in Towards a
Theory of Musical Reproduction, one finds Adorno constantly
circling around an irresolvable paradox: interpretation can only
fail the work, yet only through it can musics true essence be
captured. While he at times seems more definite in his
pronouncement of a musical scores absolute value just as a book is
read silently, not aloud his discourse repeatedly displays his
inability to cling to that belief. It is this quality of
uncertainty in his reflections that truly indicates the scope of
the discourse and its continuing relevance to musical thought and
practice today.
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Table des matières
Editor’s Foreword.Translator’s Introduction.
Notes I.
Ad Dorian.
On Richard Wagner’s ‘Uber das Dirigieren’.
Concerning the Older Material.
Ad Aancient Musical Notation.
Notes Taken After the Darmstadt Lecture.
Notes II.
Draft.
Structural Keywords for chapters 2, 4 and 5 of the Draft.
Material for the Reproduction Theory.
Two Schemata.
Keywords for the 1954 Darmstadt Seminar.
Notes.
Bibliography.
Index of Names.
A propos de l’auteur
Theodor W. Adorno is the author of Towards a Theory of Musical Reproduction: Notes, a Draft and Two Schemata, published by Wiley.Henri Lonitz is the editor of Towards a Theory of Musical Reproduction: Notes, a Draft and Two Schemata, published by Wiley.
Langue Anglais ● Format PDF ● Pages 304 ● ISBN 9780745692760 ● Taille du fichier 1.9 MB ● Éditeur Henri Lonitz ● Traducteur Weiland Honban ● Maison d’édition John Wiley & Sons ● Publié 2014 ● Édition 1 ● Téléchargeable 24 mois ● Devise EUR ● ID 4397856 ● Protection contre la copie Adobe DRM
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