| Uniform title | Philosophie der neuen Musik. English |
| Contents |
Translators introduction -- Introduction. New conformism ; False musical consciousness ; "Intellectualism" ; Radical music not immune ; Antinomy of new music ; Loss of differentiation ; On method -- Schoenberg and progress. Jolting of the "Work" ; Tendency of the material ; Schoenberg's criticism of semblance and play ; Dialectic of loneliness ; Loneliness as style ; Expressionism as objectivity [sachlichkeit] ; Total organization of the elements ; Total development ; The idea of twelve-tone technique ; Musical domination of nature ; Reversal into unfreedom ; Twelve-tone Melos and rhythm ; Differentiation and coarsening ; Harmony ; Instrumental timbre ; Twelve-tone counterpoint ; Function of counterpoint ; Form ; The composers ; Avant-garde and doctrine ; Break from the material ; Music as knowledge ; Stance toward society -- Stravinsky and the restoration. Authenticity ; Intentionlessness and sacrifice ; The hand organ as primordial phenomenon ; The Rite of Spring and African sculpture ; Technical elements in The Rite of Spring ; Rhythm ; Identification with the collective ; Archaism, modernism, infantilism ; Permanent regression and musical form ; The psychotic aspect ; Ritual ; Alienation as objectivity ; Fetishism of means ; Depersonalizaton ; Hebephrenia ; Catatonia ; Music about Music ; Denaturation and simplification ; Dissociation of time ; Pseudomorphism of painting ; Theory of ballet music ; Typology of listening ; The deception of objectivism ; The final trick ; Neoclassicism ; Attempts at expansion ; Schoenberg and Stravinsky -- List of compositions. Arnold Schoenberg ; Alban Berg ; Anton von Webern ; Igor Stravinsky -- Authors note to the fifth edition (1969) -- "Misunderstandings": Adorno's response to the commentary on Philosophy of New Music (1950) -- Publication history. |
| Abstract |
In 1947 the author, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing this book. Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even Schoenberg reviled it. Despite the controversy, this book became highly regarded and widely read among musicians, scholars, and social philosophers. Marking a major turning point in his musicological philosophy, Adorno located a critique of musical reproduction as internal to composition itself, rather than as a matter of the reproduction of musical performance. Consisting of two distinct essays, "Schoenberg and Progress" and "Stravinsky and Reaction," this work poses the musical extremes in which Adorno perceived the struggle for the cultural future of Europe, between human emancipation and barbarism, between the compositional techniques and achievements of Schoenberg and Stravinsky. In this completely new translation - presented along with an extensive introduction by distinguished translator Robert Hullot-Kentor - this book emerges as a key to the whole of Adorno's illustrious and influential oeuvre. |
| General note | Translation of: Philosophie der neuen Musik. |
| General note | Translated from the German. |
| Bibliography note | Includes bibliographical references (pages 171-194) and index. |
| LCCN | 2006002544 |
| ISBN | 0816636664 (hc/j : alk. paper) |
| ISBN | 9780816636662 |
