20,99 €
Mehr erfahren.
- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
At the beginning of his career in the 1920s, Adorno sketched a plan to write a major work on the theory of musical reproduction, a task he returned to time and again throughout his career but never completed. The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately as possible, beyond simply playing what is written. This task, according to Adorno, requires a detailed understanding of all musical parameters in their historical context, and his reflections upon this task lead to a fundamental study of the nature of notation and musical sense.
In the various notes and texts brought together in Towards a Theory of Musical Reproduction, one finds Adorno constantly circling around an irresolvable paradox: interpretation can only fail the work, yet only through it can musics true essence be captured. While he at times seems more definite in his pronouncement of a musical scores absolute value just as a book is read silently, not aloud his discourse repeatedly displays his inability to cling to that belief. It is this quality of uncertainty in his reflections that truly indicates the scope of the discourse and its continuing relevance to musical thought and practice today.
Sie lesen das E-Book in den Legimi-Apps auf:
Seitenzahl: 551
Veröffentlichungsjahr: 2014
Ähnliche
Table of Contents
TITLE PAGE
COPYRIGHT PAGE
EDITOR'S FOREWORD
TRANSLATOR'S INTRODUCTION
Notes
NOTES I
Ad Dorian
On Richard Wagner's ‘Über das Dirigieren’
[On Conducting] (G.S. 8, p. 261ff)
Concerning the older material
Ad ancient musical notation.
Riemann I, 1. 238ff:
Notes taken after the Darmstadt lecture
together with Kolisch, August 1954
Notes
NOTES II
Notes
DRAFT
1
2
3
4
5
Structural keywords for chapters 2, 4 and 5 of the draft
Notes
MATERIAL FOR THE REPRODUCTION THEORY
Notes
TWO SCHEMATA
Theory of musical reproduction
Second schema
Notes
APPENDIX: KEYWORDS FOR THE 1954 DARMSTADT SEMINAR
Notes
BIBLIOGRAPHY
INDEX OF NAMES
Guide
Cover
Table of Contents
Start Reading
CHAPTER 1
Index
Pages
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
1
2
3
4
5
6
7
8
9
10
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
1
2
3
4
5
6
7
43
44
45
First published in German as Zu einer Theorie der musikalischen Reproduktion: Aufzeichnungen, ein Entwurf und zwei Schemata by T. W. Adorno © Suhrkamp Verlag, Frankfurt am Main, 2001.
This English translation copyright © Polity Press 2006.
Polity Press
65 Bridge Street
Cambridge CB2 1UR, UK
Polity Press
350 Main Street
Malden, MA 02148, USA
All rights reserved. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher.
ISBN-10: 0-7456-3198-3
ISBN-13: 978-07456-3198-1
ISBN-10: 0-7456-3199-1 (pb)
ISBN-13: 978-07456-3199-8 (pb)
ISBN-13: 978-07456-9452-8 (epub)
ISBN-13: 978-07456-9359-0 (mobi)
A catalogue record for this book is available from the British Library.
The publisher has used its best endeavours to ensure that the URLs for external websites referred to in this book are correct and active at the time of going to press. However, the publisher has no responsibility for the websites and can make no guarantee that a site will remain live or that the content is or will remain appropriate.
Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publishers will be pleased to include any necessary credits in any subsequent reprint or edition.
For further information on Polity, visit our website: www.polity.co.uk
The publication of this work was supported by a grant from the Goethe-Institut.
EDITOR'S FOREWORD
Adorno took down two titles for the book he had been making notes towards in a notebook he referred to as the ‘Black Book’: Die wahre Aufführung [True Performance] and Reproduktionstheorie. Ein musikphilosophischer Versuch [Reproduction Theory: A Music-Philosophical Investigation]. Both titles are, as it were, located at the extremes of a theory of interpretation: on the one hand the sensual presentation of music, and on the other hand those aspects of the notated composition that serve its interpretation and representation and are contingent on it. They terminate in the recognition of the objective content of that which has been composed, and this insight is the precondition for its correct reproduction. This led Adorno early on to view musical reproduction as a form of its own whose ‘measure is not necessarily placed in the hands of the reproducer’, as he writes at the start of his essay ‘Zum Problem der Reproduktion’ from 1925. Yet, if reproduction is an ‘autonomous’ form, then it does not follow directly from a composition, it is not the mere execution of a binding notation with its own objective validity, but rather the scene of the confrontation – only seemingly placated through the fixing of music in writing – between the forces upon which musical form is based. If neither the performer nor the composition supplies the standard for presentation, then this presentation is not independent of what has been composed. Musical interpretation must become a form of insight in order for that insight which, according to Adorno, is immanent in musical works to emerge. This is at once the precondition for being able to distinguish between correct and incorrect interpretation for specific reasons, and for the possibility of elevating musical presentation – in its emphatic sense – beyond a mere execution of the musical text. In Adorno's view, which stands in equal opposition to both historical objectivism and the irrationalism of subjective empathy, reproduction became the problem of modernity because works do not remain identical throughout history, but rather change objectively, indeed even disintegrate within it. Referring to this thesis, which formed the point of departure for his reflections in the 1920s, Adorno writes in one of his notes that it ‘should not be invoked, but rather supported’. And it was precisely this that was to be the aim of the completed theory of musical reproduction.
