83:T57e,At the beginning of his career in the 1920s, Adorno sketched a plan to write a major work on the theory of musical reproduction, a task he returned to time and again throughout his career but never completed. The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately as possible, beyond simply playing what is written. This task, according to Adorno, requires a detailed understanding of all musical parameters in their historical context, and his reflections upon this task lead to a fundamental study of the nature of notation and musical sense.

In the various notes and texts brought together in Towards a Theory of Musical Reproduction, one finds Adorno constantly circling around an irresolvable paradox: interpretation can only fail the work, yet only through it can musics true essence be captured. While he at times seems more definite in his pronouncement of a musical scores absolute value just as a book is read silently, not aloud his discourse repeatedly displays his inability to cling to that belief. It is this quality of uncertainty in his reflections that truly indicates the scope of the discourse and its continuing relevance to musical thought and practice today.

84:T636,In December 1945 Thomas Mann wrote a famous letter to Adorno in which he formulated the principle of montage adopted in his novel Doctor Faustus. The writer expressly invited the philosopher to consider, with me, how such a work and I mean Leverkhns work could more or less be practically realized. Their close collaboration on questions concerning the character of the fictional composers putatively late works (Adorno produced specific sketches which are included as an appendix to the present volume) effectively laid the basis for a further exchange of letters.

The ensuing correspondence between the two men documents a rare encounter of creative tension between literary tradition and aesthetic modernism which would be sustained right up until the novelists death in 1955. In the letters, Thomas Mann openly acknowledged his fascinated reading of Adornos Minima Moralia and commented in detail on the Essay on Wagner, which he was as eager to read as the one in the Book of Revelation consumes a book which tastes as sweet as honey. Adorno in turn offered detailed observations upon and frequently enthusiastic commendations of Manns later writings, such as The Holy Sinner, The Betrayed One and The Confessions of Felix Krull. Their correspondence also touches upon issues of great personal significance, notably the sensitive discussion of the problems of returning from exile to postwar Germany.

The letters are extensively annotated and offer the reader detailed notes concerning the writings, events and personalities referred or alluded to in the correspondence.

85:T5c1,

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.

86:T649,In December 1945 Thomas Mann wrote a famous letter to Adorno in which he formulated the principle of montage adopted in his novel Doctor Faustus. The writer expressly invited the philosopher to 'consider, with me, how such a work - and I mean Leverkuhn's work - could more or less be practically realized'. Their close collaboration on questions concerning the character of the fictional composer's putatively late works (Adorno produced specific sketches which are included as an appendix to the present volume) effectively laid the basis for a further exchange of letters.

The ensuing correspondence between the two men documents a rare encounter of creative tension between literary tradition and aesthetic modernism which would be sustained right up until the novelist's death in 1955. In the letters, Thomas Mann openly acknowledged his 'fascinated reading' of Adorno's Minima Moralia and commented in detail on the 'Essay on Wagner', which he was as eager to read as 'the one in the Book of Revelation consumes a book which tastes "as sweet as honey"'. Adorno in turn offered detailed observations upon and frequently enthusiastic commendations of Mann's later writings, such as The Holy Sinner, The Betrayed One and The Confessions of Felix Krull. Their correspondence also touches upon issues of great personal significance, notably the sensitive discussion of the problems of returning from exile to postwar Germany.

The letters are extensively annotated and offer the reader detailed notes concerning the writings, events and personalities referred or alluded to in the correspondence.87:T6cd,This volume makes available in English for the first time Adorno's lectures on metaphysics. It provides a unique introduction not only to metaphysics but also to Adorno's own intellectual standpoint, as developed in his major work Negative Dialectics.

Metaphysics for Adorno is defined by a central tension between concepts and immediate facts. Adorno traces this dualism back to Aristotle, whom he sees as the founder of metaphysics. In Aristotle it appears as an unresolved tension between form and matter. This basic split, in Adorno's interpretation, runs right through the history of metaphysics. Perhaps not surprisingly, Adorno finds this tension resolved in the Hegelian dialectic.

Underlying this dualism is a further dichotomy, which Adorno sees as essential to metaphysics: while it dissolves belief in transcendental worlds by thought, at the same time it seeks to rescue belief in a reality beyond the empirical, again by thought. It is to this profound ambiguity, for Adorno, that the metaphysical tradition owes its greatness.

