Max Paddison
Biographic Data
| ID | 411602 |
|---|---|
| NAME | Max Paddison |
| GIVEN NAMES | Max |
| FAMILY NAME | Paddison |
| SIGNATURE | PADDISON M |
| AFFILIATIONS | Durham University |
| VERIFIED | No |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 22 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1982 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 3 |
The Philosophy of Rhythm: Aesthetics, Music, Poetics
Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience-particularly in sociology, cultural and media theory, and literary studies-has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musico…
Riddle-Character, Interpretation, and Dialectical Image: Adorno's Philosophy and the Case of Musical Performance
This article proposes that it is the notion of the "image" that provides the key to how Adorno understands interpretation in both philosophy and art. It seeks to show that it is especially music, and musical interpretation as performance, that provides the model for Adorno's conception of philosophical interpretation. It argues that interpretation is a practice that also involves the making of something, as poesis, and that Adorno's ideal for thi…
Composition as Political Praxis: A Response to Mathias Spahlinger
This article is a response to issues raised in the theoretical and aesthetic writings of Mathias Spahlinger, most notably his two extended and related articles published in Contemporary Music Review, the first in 2008 and the second in 2015 (the latter in the present issue). It argues that the composer conceives his compositional praxis as a form of critique that exists in the tension between aesthetic autonomy and political commitment, and that …
Mimesis and the Aesthetics of Musical Expression
The aim of this article is threefold: first, to ask what we mean when we use concepts like imitation, representation and expression; second, to broaden the concept of imitation to take on the implications of the dynamic, historical and anthropological notion of mimesis as opposed to the largely static, ahistorical conceptions of mere 'representation' and 'resemblance' common to musicology and to analytic philosophy; and third, to show the dialect…
Performance, reification, and score: The dialectics of spatialization and temporality in the experience of music
The following text is taken from the Introduction to Part II written by Professor Paddison. \n \n"Like Peter Kivy, my article also deals in part with the experience of the continuities and discontinuities of musical temporality. At the same time there are also certain affinities between Lydia Goehr’s article and my own, in that I also draw on Adorno to illuminate aspects of music’s temporality, culminating in a focus on his concepts of “musical t…
Aspects of time in the creation of music II: Responses and new departures
The Cambridge Companion to Adorno
The great German philosopher and aesthetic theorist Theodor Wiesengrund Adorno (1903–69) was one of the main philosophers of the first generation of the Frankfurt School of critical theory. An accomplished musician, Adorno first focused on the theory of culture and art. Later he turned to the problem of the self-defeating dialectic of modern reason and freedom. In this collection of essays, imbued with the most up-to-date research, a distinguishe…
Adorno, Theodor W(iesengrund) (opera)
Adorno, Theodor (Ludwig) W(iesengrund)
Expression
The Understanding of Musical Works: Adorno in England
Analysis in Adorno's Aesthetics of Music
The Language-Character of Music: Some Motifs in Adorno
Questions concerning Western art music's relation to language can be seen to arise directly from the most fundamental paradox of so-called 'autonomous' or 'absolute' musical works: that they seem to say something, the precise meaning of which remains concealed. It is the aim of this article to explore the 'linguisticality' of autonomous music - its similarity to, and yet difference from, language - through a close reading of certain motifs in the…
Adorno's 'Aesthetic Theory
The critique criticised: Adorno and popular music
Adorno's critique of popular music is generally considered the least convincing aspect of his otherwise impressive analysis of the predicament of Western music in the twentieth century. The immediate reasons as to why his views on popular music are difficult to accept are obvious enough, and it must be admitted that the usual criticisms - that Adorno is prejidiced, arrogant and uniformed in this field contain more than a grain of truth. However, …
On the Problem of Musical Analysis
This article, translated by Max Paddison, presents Theodor W. Adorno's reflections on the challenges and possibilities of musical analysis. Adorno argues against purely formalist approaches, emphasizing the importance of understanding music's social and historical context. He explores the complex relationship between musical structure and expression, advocating for a critical analysis that considers the interplay of immanent musical elements and …
The critique criticised: Adorno and popular music
Adorno's critique of popular music is generally considered the least convincing aspect of his otherwise impressive analysis of the predicament of Western music in the twentieth century. The immediate reasons as to why his views on popular music are difficult to accept are obvious enough, and it must be admitted that the usual criticisms - that Adorno is prejidiced, arrogant and uniformed in this field contain more than a grain of truth. However, …
Riddle-Character, Interpretation, and Dialectical Image: Adorno's Philosophy and the Case of Musical Performance
This article proposes that it is the notion of the "image" that provides the key to how Adorno understands interpretation in both philosophy and art. It seeks to show that it is especially music, and musical interpretation as performance, that provides the model for Adorno's conception of philosophical interpretation. It argues that interpretation is a practice that also involves the making of something, as poesis, and that Adorno's ideal for thi…
