Essays on Music

By Theodor W. Adorno

Book Overview

Theodor W. Adorno (1903-1969), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and-more than any other subject-music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual readings of musical works, gives him broad claim as a continuing force in the study of music. This long-awaited collection of twenty-seven essays represents the full range of Adorno's music writing. Nearly half of the essays appear in English for the first time; all of the essays are fully annotated; and the previously translated essays have been corrected and missing text restored, making this volume the definitive resource on Adorno's musical thought.

• Format: Paperback
• Language: English
• ISBN: 0520231597
• ISBN13: 9780520231597
• Release Date: August 2002
• Publisher: University of California Press
• Length: 760 Pages
• Weight: 2.35 lbs.
• Dimensions: 1.8" x 6.0" x 9.1"

Customer Reviews

Adorno

An outstanding compilation of Adorno's writings on music and aesthetics with very helpful background information and commentary.

Required reading for anyone interested in art music

Finally, Adorno's major writings on music are available in a single, handsome volume with expert translations, copious footnotes from the editor, and illuminating editorial introductions. This collection contains the most important and influential essays and although it's not complete, this is probably the only Adorno collection a music student/scholar will need. Of course no musicologist should be without certain books such as "The Philosophy of New Music", but as far as the essays go, this is the big one. I've read some from "Sound Figures" and "Quasi una fantasia" and they're great, but I'd recommend them for hardcore Adorno fanatics or specialists only. For the most part, the translations are very readable. They may not always achieve the level of Robert Hullot-Kentor's beautiful translations, but they straighten out the dense German prose and provide a good degree of specificity. Adorno is difficult enough without having to deal with awkward wordings. Susan Gillespie has done a great service for readers everywhere. If you're looking at this, you probably know you're getting into and what to expect. This is essential reading - everyone involved in music should be required to read at least a few of these essays.