MUSIC, PHILOSOPHY, AND MODERNITY

wittgenstein and heidegger 305 is again an objectification which moves away from ‘these words in these positions’, so it must be ...

306 music, philosophy, and modernity If one looks, for example, at Besseler’s accounts of the history of Western music, which ar ...

wittgenstein and heidegger 307 be filled by and to be “attuned” [he uses ‘einstimmen’, which means to ‘join in’] by a work’ (ibi ...

308 music, philosophy, and modernity of that music between new possibilities for subjective expression, and the ways in which th ...

9 Adorno: musical philosophy or philosophical music? Dialectics of music Adorno probably wrote more involving the relationship b ...

310 music, philosophy, and modernity DoEfamously tells the story of how ‘humankind, instead of entering into a truly human condi ...

adorno 311 Reproduction, Adorno reflects, for example, on Wagner’s thoughts about how to perform Beethoven’s Ninth that we looke ...

312 music, philosophy, and modernity as ‘artificial intelligence’. Descartes, of course, plays a role in bringing music into the ...

adorno 313 entailed by any systemandwhat the system enables, which is precisely what is exemplified by Weber’s account of the fr ...

314 music, philosophy, and modernity is manifested in a historically specific musical phenomenon which has to be experienced in ...

adorno 315 The notion of alienation recurs in Adorno’s work, and it often has problematic consequences. He opposes any conceptio ...

316 music, philosophy, and modernity history – including the history of music – has to be seen in the light of this fundamental ...

adorno 317 The recurring, eternally identical processes of nature are hammered into the subordinates as the rhythm of work, acco ...

318 music, philosophy, and modernity industry. It carries out schematism as the first service to the customer’ ( 3 : 145 ). Two ...

adorno 319 is no subject–object separation, even if recalling this state may become impossible once it is lost. Adorno analogise ...

320 music, philosophy, and modernity already objectifies the past, it cannot reach what it seeks: all ‘making of music is a Rech ...

adorno 321 involved here go to the heart of Adorno’s thinking, which is often most successful when it ‘listens’ to what music ca ...

322 music, philosophy, and modernity much as it was with strictly epistemological concerns. The problem with the philosophical v ...

adorno 323 Adorno does at times fall prey to the divisions between talking about objects and talking about moral issues which Pu ...

324 music, philosophy, and modernity other rationalised aspects of modernity, and the very loose framework in some free jazz or ...