The major part of these lectures, given by Adorno late in his life, is devoted to a critical exposition of Aristotle's thought, focusing on its central ambiguities. In the last lectures, Adorno's attention switches to the question of the relevance of metaphysics today, particularly after the Holocaust. He finds in 'metaphysical experiences', which transcend rational discourse without lapsing into irrationalism, a last precarious refuge of the humane truth to which his own thought always aspired.

This volume will be essential reading for anyone interested in Adorno's work and will be a valuable text for students and scholars of philosophy and social theory.

88:T448,This volume makes Adorno's lectures on the problems of moral philosophy available for the first time to English-speaking readers. It is one of several volumes of Adorno's unpublished writings which are currently being published in Germany, and which will be published in translation by Polity. The book is organized around an account of Kant's moral theory, and introduces most of the central topics of Adorno's far more difficult work Negative Dialectics. He examines concepts such as the primacy of practical reason, the relation between freedom and experience, and the desubstantialization of moral thought. These and other concepts are discussed in an accessible and entertaining style which is very different from the rest of Adorno's published work. Problems of Moral Philosophy will be an important resource for scholars drawing on Adorno's thought, and its nature as a lecture course makes it a very useful and accessible introduction for students to Adorno's ideas about moral philosophy. It will be of great interest to those working in philosophy and in social and political thought.89:T612,Although Theodor W. Adorno is best known for his association with the Frankfurt School of Critical Theory, he began his career as a composer and successful music critic. Night Music presents the first complete English translations of two collections of texts compiled by German philosopher and musicologist Adorno Moments musicaux, containing essays written between 1928 and 1962, and Theory of New Music, a group of texts written between 1929 and 1955. In Moments musicaux, Adorno echoes Schubert's eponymous cycle, with its emphasis on aphorism, and offers lyrical reflections on music of the past and his own time. The essays include extended aesthetic analyses that demonstrate Adorno's aim to apply high philosophical standards to the study of music. Theory of New Music, as its title indicates, presents Adorno's thoughts and theories on the composition, reception, and analysis of the music that was being written around him. His extensive philosophical writing ultimately prevented him from pursuing the compositional career he had once envisaged, but his view of the modern music of the time is not simply that of a theorist, but clearly also that of a composer. Though his advocacy of the Second Viennese School, comprising composer Arnold Schoenberg and his pupils, is well known, many of his writings in this field have remained obscure. Collected in their entirety for the first time in English, the insightful texts in Night Music show the breadth of Adorno's musical understanding and reveal an overlooked side to this significant thinker.8a:T527,"Dreams are as black as death."
—Theodor W. Adorno

Adorno was fascinated by his dreams and wrote them down throughout his life. He envisaged publishing a collection of them although in the event no more than a few appeared in his lifetime.

Dream Notes offers a selection of Adornos writings on dreams that span the last twenty-five years of his life. Readers of Adorno who are accustomed to high-powered reflections on philosophy, music and culture may well find them disconcerting: they provide an amazingly frank and uninhibited account of his inner desires, guilt feelings and anxieties. Brothel scenes, torture and executions figure prominently. They are presented straightforwardly, at face value. No attempt is made to interpret them, to relate them to the events of his life, to psychoanalyse them, or to establish any connections with the principal themes of his philosophy.

Are they fiction, autobiography or an attempt to capture a pre-rational, quasi-mythic state of consciousness? No clear answer can be given. Taken together they provide a highly consistent picture of a dimension of experience that is normally ignored, one that rounds out and deepens our knowledge of Adorno while retaining something of the enigmatic quality that energized his own thought.

