Music as Philosophy: Adorno and Beethoven's Late StyleIndiana University Press, 31 ago 2021 - 392 páginas Beethoven's late style is the language of his ninth symphony, the Missa Solemnis, the last piano sonatas and string quartets, the Diabelli Variations, the Bagatelles, as well as five piano sonatas, five string quartets, and several smaller piano works. Historically, these works are seen as forging a bridge between the Classical and Romantic traditions: in terms of their musical structure, they continue to be regarded as revolutionary. Spitzer's book examines these late works in light of the musical and philosophical writings of the German intellectual Theodor Adorno, and in so doing, attempts to reconcile the conflicting approaches of musical semiotics and critical theory. He draws from various approaches to musical, linguistic, and aesthetic meaning, relating Adorno to such writers as Derrida, Benjamin, and Habermas, as well as contemporary music theorists. Through analyses of Beethoven's use of specific musical techniques (including neo-Baroque fugues and counterpoint), Spitzer suggests that the composer's last works offer a philosophical and musical critique of the Enlightenment, and in doing so created the musical language of premodernism. |
Índice
1 Away with All Rules? | 1 |
2 Styles | 16 |
3 Adornos Beethoven | 44 |
4 Late Landscapes | 71 |
5 Invisible Cities | 113 |
6 Ways of World Making | 148 |
7 Kunstvereinigung | 198 |
8 Caesura of the Classical Style | 226 |
Conclusion | 281 |
Appendix | 285 |
Notes | 337 |
347 | |
359 | |
367 | |
About the Author | 373 |
9 The Persistence of Critical Theory | 262 |
Otras ediciones - Ver todo
Music as Philosophy: Adorno and Beethoven's Late Style Michael Spitzer Vista previa restringida - 2021 |
Music as Philosophy: Adorno and Beethoven's Late Style Michael Spitzer Vista previa restringida - 2006 |