Towards a Theory of Musical Reproduction Notes, a Draft and Two Schemata

, by Adorno, Theodor W.; Lonitz, Henri; Honban, Weiland

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ISBN: 9780745631981 | 0745631983
Cover: Hardcover
Copyright: 12/6/2006

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This book collects together Adornos manifold implications for musical interpretation. His reflections lead to a fundamental study of the nature of notation and musical sense. However, it is the quality of uncertainty in his reflections that indicates the scope of the discourse and its continuing relevance to musical thought today.

Editor's Foreword

Translator's Introduction

xvi

Notes I Overview

(227)

X-ray image

(1)

Substitutability of the different dimensions of music-making I

(1)

Fidelity to the letter

(1)

Mimetic element in reproduction

(1)

Analysis as a precondition for reproduction

(1)

The ideal of silent music-making

(1)

What is a musical text?

(1)

Musical notation and writing

(1)

Two fundamentally incorrect notions of the nature of musical interpretation

(1)

Musical sense I

(1)

Toscanini's style of presentation

(1)

Non-intentionality of the musical text

(1)

Reading music as a conceptual extreme

(1)

Critique of the culinary

(1)

Change in the musical work and reproduction

(1)

Works unfold within time

(1)

Insufficiency of older records

(1)

Writing and instrument

(1)

Parting of the sensual and intellectual aspects of music

(1)

The musician as `player'

(1)

Rubato

(1)

Historico-philosophical interpretation of the dominance of interpretation over the matter itself

(1)

Objectivity of reproduction

(1)

Ad Dorian

(17)

Wagner's `Uber das Dirigieren'

(6)

Historical character of interpretation

(10)

Critique of musical historicism

(1)

Wagner's `Uber den Vortrag der IX. Symphonie Beethoven's'

(9)

Representation of the dialectical image of the composition

(1)

The works' process of becoming uninterpretable I

(1)

On the critique of historicism

(1)

Dialectic of retouching I

(1)

Reproduction is a form

(1)

Concerning the older material

(1)

Mechanization

(1)

On the origin of musical notation

(2)

Playing from memory

(1)

Against relativism of interpretation

(1)

Rigour and freedom

(1)

Idiom

(1)

Why is the change undergone by the works objective?

(1)

Ad ancient musical notation: Riemann

(6)

Mimic nature of music

(1)

Intentionality in music and language

(1)

Notation as sign and image

(1)

Theory of musical listening

(1)

Polyvalence of the texts

(1)

Objectivity through an increase in subjectivity

(1)

Character and totality

(1)

Playing dissonances

(1)

Desiderata

(1)

On the terminology

(1)

On the dialectic between the idiomatic, neumic and mensural elements of interpretation

(1)

Against the fetishism of the musical text

(1)

On determining what is `musical'

(1)

The idiomatic element is not equally strong with all composers and schools

(1)

The idiomatic and language

(1)

True reproduction and analysis I

(1)

Theory of sight-reading I

(1)

`Tempo giusto'

(1)

Interpretation as a dialectical process

(1)

Rules

(1)

On the theory of phrasing I

(1)

Definition of the musical

(1)

On musical stupidity

(1)

Thematic music-making I

(1)

Critique of the `dead interval'

(1)

Tradition and notation

(1)

Insufficiency of musical notation

(1)

On the theory of phrasing II

(1)

The functions of the elements of presentation

(1)

Musical elements and sign system

(1)

The subcutaneous

(1)

Basic rule: realize intention

(1)

On the presentation of new music

(1)

On the opening of the Fifth Symphony by Beethoven

(1)

On the B flat major Trio by Beethoven

(1)

Correct characters and correct tempi; latent beat

(1)

Correct delivery of a theme

(1)

Espressivo

(1)

Expression and tempo

(1)

Presentation and substance

(1)

Retrieval through interpretation and critique

(1)

Anger as an element of interpretation

(1)

`Beautiful passages'

(1)

Interpretation as the renewal of the composition's force field

(1)

True reproduction and analysis II

(1)

Theory of sight-reading II

(1)

Dynamic extremes

(1)

Dialectic of retouching II

(1)

On the theory of phrasing III

(2)

`Tradition is sloppiness'

(1)

On the concept of clarity I

(1)

The works' process of becoming uninterpretable II

(1)

On the theory of improvisation

(1)

Bach interpretation

(1)

On the distinction of the concept of musical insight

(1)

The voice as carrier of expression and as instrument

(1)

Against caution

(1)

Playing realistically as a criterion

(1)

Treatment of tempo

(1)

Form as sedimented content

(1)

Interpretation as disassembly and reassembly

(1)

Layers of incorrect interpretation

(1)

[Notes taken after the Darmstadt Lecture] The idea of revealing the subcutaneous

(1)

Critique of the sonic facade

(1)

Correct interpretation as an idea

(1)

Musical sense II

(1)

Music as a force field

(1)

The author is not the final authority

(1)

On the concept of the mensural element

(1)

On the concept of the neumic

(3)

Objectivism as the dying-out of the idiomatic element

Analysis and representation

(1)

Negative representation

(1)

Imagination as the analytical-reconstructive element

(1)

Against the separation of emotion and intellect

(1)

Task of analysis

(1)

Dying-out of interpretation and the idea of true interpretation

(1)

Making music against tonal hierarchies

(1)

Interpretation and alienation

(1)

Tempered intonation and mode of playing

(1)

On the problem of the culinary; neutralization

(1)

On the concept of clarity II

100

(1)

Thematic music-making II

101

(1)

Against the false separation and contamination of musical elements

101

(1)

Basic rule for tempo

102

(1)

Discussion of Kolisch's `Tempo and Character in Beethoven's Music'

102

(1)

Tempo problem as an expression of the compositional antagonism between the parts and the whole

