Adorno's Mahler and the Timbral Outsider
Bibliographic Data
| ID | 4802803 |
|---|---|
| Authors | John J Sheinbaum (corresponding author) |
| Year | 2006 |
| Volume | 131 |
| Issue | 1 |
| Pages | 38-82 |
| Publication date | 2006-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of the Royal Musical Association (JOURNAL) |
| Journal identifiers | ISSN: 0269-0403 • E-ISSN: 1471-6933 |
| Publisher | Cambridge University Press (PUBLISHER • US) |
| DOI | 10.1093/jrma/fkl002 |
| OpenAlex | W1968396940 |
| Language | EN |
| Citations received | 4 |
| References cited | 17 |
Orchestral colour can be read as an important part, both literally and metaphorically, of Theodor W. Adorno's approach to Mahler. Adorno's examples of 'breakthrough', 'suspension' and 'fulfilment' show that timbre, traditionally considered largely irrelevant to music's deep structure, plays a significant role in his conception of Mahlerian form. For Adorno, these musical relationships resonated strongly with his post-Second World War concern for the plight of the outsider within the homogenizing bounds of modern society
Aesthetics · Art · Literature · Musical · Sociology · Timbre · Diverse Music Education Insights · Music Technology and Sound Studies · Musicology and Musical Analysis
| Citations per year | 0.21 |
|---|---|
| Citation span | 2007 - 2025 (19) |
| Highly cited | No |