Philosophy of New Music

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Características del artículo

Estado
Aceptable: Libro con un desgaste evidente. La tapa puede tener algunos desperfectos, pero el libro ...
Release Year
2006
ISBN
9780816636662

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Product Identifiers

Publisher
University of Minnesota Press
ISBN-10
0816636664
ISBN-13
9780816636662
eBay Product ID (ePID)
51565650

Product Key Features

Book Title
Philosophy of New Music
Number of Pages
248 Pages
Language
English
Topic
Philosophy & Social Aspects, Genres & Styles / Classical, Aesthetics
Publication Year
2006
Genre
Music, Philosophy
Author
Theodor W. Adorno
Format
Hardcover

Dimensions

Item Height
0.9 in
Item Weight
18.4 Oz
Item Length
9.3 in
Item Width
6.2 in

Additional Product Features

Intended Audience
Trade
LCCN
2006-002544
Reviews
"A manifesto on how criticism could actively participate in and clarify artistic concerns, immanently complicating solidarity between theory and practice."-- Platypus Review "A surprisingly accessible entry point into understanding Adorno the aesthete. Through a well-crafted and detailed introduction, Hullot-Kentor allows us to glimpse Adorno at the time of this writing--both enamored of and bothered by the works of Schoenberg, repulsed by American culture, not yet hardened into the diamond point of negative dialectics."-- PopMatters "With Hullot-Kentor's masterful translation, readers can now more accurately debate the place of Philosophy of New Music within today's cultural situation."-- Cultural Critique
Synopsis
A publishing event--a revealing new translation of Theodor Adorno's manifesto of musical radicalism In 1947 Theodor W. Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music . Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even Schoenberg reviled it. Despite the controversy, Philosophy of New Music became highly regarded and widely read among musicians, scholars, and social philosophers. Marking a major turning point in his musicological philosophy, Adorno located a critique of musical reproduction as internal to composition itself, rather than as a matter of the reproduction of musical performance. Consisting of two distinct essays, "Schoenberg and Progress" and "Stravinsky and Reaction," this work poses the musical extremes in which Adorno perceived the struggle for the cultural future of Europe: between human emancipation and barbarism, between the compositional techniques and achievements of Schoenberg and Stravinsky. In this completely new translation--presented along with an extensive introduction by distinguished translator Robert Hullot-Kentor-- Philosophy of New Music emerges as an indispensable key to the whole of Adorno's illustrious and influential oeuvre., An indispensable key to Adorno's influential oeuvre--now in paperback In 1949, Theodor W. Adorno's Philosophy of New Music was published, coinciding with the prominent philosopher's return to a devastated Europe after his exile in the United States. Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even Arnold Schoenberg reviled it. Despite the controversy, Philosophy of New Music became highly regarded and widely read among musicians, scholars, and social philosophers. Marking a major turning point in his musicological philosophy, Adorno located a critique of musical reproduction as internal to composition, rather than a matter of musical performance. Consisting of two distinct essays, "Schoenberg and Progress" and "Stravinsky and Reaction," Philosophy of New Music poses the musical extremes in which Adorno perceived the struggle for the cultural future of Europe: between human emancipation and barbarism, between the compositional techniques and achievements of Schoenberg and Stravinsky. In this translation, which is accompanied by an extensive introduction by distinguished translator Robert Hullot-Kentor, Philosophy of New Music emerges as an essential guide to the whole of Adorno's oeuvre., In 1947 Theodor Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music . Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even Schoenberg reviled it. Despite the controversy, Philosophy of New Music became highly regarded and widely read among musicians, scholars, and social philosophers., In 1947 Theodor Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music. Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even Schoenberg reviled it. Despite the controversy, Philosophy of New Music became highly regarded and widely read among musicians, scholars, and social philosophers. Marking a major turning point in his musicological philosophy, Adorno located a critique of musical reproduction as internal to composition itself, rather than as a matter of the reproduction of musical performance. Consisting of two distinct essays, "Schoenberg and Progress" and "Stravinsky and Reaction," this work poses the musical extremes in which Adorno perceived the struggle for the cultural future of Europe: between human emancipation and barbarism, between the compositional techniques and achievements of Schoenberg and Stravinsky. In this completely new translation--presented along with an extensive introduction by distinguished translator Robert Hullot-Kentor--Philosophy of New Music emerges as an indispensable key to the whole of Adorno's illustrious and influential oeuvre. Theodor W. Adorno (1903-1969) was the leading figure of the Frankfurt school of critical theory. He authored more than twenty volumes, including Negative Dialectics (1982), Philosophy of Modern Music (1980), Kierkegaard (Minnesota, 1989), Dialectic of Enlightenment (1975) with Max Horkheimer, and Aesthetic Theory (Minnesota, 1997). Robert Hullot-Kentor has taught at Harvard and Stanford universities andwritten widely on Adorno. He has translated various works of Adorno, including Aesthetic Theory., A publishing event--a revealing new translation of Theodor Adorno's manifesto of musical radicalism? In 1947 Theodor W. Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music . Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even Schoenberg reviled it. Despite the controversy, Philosophy of New Music became highly regarded and widely read among musicians, scholars, and social philosophers. Marking a major turning point in his musicological philosophy, Adorno located a critique of musical reproduction as internal to composition itself, rather than as a matter of the reproduction of musical performance. Consisting of two distinct essays, "Schoenberg and Progress" and "Stravinsky and Reaction," this work poses the musical extremes in which Adorno perceived the struggle for the cultural future of Europe: between human emancipation and barbarism, between the compositional techniques and achievements of Schoenberg and Stravinsky. In this completely new translation--presented along with an extensive introduction by distinguished translator Robert Hullot-Kentor-- Philosophy of New Music emerges as an indispensable key to the whole of Adorno's illustrious and influential oeuvre.
LC Classification Number
ML197.A313 2006

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