By Theodor W. Adorno
At first of his occupation within the Twenties, Adorno sketched a plan to jot down an immense paintings at the conception of musical copy, a job he again to again and again all through his profession yet by no means accomplished. the alternative of the notice copy in place of interpretation exhibits a chief supposition: that there's a essentially outlined musical textual content whose precision exceeds what's obvious at the web page, and that the performer has the accountability to breed it as adequately as attainable, past easily taking part in what's written. This job, in accordance with Adorno, calls for a close figuring out of all musical parameters of their ancient context, and his reflections upon this job result in a primary learn of the character of notation and musical sense.
In many of the notes and texts introduced jointly in Towards a concept of Musical Reproduction, one unearths Adorno always circling round an irresolvable paradox: interpretation can simply fail the paintings, but basically via it could possibly music’s actual essence be captured. whereas he now and then turns out extra convinced in his pronouncement of a musical score’s absolute worth simply as a publication is learn silently, now not aloud his discourse time and again screens his lack of ability to dangle to that trust. it really is this caliber of uncertainty in his reflections that actually exhibits the scope of the discourse and its carrying on with relevance to musical concept and perform today.
“Towards a conception of Musical Reproduction addresses the dialectical relation among the musical ranking (inscription) and its learned sound (performance), the 2 components assembly in an act of interpretation, that allows you to produce what Adorno a number of instances calls the x-ray picture of the paintings, the subcutaneous intensity that lies past floor manifestation. Adorno’s main issue is how tune potential, greater the way it is made significant. The publication is a fraction, a suite of intensive notes; what survives—more than two hundred print pages—is still very substantial. Adorno’s reviews and commentaries, constantly aphoristic, are choked with perception and, into the discount, are richly provocative and more often than not provoking.” —Richard Leppert, collage of Minnesota
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Extra info for Towards a Theory of Musical Reproduction: Notes, a Draft and Two Schemata
S. work on rock art, Garrick Mallery's Picture Writing of the American Indians which appeared in 1893. We noticed that Mallery repeatedly quoted from either a "manuscript" or a "manuscript catalogue" attributed to Thomas V. Keam, an Indian trader to the Hopi villages during the 1880s and 1890s. " This manuscript intrigued us. After completing the Field Guide in the spring of 1992 we went in search of it, beginning in Arizona. As Mr. S. Park Service on the Navajo Reservation. We learned that Keam, in ill health, had been bought out by Lorenzo Hubbell in 1902.
Why was this document occasionally called a "manuscript catalogue" by Mallery? If it was a catalogue, what was it cataloguing? C. There, among the 90,000,000 books, periodicals, and documents indexed into a computer data base, we were able to find Thomas V. Keam's "manuscript catalogue" within minutes. The computer led us to a volume entitled America's Great Lost Expedition: The Thomas Keam Collection of Hopi Pottery from the Second Hemenway Expedition, 1890-1894. It had been published by the Heard Museum, Phoenix, Arizona, in 1980 and written by Edwin L.
Nonetheless, caution is indicated until additional research is undertaken into the symbol system indicated by Stephen. 19th-Century Attitude Toward the Indian Considering the general views of Indian culture prevailing in the 1880-90 time frame, Stephen mainained an amazingly open and non-critical attitude in his writing, both in Pottery of Tusayan and his Hopi Journal of A. M. Stephen. The prevailing view was that the Hopi (and most Indian peoples) were hopelessly backwards, savage, and ignorant.
Towards a Theory of Musical Reproduction: Notes, a Draft and Two Schemata by Theodor W. Adorno