In the context of his thoughts on the relationship between music and time in his Musical Writings, Adorno refers often to the above quoted thesis. This paradoxicality, attributed to particular symphonies of Beethoven,...In the context of his thoughts on the relationship between music and time in his Musical Writings, Adorno refers often to the above quoted thesis. This paradoxicality, attributed to particular symphonies of Beethoven, tends to become a fixed idea in the context of his thoughts on musical time. Adorno adopts Hegel＇s understanding of time as process of permanent overcoming of instants. He finds an analogy between instant and musical motive, based on the common, in Hegel＇s and Beethoven＇s systems, notion of the working-out of an idea and of a musical structure respectively. He then tries to include in the process of becoming extended and reappearing formal parts, such as themes and expositions. How could he find a convergence between permanent formal growth and persistence of formal parts, which distinguishes a musical work from an improvisation？ In order to transcend this immanent antinomy, he applies Hegelian logical principles.展开更多
The claim that many musical works are representational is highly controversial. The formalist view that music is pure form and without any, or any significant, representational content is widety held. Two facts about ...The claim that many musical works are representational is highly controversial. The formalist view that music is pure form and without any, or any significant, representational content is widety held. Two facts about music are, however, well-established by empirical science： Music is heard as resembling human expressive behaviour and music arouses ordinary emotions. This paper argues that it follows from these facts that music also represents human expressive behaviour and ordinary emotions.展开更多
文摘In the context of his thoughts on the relationship between music and time in his Musical Writings, Adorno refers often to the above quoted thesis. This paradoxicality, attributed to particular symphonies of Beethoven, tends to become a fixed idea in the context of his thoughts on musical time. Adorno adopts Hegel＇s understanding of time as process of permanent overcoming of instants. He finds an analogy between instant and musical motive, based on the common, in Hegel＇s and Beethoven＇s systems, notion of the working-out of an idea and of a musical structure respectively. He then tries to include in the process of becoming extended and reappearing formal parts, such as themes and expositions. How could he find a convergence between permanent formal growth and persistence of formal parts, which distinguishes a musical work from an improvisation？ In order to transcend this immanent antinomy, he applies Hegelian logical principles.
文摘The claim that many musical works are representational is highly controversial. The formalist view that music is pure form and without any, or any significant, representational content is widety held. Two facts about music are, however, well-established by empirical science： Music is heard as resembling human expressive behaviour and music arouses ordinary emotions. This paper argues that it follows from these facts that music also represents human expressive behaviour and ordinary emotions.