8b:T458,"Det är en lysande, egensinnig, provokativ och förbluffande skrift, författad under 1900-talets allra mörkaste, mest förtvivlade skede." /Sven-Eric Liedman: I skuggan av framtiden "De för en filosof kanske intressantaste inläggen i diskussionen om rationalitetens roll i industrisamhället har gjorts av den s k Frankfurtskolan. ... En orsak till att frågan om rationaliteten tidigt blev föremål för kritisk betraktelse just inom denna skolbildning har att göra dels med den besvikelse, som utvecklingen i Sovjet snart blev för den revolutionära socialismens teoretiker, dels med det antirationella mottryck, som utgick från de reaktionära rörelserna i Europa och som Frankfurtskolan och dess enskilda medlemmar snart skulle få en handgriplig känning av. I de central-europeiska intellektuellas diaspora tillkom sedan Adornos och Horkheimers berömda Dialektik der Aufklärung eller Upplysningens dialektik. Den är den ursprungliga Frankfurtskolans viktigaste inlägg i debatten om det rationaliserade och teknifierade industrisamhället." /Georg Henrik von Wright, Vetenskapen och förnuftet8c:T577,Dialectic of Enlightenment is, quite justifiably, one of the most celebrated and often cited works of modern social philosophy. It has been identified as the keystone of the 'Frankfurt School', of which Theodor Adorno and Max Horkheimer were the leading members, and does not cease to impress in its wide-ranging ambition and panache. Adorno and Horkheimer addressees themselves to a question which went to the very heart of the modern age, namely 'why mankind, instead of entering into a truly human condition, is sinking into a new kind of barbarism'. Modernity, far from redeeming the promises and hopes of the Enlightenment, had resulted in a stultification of mankind and an administered society, characterised by simulation and candy-floss entertainment. To seek an answer to the question of how such a condition could arise, Adorno and Horkheier subjected the whole history of Western catagories of reason and nature, from Homer to Nietzsche, to a searching philosophical and psychological critique. Drawing on psychoanalytical insights, their own work on the 'culture industry', deep knowledge of the key Enlightenment and anti-Enlightenment thinkers, as well as fascinating considerations on the relationship between reason and myth - the rational and the irrational - the authors exposed the domination and violence towards both nature and humanity that underpin the Enlightenment project.3c:["$","$L7e",null,{"state":{"mutations":[],"queries":[{"dehydratedAt":1794626283654,"state":{"data":{"pages":[{"requestId":"e58c494f-322f-4836-bb4f-01924dcdc190","total":{"value":88,"relation":"eq"},"rows":[{"entityType":"book","isbn":"9780745631998","id":304822,"score":2,"position":48,"book":{"id":304822,"isbn":"9780745631998","created":"2021-06-17T17:08:48.000Z","title":"Towards a Theory of Musical Reproduction: Notes, a Draft and Two Schemata","description":"$83","htmlDescription":null,"pages":304,"language":"eng","depth":16,"height":151,"width":228,"weight":500,"edition":"1","publishDate":"2006-12-31","authorNames":"Theodor W. 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Written after his return to Germany in 1949, the articles, essays, and radio talks included in this volume speak to the pressing political, cultural, and philosophical concerns of the postwar era. The pieces in Critical Models reflect the intellectually provocative as well as the practical Adorno as he addresses such issues as the dangers of ideological conformity, the fragility of democracy, educational reform, the influence of television and radio, and the aftermath of fascism. This new edition includes an introduction by Lydia Goehr, a renowned scholar in philosophy, aesthetic theory, and musicology. Goehr illuminates Adorno's ideas as well as the intellectual, historical, and critical contexts that shaped his postwar thinking.","htmlDescription":null,"pages":472,"language":"eng","depth":31,"height":152,"width":229,"weight":751,"edition":null,"publishDate":"2005","authorNames":"Theodor W. Adorno, Henry W. 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Theodor W. Adorno placed music at the centre of his critique of modernity and broached some of the most important questions about the role of music in contemporary society. One of his central arguments was that music, through the manner of its composition, affected consciousness and was a means of social management and control. His work was primarily theoretical however, and because these issues were never explored empirically his work has become sidelined in current music sociology. This book argues that music sociology can be greatly enriched by a return to Adorno's concerns, in particular his focus on music as a dynamic medium of social life. Intended as a guide to 'how to do music sociology' this book deals with critical topics too often sidelined such as aesthetic ordering, cognition, the emotions and music as a management device and reworks Adorno's focus through a series of grounded examples.

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Theodor W. Adorno (1903-1969), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and - more than any other subject - music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual readings of musical works, gives him broad claim as a continuing force in the study of music. This long-awaited collection of twenty-seven essays represents the full range of Adorno's music writing. Nearly half of the essays appear in English for the first time; all of the essays are fully annotated; and, the previously translated essays have been corrected and missing text restored, making this volume the definitive resource on Adorno's musical thought.

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Theodor W. Adorno (1903-1969), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and - more than any other subject - music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual readings of musical works, gives him broad claim as a continuing force in the study of music. This long-awaited collection of twenty-seven essays represents the full range of Adorno's music writing. Nearly half of the essays appear in English for the first time; all of the essays are fully annotated; and the previously translated essays have been corrected and missing text restored, making this volume the definitive resource on Adorno's musical thought.

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The major work and Adorno's culminating achievement. Negative Dialectics is a critique of the philosophies of Kant, Hegel, and Heidegger, and a visionary elaboration of the author's own vision of dialectics.

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