Adorno began work on the book, which he and Rudolf Kolisch were still intending to write together as late as 1935 – the first conversations on the subject must already have taken place in the 1920s, when Adorno was writing for the Viennese journals Musikblätter des Anbruch and Pult & Taktstock – in Los Angeles in 1946, having completed – albeit not published – the Dialectic of Enlightenment (in close collaboration with Max Horkheimer), the part of the Philosophy of Modern Music devoted to Schoenberg, the book Composing for the Films (co-authored with Hanns Eisler) and most of his book of aphorisms entitled Minima Moralia. These substantial works from the years 1940–5 had been written under the strain of the numerous exhausting duties arising from the research projects at the Institute for Social Research. During 1945 and 1946 the strain reduced somewhat, and Adorno was able to turn to projects of his own once more, and also to practise the piano systematically and make music with others again, so that the process of structuring the book on musical reproduction, which Adorno began on 21 June 1946, documents the justified hope of developing the study as far as possible, or perhaps even finishing it. While making the first ‘Notes’, which gather together central motifs of his theory of musical interpretation, Adorno studied The History of Music in Performance by Frederick Dorian, a student of Schoenberg, and Richard Wagner's essays ‘Über das Dirigieren’ and ‘Zum Vortrag der IX. Symphonie Beethoven's’ – this too was a sign that the Theory of Musical Reproduction was to be the next book. In the second half of 1946, however, the study had to be laid aside in favour of The Authoritarian Personality and the accompanying research projects. Only in the summer of 1949 was Adorno able to continue his work on the reproduction theory, as the dates on pages 30 and 33 of his ‘Black Book’ reveal. The dates in the notebook make it difficult to say with certainty whether he studied parts of Riemann's Handbuch der Musikgeschichte as early as 1946 or only in 1949. The large draft dictated to Gretel Adorno also seems to date from 1949; this was Adorno's last attempt to write the book before his return to Germany. The ‘Notes’ were continued only in 1953, during a stay in Los Angeles. In the summer of 1954, Adorno, Rudolf Kolisch and Eduard Steuermann gave a course in Kranichstein on ‘New Music and Interpretation’; regarding its aims, Adorno wrote the following to Kolisch on 4 June 1954:
The way I thought of the course is that we three would really give it together, and that each of us would say something when he saw fit to do so – in the same manner that Horkheimer and I have been holding our seminars together for years, and with great success –. Naturally tempo is only a subsidiary question, and not even the most important one. The most important thing, I would think, is to make it clear to the students what structural and meaningful interpretation actually is. I had thought of giving a sort of introductory lecture from my copious notes on the theory of reproduction, which we could then follow up practically; if you and Eduard do not consider this a good idea, I would be equally happy to begin directly with the practical side. In the introductory presentation, one could above all also map out the zones of interpretation problems, and avoid one-sided questions such as that of tempo from the outset.
Adorno recorded statements by Kolisch and discussions that took place during the course in the ‘Notes’. On 6 December 1959 he wrote the final entry on the last page of the ‘Black Book’, which – aside from the ‘Nachweise zum Kierkegaardbuch’ [References for the Kierkegaard book], which fill the first few pages – was entirely reserved for the ‘Notes on the Theory of Musical Reproduction’.
In the ‘Material for the Reproduction Theory’ and the ‘Second Schema’ from 1946, Adorno attempted to create a structure that would help to organize the book's argument. These attempts are based on his ‘Notes’, his essays from the 1920s and early 1930s, and the passages from texts by Dorian, Wagner and Riemann, to which he added commentaries in the form of keywords. In his references, Adorno is of course using the page numbers of his manuscript, as he also did when referring back within the notes themselves. These aids to orientation led the editor to abstain from changing the order of the notes and imposing a new structure on the fragments according to themes and motifs; but this was not the primary reason. While criticisms of a chronological reproduction of fragments always have a certain plausibility, one should bear in mind that Adorno's notes on the reproduction theory have one subject, and seek to pursue this at different times with different emphases. A non-chronological distribution of the fragments would only create the illusion of greater proximity to the finished book, preventing an insight into the work process and thus also concealing the biographical fortuity of the study's incomplete state. If there is any justification for publishing fragments, it is the hope that they can bring something into the world that meets the needs of thinking persons: to be able to read thoughts whose nodal points are formed by the painful awareness of the loss of tradition; all that has survived of bourgeois culture is its enigmatic image. Under the problematic conditions of this culture's self-preservation amid the culture industry, all tradition is a collection of fragments waiting to be read.
The section entitled ‘Notes I’ reproduces the entries in the ‘Black Book’ in the order of their writing. The music examples have been printed from the facsimile of Adorno's handwritten manuscripts. Notes from before 1946 and after 6 December 1959 were written in other notebooks; when he did not have the ‘Black Book’ with him, he occasionally also entered notes on the reproduction theory in his current notebook. These notes have been collected under the title ‘Notes II’; the respective provenance is indicated in smaller type under each note. The two notes preserved as typescripts have been assigned the abbreviation Ts followed by the page number from the archive.
