MUSIC, PHILOSOPHY, AND MODERNITY

adorno 345 material, many of Adorno’s insights in the work on musical reproduc- tion and elsewhere into how the subjective is fo ...

346 music, philosophy, and modernity term here is the ‘state of the material’ in music. This refers to the formal and technical ...

adorno 347 which concern an era, is also a confrontation with society. Liberally interpreted, this can be a valid way of seeing ...

348 music, philosophy, and modernity there is technical command of an aspect of art, it loses something by that very fact. Here ...

adorno 349 rock music industry can involve what Adorno is talking about. However, more general fears about the socialconsequence ...

350 music, philosophy, and modernity In a further example of how music and philosophy become interchange- able in Adorno, the la ...

adorno 351 them directly in music. What, though, makes this claim more than a version of the objection to using art as a form of ...

352 music, philosophy, and modernity aspects have in common are – albeit very different – kinds of relation- ship between indivi ...

adorno 353 his judgement lies in the fact that the hopes of the revolutionary era in which Beethoven lived, which gain unparalle ...

354 music, philosophy, and modernity Behind this criticism lies the problematic history of art, aesthetics and philosophy in mod ...

adorno 355 they both have a ‘temporal core’ indicates. There are times in music when use of a previously innovative technique ce ...

356 music, philosophy, and modernity as an expression of freedom involves constraints which are the basis of right and wrong in ...

adorno 357 This role for music can be explored via the idea of ‘judgementless synthesis’, which will also enable us to look furt ...

358 music, philosophy, and modernity could not say of any of them what it judges, none of them is a so-called proposition (‘Auss ...

adorno 359 world-disclosive aspect of language is at least as important as what can be grasped in terms of the difference betwee ...

360 music, philosophy, and modernity way round? For Adorno to be able to advance his claims, he must pre- suppose the existence ...

adorno 361 notation in its history, a language sedimented from gestures’ ( 18 : 154 ). Gestures are inherently contextual and ca ...

362 music, philosophy, and modernity relationship between convention and expression that was epitomised by Beethoven’s use of to ...

adorno 363 the life of the details, but rather so that the life of the sonata becomes one with that of the details. That is a sq ...

364 music, philosophy, and modernity like Sibelius. However, his search for ways of interrogating structures of intelligibility ...