Work Structure and Musical Representation
Reflections on Adorno's Analyses for Interpretation1
Bibliographic Data
| ID | 5110871 |
|---|---|
| Authors | Gianmario Borio (0000-0002-3167-2550, corresponding author) |
| Year | 2007 |
| Volume | 26 |
| Issue | 1 |
| Pages | 53-75 |
| Publication date | 2007-02-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494460601069226 |
| OpenAlex | W1975525740 |
| Language | EN |
| Citations received | 1 |
| References cited | 15 |
This article examines Adorno's thinking on the relationship between musical analysis, interpretation and performance. Adorno's work is set in the context both of its aesthetic antecedents, particularly in the work of Schoenberg as composer and as music theorist, and of its subsequent critics. At the centre of the article is a discussion of the analysis seminars which Adorno gave during the Darmstadt Ferienkurse in the mid-1950s, on Schoenberg's Verklärte Nacht and Phantasy for violin and piano and Webern's Six Bagatelles for string quartet, op. 9
Aesthetics · Art · Art history · Humanities · Linguistics · Literature · Musical · Piano · Politics · Violin · Arts, Culture, and Music Studies · Diverse Music Education Insights · History · Mathematics · Musicology and Musical Analysis · Philosophy
| Citations per year | 0.06 |
|---|---|
| Citation span | 2008 - 2008 (1) |
| Highly cited | No |