Mahler: A Musical PhysiognomyUniversity of Chicago Press, 11 feb 2013 - 188 páginas Theodor W. Adorno goes beyond conventional thematic analysis to gain a more complete understanding of Mahler's music through his character, his social and philosophical background, and his moment in musical history. Adorno examines the composer's works as a continuous and unified development that began with his childhood response to the marches and folk tunes of his native Bohemia. Since its appearance in 1960 in German, Mahler has established itself as a classic of musical interpretation. Now available in English, the work is presented here in a translation that captures the stylistic brilliance of the original. Theodor W. Adorno (1903-69), one of the foremost members of the Frankfurt school of critical theory, studied with Alban Berg in Vienna during the late twenties, and was later the director of the Institute of Social Research at the University of Frankfurt from 1956 until his death. His works include Aesthectic Theory, Introduction to the Sociology of Music, The Jargon of Authenticity, Prism, and Philosophy of Modern Music. |
Índice
2 Tone | 18 |
3 Characters | 40 |
4 Novel | 60 |
5 VariantForm | 82 |
6 Dimensions of Technique | 106 |
7 Decay and Affirmation | 122 |
8 The Long Gaze | 144 |
Notes | 168 |
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Términos y frases comunes
Abgesang Adagio aesthetic Alban Berg appears B-flat bass Bauer-Lechner becomes Beethoven beginning breakthrough Bruckner cellos character chorale chords coda color composer composition concept contrast counterpoint disintegration dissonant dynamic Eighth element epic Erde Erwin Ratz exposition expression fanfare Fifth Finale formal Fourth Symphony fulfillment Guido Adler Gustav Mahler harmony horn idea images immanent individual instrumentation intention Kindertotenlieder Ländler late Mahler later less Lied logic longer lyric Mahler's music Mahlerian main theme major material means measure mediated melody ment merely minor motive musical language nature Ninth Symphony novel objective orchestra passage phony piece polyphony principle program music recapitulation rhythm Scherzo Schoenberg second movement Second Symphony seeks sense Seventh Sixth solo sonata form song sound Strauss structure symphonic writing technical technique thematic theory of form tion tive tonal tone traditional trio trombone unity up-beat variant violins voice whole world's course Wozzeck Wunderhorn