MUSIC, PHILOSOPHY, AND MODERNITY

adorno 325 practice of music. Now compare this situation with Wellmer’s criticism of the Habermas–Apel idea of truth as a regula ...

326 music, philosophy, and modernity concerning the score. The position advanced by Wellmer makes Apel’s and Habermas’ idea of t ...

adorno 327 principle unrealisable’ – in relation to different cultural domains. The belief that the history of philosophy can be ...

328 music, philosophy, and modernity (ibid.: 182 ).^14 The notation that is ‘revoked’ is at the same time that without which the ...

adorno 329 But in order to carry out this conversion one must first understand the meaning of the phrase’ (Adorno 2001 : 159 ). ...

330 music, philosophy, and modernity and reveal differences from those contexts. An actor performing their part in a play requir ...

adorno 331 in relation to the idea of truth in art, be construed in analytical terms as ‘rightness’, rather than as truth. Indee ...

332 music, philosophy, and modernity situations, even if it also necessarily involves a moment that transcends the subjective as ...

adorno 333 not simply the realisation of the analytical result’, because it must con- tain the spontaneous ‘idiomatic element’ ( ...

334 music, philosophy, and modernity such background understanding of tone and its relationship to feeling, mood etc. In Adorno ...

adorno 335 true, without presupposing the answer to what truth is? Does the cor- respondence theory of truth correspond to the f ...

336 music, philosophy, and modernity and that leads to the constitutive contradiction which informs the major developments in We ...

adorno 337 construed in objective terms and what cannot whose results make music significant in relation to philosophy. All this ...

338 music, philosophy, and modernity idea of similarity can, of course, easily be mere subjective projection, a kind of pathetic ...

adorno 339 in particular, as ‘judgementless synthesis’. Music is constituted by con- nections of signifying elements, which, unl ...

340 music, philosophy, and modernity Adorno wishes, by extending the scope of the notion of truth, to sustain the idea that musi ...

adorno 341 largely taken place within the realm of ‘so-called new music’ itself, so that ‘certain late forms of new music (Weill ...

342 music, philosophy, and modernity is a version of his ideas about the mimetic: ‘All forms of music...are sedimented contents. ...

adorno 343 difficulties involved in its production are confronted, rather than being circumvented. Adorno thinks that only ‘adva ...

344 music, philosophy, and modernity those problems and the responses to them express extra-musical issues? Is Adorno’s attempt ...