It is unprecedented in its design: No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one.
One was unable to grasp the emerging process of Adorno's thoughts; they emerged, as it were, finished. That was his virtuosity.
When you were with Adorno you were in the movement of his thought. Adorno was not trivial; it was denied him, in a clearly painful way, ever to be trivial.
But at the same time, he lacked the pretensions and the affectations of the stilted and "auratic" avant-garde that one saw in George's disciples. By all notable standards, Adorno remained anti-elitist. Incidentally, he was a genius also in that he preserved certain child-like traits, both the character of a prodigy and the dependence of one "not-yet-grownup.
Adorno's father, Oskar Wiesengrundwas a wine merchant and an assimilated Jew who converted to Protestantism at about the time of his son's birth.
The family was well off. Adorno was an only child whose youth was as sheltered as it was happy. As Martin Jay put it, "His childhood provided him a model of happiness whose memory served as a standard against which he would measure all subsequent disappointments.
Adorno referred to both as Mother. Maria had been a very successful professional singer, her career ending with her marriage; Agathe had been a successful professional pianist; she had accompanied singer Adelina Patti in numerous recitals. Adorno's intellectual training was rigorous and came early.
By age fifteen, he began a long period of study—occupying Saturday afternoons—of Kant's Critique of Pure Reason mentored by family friend Siegfried Kracauerwho at the time was editor of the Frankfurter Zeitung.
By Adorno's own account, the Kant study sessions went on "for years. The idea of a negative dialectic, which is Adorno's most unique philosophical contribution, owes much to it. In a letter to Lowenthal of 4 DecemberKracauer mused about their mutual friend: He is truly a beautiful specimen of a human being; even if I am not without some skepticism concerning his future, I am surely delighted by him in the present.
Indeed, he was the classical image of a poet, with a delicate way of moving and talking that one scarcely finds nowadays. Naturally, I knew Adorno's parents well, also his aunt Agathe. It was an existence you just had to love—if you were not dying of jealousy of this protected beautiful life—and in it Adorno had gained the confidence that never left him his entire life.
Kracauer's relationship to truth was that suffering entered into the idea—which usually dissipates it—in undistorted, unmitigated form; suffering could be rediscovered in ideas from the past as well. Inat age seventeen, Adorno entered Frankfurt's Johann Wolfgang Goethe University where he studied philosophy, sociology, psychology, and music.
He completed a doctorate in philosophy just three years later at age twenty-one. During these years he met and formed friendships with two men of particular importance to his later professional and intellectual life, respectively: As an adolescent, Adorno's musical training included piano lessons from Bernhard Sekles, also the teacher of Hindemith.
As a young man he seriously entertained the possibility of a career as a composer and concert pianist. He acted on this ambition in January with a move to Vienna, after having been deeply affected by excerpts from Berg's Wozzeck, prior to the opera's world premiere, played at a concert in Frankfurt, where he also met Berg.
Berg accepted him as a composition student and gave him lessons twice weekly. Adorno did not find Vienna to his liking. Moreover, the Schoenberg "circle," which he hoped to join, turned out to be not much of one.Reviews “Adorno is a great stylist.”—The Wire"A book of landmark importance.
It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music. Theodor W.
Adorno (), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and—more than any other subject—music.5/5. Essays on Music [Theodor Adorno, Richard Leppert, Susan H.
Gillespie] on rutadeltambor.com *FREE* shipping on qualifying offers. Theodor W. Adorno (), one of the principal figures associated with the Frankfurt School5/5(5).
"A book of landmark importance. It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music.
No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one.4/5(1).
Adorno's essays develop his theory that "mass culture" - he speaks particularly of modern popular music - has degenerated so that one can only see it today as a commodity. There is, for him, no question of art in this music ; rather the masses' tastes are produced by the industry which sells the rutadeltambor.coms: 8.
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