Filosofía de la nueva música

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Ediciones AKAL, Oct 29, 2003 - Music - 200 pages
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El libro está compuesto esencialmente por dos escritos en los que Adorno expone el cambio de función experimentado en la música hacia la segunda mitad del siglo XX, señalando para ello las modificaciones internas que los movimientos musicales en cuanto tales sufren al quedar subordinados a la producción comercializada de masas, e indicando cómo ciertos desplazamientos antropológicos en la sociedad estandarizada penetran hasta la estructura de la audición musical. Se trata de mostrar cómo la violencia de la totalidad social se ejerce incluso en ámbitos aparentemente separados como el musical.
 

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Contents

Prólogo
9
La música radical no inmune 23 Antinomia de la nueva
31
Vibración de la obra Tendencia del material 35 Crítica de Schönberg a
49
Desarrollo total 55 Idea de la técnica dodecafónica 59 Dominio musi
77
Sonido instrumental 81 Contrapunto dodecafónico 85 Función del con
103
Liberación del material 107 Carácter de conocimiento 113 Posición
117
Autenticidad Ausencia de intención y sacrificio 121 El organillo como pro
139
Desnaturalización y simplificación 161 Disociación del tiempo
163
de audición 171 El engaño del objetivismo El último truco 175 Neocla
183
Apostilla editorial
199
Copyright

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About the author (2003)

Theodor W. Adorno is the progenitor of critical theory, a central figure in aesthetics, and the century's foremost philosopher of music. He was born and educated in Frankfurt, Germany. After completing his Ph.D. in philosophy, he went to Vienna, where he studied composition with Alban Berg. He soon was bitterly disappointed with his own lack of talent and turned to musicology. In 1928 Adorno returned to Frankfurt to join the Institute for Social Research, commonly known as The Frankfurt School. At first a privately endowed center for Marxist studies, the school was merged with Frankfort's university under Adorno's directorship in the 1950s. As a refugee from Nazi Germany during World War II, Adorno lived for several years in Los Angeles before returning to Frankfurt. Much of his most significant work was produced at that time. Critics find Adorno's aesthetics to be rich in insight, even when they disagree with its broad conclusions. Although Adorno was hostile to jazz and popular music, he advanced the cause of contemporary music by writing seminal studies of many key composers. To the distress of some of his admirers, he remained pessimistic about the prospects for art in mass society. Adorno was a neo-Marxist who believed that the only hope for democracy was to be found in an interpretation of Marxism opposed to both positivism and dogmatic materialism. His opposition to positivisim and advocacy of a method of dialectics grounded in critical rationalism propelled him into intellectual conflict with Georg Hegel, Martin Heidegger, and Heideggerian hermeneutics.