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2 Reviews
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2 of 2 people found the following review helpful:
4.0 out of 5 stars
Schopenhauer und Adorno
Die Philosophie der Musik ist meiner Einsicht nach als eine wichtige Zusatz bei "Der Welt als Wille und Wille I und II " von Arthur Schopenhauer (1788-1890). Mann kann ohne Schopenhauer Adorno nicht begreifen. Adorno solte dass besser in sein Buch angegeben haben koennen.!
Published on January 14, 2000 by Hans Thijssens
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5 of 13 people found the following review helpful:
1.0 out of 5 stars
Stalin-regime-like politicizing of ingenuous music
Milan Kundera in his brilliant "Testaments Betrayed" puts it thus: "[According to Adorno] a dissonance is justified if it expresses 'subjective suffering,' but in Stravinsky (who is morally guilty, as we know, of never discussing his sufferings) that very dissonance is the sign of brutality; a parallel is drawn (by a...shortcut of Adorno thought) with...
Published on August 2, 1999
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2 of 2 people found the following review helpful:
4.0 out of 5 stars
Schopenhauer und Adorno,
By Hans Thijssens (Italie) - See all my reviews
This review is from: Adorno's Philosophy of Modern Music (Studies in the History and Interpretation of Music, Vol 58) (Hardcover)
Die Philosophie der Musik ist meiner Einsicht nach als eine wichtige Zusatz bei "Der Welt als Wille und Wille I und II " von Arthur Schopenhauer (1788-1890). Mann kann ohne Schopenhauer Adorno nicht begreifen. Adorno solte dass besser in sein Buch angegeben haben koennen.!
5 of 13 people found the following review helpful:
1.0 out of 5 stars
Stalin-regime-like politicizing of ingenuous music,
By A Customer
This review is from: Adorno's Philosophy of Modern Music (Studies in the History and Interpretation of Music, Vol 58) (Hardcover)
Milan Kundera in his brilliant "Testaments Betrayed" puts it thus:"[According to Adorno] a dissonance is justified if it expresses 'subjective suffering,' but in Stravinsky (who is morally guilty, as we know, of never discussing his sufferings) that very dissonance is the sign of brutality; a parallel is drawn (by a...shortcut of Adorno thought) with political brutality: thus the dissonant chords added to Pergolesi's music prefigure (and thereby prepare) the coming political oppression (which in this particular historical context can mean only one thing: fascism)....I can only call stupid [these] remarks [of adorno's] on Stravinsky's brutality and violence. He [Stravinsky] loved his old master....In adding twentieth-century dissonances to melodies of the eighteenth, perhaps he imagined he might intrigue his master out in the beyond, that he might tell him something important about our time...." Recommended: PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns. |
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Adorno's Philosophy of Modern Music (Studies in the History and Interpretation of Music, Vol 58) by Christopher J. Dennis (Hardcover - Mar. 1998)
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