103

(1)

Tempo treatment as a function of musical content

103

(2)

On dynamics

105

(1)

Dynamics and distinction between principal voice, secondary voice and completely receding voice

106

(1)

Dynamics and musical sense

107

(1)

Music is not a standard condition

108

(1)

Thematic music-making III

108

(1)

On the theory of phrasing IV

109

(2)

On the study's strategy

111

(1)

Freedom and technical disposal

111

(1)

Representation of harmonic relationships through the form

112

(2)

Higher questions of interpretation

114

(1)

On the theory of the conductor I

114

(1)

On the theory of musical stupidity as a critical theory of interpretation

115

(1)

On the theory of the conductor II

116

(1)

Construction and clarity

116

(1)

Reproduction and control over nature

116

(1)

Relationship between tempo and composition

117

(1)

On the relationship between the objectivity of the matter and subjective imagination

118

(1)

Critique of `higher questions of interpretation'

119

(1)

On the theory of the conductor III

119

(1)

Significance

119

(1)

Running thread

120

(1)

Secret of true interpretation

120

(1)

Critique of historicism

121

(1)

`Music-making' and ego weakness

121

(1)

Socio-economic conditions of interpretation

121

(1)

Against intuitionism and positivism

122

(1)

On the difference between the respective presentation of traditional and new music; rules of thumb

122

(1)

Quick melodies

123

(1)

Notation and subjective intention

123

(1)

Postulate of clarity

124

(1)

For equal temperament

124

(1)

Presentation of dense polyphony

124

(1)

Sound space

125

(1)

Main rule for the presentation of polyphony

126

(1)

Critique of false connections on the sound-surface

126

(1)

Critique of dropping

126

(1)

Solution of the problems of interpretation through models

127

(1)

Elements of interpretation within the compositions

127

(1)

Higher problems of presentation

128

(1)

Taking up impulses I

129

(1)

Interpreting means: composing the composition in the way that it wishes to be composed itself

129

(1)

Layers of musical interpretation

130

(1)

Interpretation participates in the dialectic of labour division

130

(1)

Against recognizing a difference between traditional and new music

131

(1)

Bar line and stress; differentiation; jazz

132

(1)

Control over nature and virtuosity

132

(1)

Composer's intention not canonical

133

(1)

On the historical nature of interpretation

133

(1)

On the question of interpretation already composed in the music

133

(1)

On the problem of characters

134

(1)

Relationship between primary and secondary matters

134

(1)

On the problem of mechanical reproduction I

134

(1)

Inner and outer tension

135

(1)

Musical texture and subdivisions

135

(1)

Critique of the heteronomy of interpretation

135

(1)

Importance of Hugo Riemann's writings

136

(1)

Form and agogics

137

(1)

Taking up impulses II

137

(1)

Substitutability of the different dimensions of music-making II

137

(1)

Functional interpretation

138

(1)

Taking up impulses III

138

(2)

In a certain sense interpretation reverses notation

140

(1)

Against a particular kind of `shaping'

140

(1)

Notation as the image of a tradition

141

(1)

On the problem of mechanical reproduction II

141

(2)

Part and whole

143

(1)

The zone of polyvalence of interpretation

144

(1)

Illusion of perfection

144

(1)

Form and character

145

(1)

Against didactic interpretation

145

(1)

Realization of ambiguous events

145

(1)

Rule: go towards extremes

146

(1)

On the interpretation of difficult modern texts

146

(1)

`Playing out'

147

(1)

On the relationship between `parameters'

147

(1)

How does one play contrapuntal voices in homophonic music?

148

(1)

On the dialectic of representability

148

(1)

Perfection and failure

149

(1)

On the heteronomy of interpretation

149

(1)

Observation regarding Craft's Webern records

149

(1)

Euphony is a function of the representation of the sense

149

(1)

Fundamental rule for the presentation of new music: the thread of the broken melody

150

(1)

No approximate values

150

(1)

Requirement of absolute clarity

150

(1)

Primacy of the imagination

151

(1)

Observations on recordings of the prelude from Die Gezeichneten

151

(1)

Clarity, playing out themes

152

(1)

True interpretation and experimentation

152

(1)

Difference between imagination and realization as a source of error

153

(1)

On the theory of the conductor IV

153

(1)

Models for specific problems of interpretation

154

(1)

Twofold movement of interpretation: taking apart and putting back together

154

(1)

Ritardando

155

(1)

Highlight critical notes

155

(1)

Intonation has a formally constitutive function

155

(1)

Clarify entries in imitative passages

155

(1)

Relativity of modifications

155

(1)

Meaning of the rhythmic skeleton

155

(1)

Sonority is formally constitutive

156

(1)

Notes II Overview

Reveal the construction

157

(1)

Danger of the virtuoso: perfect control

158

(1)

Tempo giusto

158

(1)

The pre-artistic aspect of the virtuoso

158

(1)

Musicality as speaking the language of music

158

(1)

Mime and music

158

(1)

`X-ray image'

159

(1)

`Language' of music and notation

160

(1)

Wealth of subcutanea

160

(1)

Structure and appearance

160

(1)

`X-ray photograph'

161

(1)

Expression and writing

161

(1)

Musical listening and reading with an exact idea of the text

162

(1)

Draft

163

(53)

Structural keywords for chapters 2, 4 and 5 of the draft

214

(2)

Material for the Reproduction Theory

216

(10)

Two Schemata

226

(2)

Appendix: Keywords for the 1954 Darmstadt Seminar

228

(7)

Notes

235

(37)

Bibliography

272

(2)

Index of Names

274

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Towards a Theory of Musical Reproduction Notes, a Draft and Two Schemata

Summary

Author Biography

Table of Contents

Supplemental Materials