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Fully revised and updated, this text adds coverage of mashups and auto-tune, explores recent developments in file sharing, and includes an expanded conclusion and bibliography.
Listening to instruments -- "The joy of precision" : mechanical instruments and the aesthetics of automation -- "The alchemy of tone" : Jörg Mager and electric music -- "Sonic handwriting" : media instruments and musical inscription -- "A new, perfect musical instrument" : the trautonium and electric music in the 1930s -- The expanding instrumentarium
The Melancholy Science is Gillian Rose’s investigation into Theodor Adorno’s work and legacy. Rose uncovers the unity discernable among the many fragments of Adorno’s oeuvre, and argues that his influence has been to turn Marxism into a search for style. The attempts of Adorno, Lukács and Benjamin to develop a Marxist theory of culture centred on the concept of reification are contrasted, and the ways in which the concept of reification has come to be misused are exposed. Adorno’s continuation for his own time of the Marxist critique of philosophy is traced through his writings on Hegel, Kierkegaard, Husserl and Heidegger. His opposition to the separation of philosophy and sociology is shown by examination of his critique of Durkheim and Weber, and of his contributions to the dispute over positivism, his critique of empirical social research and his own empirical sociology. Gillian Rose shows Adorno’s most important contribution to be his founding of a Marxist aesthetic that offers a sociology of culture, as demonstrated in his essays on Kafka, Mann, Beckett, Brecht and Schönberg. Finally, Adorno’s ‘Melancholy Science’ is revealed to offer a ‘sociology of illusion’ that rivals both structural Marxism and phenomenological sociology as well as the subsequent work of the Frankfurt School.
Filmmaker, film essayist, installation artist, writer: the Berlin artist Harun Farocki has devoted his life to the power of images. Over the thirty-plus years of his career, Farocki has explored not the images of life but rather the life of images that surrounds us in newspapers, cinema, books, television, and advertising. Harun Farocki examines, from different critical perspectives, his vast oeuvre, which includes three feature films, critical media pieces, children’s television features, “learning films” in the tradition of Brecht, and installation pieces. Interviews, a selection of Farocki’s own writings, and an annotated filmography complete a valuable biography of this pioneering artist and his legendary career.
Susan Buck-Morss examines and stresses the significance of Critical Theory for young West Germ intellectuals after World War II. Looking at the differences between German and American situations during this time period, Origin of Negative Dialectics convincingly sketches the learning process that ended in antagonism. “[The Origin of Negative Dialectics] is by far the best introduction for the American reader to the complex, esoteric, and illusive structure of thought of one of the most seminal Marxian thinkers of the twentieth century. It belongs on the same shelf as Martin Jay’s history of the Frankfurt School, The Dialectical Imagination.” – Lewis A. Coser, State University of New York, Stony Brook
J. S. Bach's Suites for Unaccompanied Cello are among the most cherished and frequently played works in the entire literature of music, and yet they have never been the subject of a full-length music analytical study. The musical examples herein include every note of all movements (so one needs no separate copy of the music while reading the book), and undertakes both basic analyses—harmonic reduction, functional harmonic analysis, step progression analysis, form analysis, and syntagmatic and paradigmatic melodic analysis—and specialized analyses for some of the individual movements. Allen Winold presents a comprehensive study intended not only for cellists, but also for other performers, music theorists, music educators, and informed general readers.
Theodor W. Adorno was a major twentieth-century philosopher and social critic whose writings on oppositional culture in art, music, and literature increasingly stand at the center of contemporary intellectual debate. In this excellent collection, Robert Hullot-Kentor, widely regarded as the most distinguished American translator and commentator on Adorno, gathers together sixteen essays he has written about the philosopher over the past twenty years. The opening essay, "Origin Is the Goal," pursues Adorno's thesis of the dialectic of enlightenment to better understand the urgent social and political situation of the United States. "Back to Adorno" examines Adorno's idea that sacrifice is the primordial form of human domination; "Second Salvage" reconstructs Adorno's unfinished study of the transformation of music in radio transmission; and "What Is Mechanical Reproduction" revisits Adorno's criticism of Walter Benjamin. Further essays cover a broad range of topics: Adorno's affinities with Wallace Stevens and Nabokov, his complex relationship with Kierkegaard and psychoanalysis, and his critical study of popular music. Many of these essays have been revised, with new material added that emphasizes the relevance of Adorno's thought to the United States today. Things Beyond Resemblance is a timely and richly analytical collection crucial to the study of critical theory, aesthetics, continental philosophy, and Adorno.
In this book Christoph Menke attempts to explain art's sovereign power to subvert reason without falling into an error common to Adorno's negative dialectics and Derrida's deconstruction.
Over three decades, Paul Griffiths's survey has remained the definitive study of music since the Second World War; this fully revised and updated edition re-establishes Modern Music and After as the preeminent introduction to the music of our time. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reformation of compositional technique and in John Cage's development of zen music; in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies; in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that haven't yet stopped unfolding. This constant expansion of musical thinking since 1945 has left us with no singular history of music; Griffiths's study accordingly follows several different paths, showing how and why they converge and diverge. This new edition of Modern Music and After discusses not only the music of the fifteen years that have passed since the previous edition, but also the recent explosion of scholarly interest in the latter half of the twentieth century. In particular, the book has been expanded to incorporate the variety of responses to the modernist impasse experienced by composers of the 1980s and 1990s. Griffiths then moves the book into the twenty-first century as he examines such highly influential composers as Helmut Lachenmann and Salvatore Sciarrino. For its breadth, wealth of detail, and characteristic wit and clarity, the third edition of Modern Music and After is required reading for the student and the enquiring listener.