By Robert W. Witkin
Publish 12 months note: First released February nineteenth 1998
More than half the printed works of Theodor Adorno have been dedicated to his stories in song. As his acceptance has grown in recent times, even if, Adorno’s paintings on tune has remained a overlooked quarter as a result of its musicological complexity.
This is the 1st specific account of Adorno’s texts on track from a sociological point of view. In transparent, non-technical language, Robert Witkin publications the reader during the complexities of Adorno’s argument in regards to the hyperlinks among song and morality and among musical works and social constitution. Separate chapters handle his therapy of Beethoven, Wagner, Mahler and Berg, Schoenberg, Stravinsky and eventually jazz. all through, Witkin develops a sociology of the artwork in which Adorno’s writings on tune should be understood. It used to be via those works greater than any others that Adorno proven the correct of the humanities to be stated as an ethical and demanding strength within the improvement of a contemporary society. through getting better them for non-musicologists, Witkin provides immeasurably to our appreciation of this gigantic of twentieth-century inspiration.
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3 Whilst public entertainments are increasing their dimensions and importance, let each family circle be working for the art at home. Let music be loved for its own sake, and not estimated according to the 1 2 3 This sentence is in quotation marks, but its origin has not been traced. A reference to Psalm 150. Bennett is referring, no doubt, to instruments associated with street music: the concertina, accordion, banjo, hurdy-gurdy, tin whistle, mandoline, zither, and possibly guitar (see Crowest, Phases of Musical England, 112–41).
1 2 3 See p. 73. Bennett, Life, 369–74. See p. 78. 27 PART ONE Lectures at London and Sheffield, 1858–1859 On Music in England 1 On the State of Music in English Private Society and the General Prospects of Music in the Future London Institution, 8 April 1858 Sheffield Literary and Philosophical Society, 27 April 1859 Having been engaged by the council of this institution to deliver four lectures on music, it appeared to me that I could not better employ the opportunity than by choosing those subjects which would immediately appeal to the sympathies of English amateurs,1 and of all those interested in the progress of music in this country.
3 The Royal Italian Opera at Covent Garden was founded in 1847, while Her Majesty’s Theatre continued its annual opera seasons dating from the early eighteenth century. Rivalry was intense; the manager of Her Majesty’s, Benjamin Lumley, had to close the company after the 1852 season due to financial difficulties, but it reopened in 1856 after a fire at Covent Garden. 35 36 6. Jullien’s Promenade Concerts at Drury Lane Theatre, 1847 To view the image on this page please refer to the printed version of this book.