Mimesis and the Aesthetics of Musical Expression
The aim of this article is threefold: first, to ask what we mean when we use concepts like imitation, representation and expression; second, to broaden the concept of imitation to take on the implications of the dynamic, historical and anthropological notion of mimesis as opposed to the largely static, ahistorical conceptions of mere 'representation' and 'resemblance' common to musicology and to analytic philosophy; and third, to show the dialect…
On the Problem of Musical Analysis
This article, translated by Max Paddison, presents Theodor W. Adorno's reflections on the challenges and possibilities of musical analysis. Adorno argues against purely formalist approaches, emphasizing the importance of understanding music's social and historical context. He explores the complex relationship between musical structure and expression, advocating for a critical analysis that considers the interplay of immanent musical elements and …
The critique criticised: Adorno and popular music
Adorno's critique of popular music is generally considered the least convincing aspect of his otherwise impressive analysis of the predicament of Western music in the twentieth century. The immediate reasons as to why his views on popular music are difficult to accept are obvious enough, and it must be admitted that the usual criticisms - that Adorno is prejidiced, arrogant and uniformed in this field contain more than a grain of truth. However, …
On the Problem of Musical Analysis
This article, translated by Max Paddison, presents Theodor W. Adorno's reflections on the challenges and possibilities of musical analysis. Adorno argues against purely formalist approaches, emphasizing the importance of understanding music's social and historical context. He explores the complex relationship between musical structure and expression, advocating for a critical analysis that considers the interplay of immanent musical elements and …
Adorno's 'Aesthetic Theory
The Language-Character of Music: Some Motifs in Adorno
Questions concerning Western art music's relation to language can be seen to arise directly from the most fundamental paradox of so-called 'autonomous' or 'absolute' musical works: that they seem to say something, the precise meaning of which remains concealed. It is the aim of this article to explore the 'linguisticality' of autonomous music - its similarity to, and yet difference from, language - through a close reading of certain motifs in the…
Analysis in Adorno's Aesthetics of Music
The Understanding of Musical Works: Adorno in England
Adorno, Theodor (Ludwig) W(iesengrund)
Expression
Adorno, Theodor W(iesengrund) (opera)
Performance, reification, and score: The dialectics of spatialization and temporality in the experience of music
The following text is taken from the Introduction to Part II written by Professor Paddison. \n \n"Like Peter Kivy, my article also deals in part with the experience of the continuities and discontinuities of musical temporality. At the same time there are also certain affinities between Lydia Goehr’s article and my own, in that I also draw on Adorno to illuminate aspects of music’s temporality, culminating in a focus on his concepts of “musical t…
Aspects of time in the creation of music II: Responses and new departures
The Cambridge Companion to Adorno
The great German philosopher and aesthetic theorist Theodor Wiesengrund Adorno (1903–69) was one of the main philosophers of the first generation of the Frankfurt School of critical theory. An accomplished musician, Adorno first focused on the theory of culture and art. Later he turned to the problem of the self-defeating dialectic of modern reason and freedom. In this collection of essays, imbued with the most up-to-date research, a distinguishe…
Mimesis and the Aesthetics of Musical Expression
The aim of this article is threefold: first, to ask what we mean when we use concepts like imitation, representation and expression; second, to broaden the concept of imitation to take on the implications of the dynamic, historical and anthropological notion of mimesis as opposed to the largely static, ahistorical conceptions of mere 'representation' and 'resemblance' common to musicology and to analytic philosophy; and third, to show the dialect…
Composition as Political Praxis: A Response to Mathias Spahlinger
This article is a response to issues raised in the theoretical and aesthetic writings of Mathias Spahlinger, most notably his two extended and related articles published in Contemporary Music Review, the first in 2008 and the second in 2015 (the latter in the present issue). It argues that the composer conceives his compositional praxis as a form of critique that exists in the tension between aesthetic autonomy and political commitment, and that …
Riddle-Character, Interpretation, and Dialectical Image: Adorno's Philosophy and the Case of Musical Performance
This article proposes that it is the notion of the "image" that provides the key to how Adorno understands interpretation in both philosophy and art. It seeks to show that it is especially music, and musical interpretation as performance, that provides the model for Adorno's conception of philosophical interpretation. It argues that interpretation is a practice that also involves the making of something, as poesis, and that Adorno's ideal for thi…
The Philosophy of Rhythm: Aesthetics, Music, Poetics
Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience-particularly in sociology, cultural and media theory, and literary studies-has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musico…
Art (12 works) · Aesthetics (10 works) · Musicology and Musical Analysis (10 works) · Philosophy (9 works) · Epistemology (6 works) · Literature (6 works) · Psychology (6 works) · Musical (5 works) · Computer Science (4 works) · Diverse Musicological Studies (4 works)