Regarding the editorial methods used here, it is worth mentioning that all abbreviations in Adorno's handwritten manuscripts (except the more obvious ones) have been removed in favour of the full words in order to avoid unnecessary obstructions to reading. Only the conventional abbreviations p for piano, pp for pianissimo, f for forte, ff for fortissimo, mf for mezzo-forte and sf for sforzato have been retained. As it is not in the nature of private notes to be fully resolved or uniform, there have been as few changes to Adorno's orthography as to his punctuation, at the most some uncommented changes in the case of misspelling. Words underlined by Adorno have been reproduced in italics. Comments have been given in italics in square brackets; additions or corrections by the editor, as well as translations of particular words or titles, appear in roman type in square brackets. In the case of passages from Dorian's book, Wagner's essays and Riemann's handbook, listed by Adorno in the notes with page number and brief keywords, the editor decided, for greater ease of reading, to place the quotations in italics within the main text, following the page number and keywords; where it seemed justified on account of their commentary nature, as with Wagner, they have been placed before the keywords. Page numbers in the margins indicate the page numbers of the ‘Notes’ from the ‘Black Book’, in order to enable the reader to find the passages referred to by Adorno without the complication of a footnote. All page numbers given in the notes, however, refer to the present published book. The notes serve to explain names mentioned, to provide references for citations, to identify compositions where these are not self-evident from Adorno's indications, and supply bar-numbers where they have not been added in square brackets in the actual text. The index lists the compositions mentioned beneath the names of their respective composers. Readers familiar with Adorno's work will notice numerous overlaps with the Musikalische Schriften published as part of the Gesammelte Schriften, and not only those mentioned by Adorno; to list them all, however, would rob both the fragments and the published essays of their respective autonomy.
The detailed table of contents provided for the ‘Notes’ follows that drawn up by Gretel Adorno and preserved in the Theodor W. Adorno-Archiv.
The editor would like to thank Elfriede Olbrich, Adorno's long-standing secretary, for deciphering Adorno's manuscript of the ‘Notes’; her findings were drawn on when reading difficulties were encountered.
July 2001
TRANSLATOR'S INTRODUCTION
While most translators – myself included – surely hope that their work can to some extent stand on its own, rather than being a mere aid to comprehension, the process of translating the present volume has confronted me with a number of problems and questions that I would consider it necessary – and useful – to expand upon. Though this primarily serves the purpose of allowing the reader to understand certain details that might otherwise remain unknown, I would also like to imply certain areas for further reflection by posing one or two fundamental questions about the task of translation.
One of the most dangerous assumptions a translator can make, in my view, is that a word need only be translated once, and that this translation can be used for all subsequent appearances of that word. This may be true of simple factual terms – ‘to go’ for gehen, for example – though even here each context may give the word a slightly different shading. In the realm of philosophical and aesthetic thought, however, matters are more complicated; while some philosophy – the works of Kant and Hegel, for example, or the logical positivism of the twentieth century – relies sufficiently on fixed notions to enable more or less consistent translation (though this does not mean that the terms decided on will be satisfactory), there are countless works which operate outside of such a clear framework. This applies especially to Adorno, who never allowed his ideas to be enslaved by rigid terminological systems, and accordingly depended on the subtlety and polyvalence of language in a way that Husserl, for example, did not; where ideas are constantly being examined from different perspectives and questioned in their constitution, a spade is by no means a spade. This is obvious enough to readers of such texts, and may indeed be one of the things that makes them more enjoyable to them than works of pure epistemology, for example; it is in translating them, however, that this polyvalence becomes problematic. Native readers of English understand the ways in which an English word can have a variety of discrete, clearly definable meanings – some of them perhaps specialized ones – and will normally be able to decide which is intended. Native readers of German also understand this, of course, but their mode of reading is different in one fundamental respect: unlike English, German is relatively self-sufficient in its etymological reservoir. By this I mean that, rather than drawing on Latin and Greek for a large part of its word-formation, it more often forms words, both prefix and stem, from Germanic elements also present as independent words in the language. One thus often finds, upon comparing a German word with its English synonym, that it is – in its literal meaning – a direct translation of the English word's classical model(s), which has generally moved to the background in the word's contemporary usage. One example – there are countless others – would be the word , meaning ‘superfluous’. The latter is derived from the Latin elements (over) and (to flow), and would thus, kept in English vocabulary, be ‘overflowing’. As for the German, that is precisely what we find here: there is no retreat to a foreign language, and consequently the word – potentially – conjures up an image of a barrel overflowing with excess liquid or such like, as its semantic origin is foregrounded rather than encoded. While I am not suggesting that a German speaker will think of the literal meaning with every usage, the factor of semantic estrangement present in English is at least stripped away for anyone who gives a moment's thought to the words they use.
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
