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Towards a Theory of Musical Reproduction - Note...
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At the beginning of his career in the 1920s, Adorno sketched a plan to write a major work on the theory of musical reproduction, a task he returned to time and again throughout his career but never completed. The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately as possible, beyond simply playing what is written. This task, according to Adorno, requires a detailed understanding of all musical parameters in their historical context, and his reflections upon this task lead to a fundamental study of the nature of notation and musical sense. In the various notes and texts brought together in Towards a Theory of Musical Reproduction, one finds Adorno constantly circling around an irresolvable paradox: interpretation can only fail the work, yet only through it can musics true essence be captured. While he at times seems more definite in his pronouncement of a musical scores absolute value just as a book is read silently, not aloud his discourse repeatedly displays his inability to cling to that belief. It is this quality of uncertainty in his reflections that truly indicates the scope of the discourse and its continuing relevance to musical thought and practice today.

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Stand: 21.05.2018
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Towards a Theory of Musical Reproduction - Note...
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At the beginning of his career in the 1920s, Adorno sketched a plan to write a major work on the theory of musical reproduction, a task he returned to time and again throughout his career but never completed. The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately as possible, beyond simply playing what is written. This task, according to Adorno, requires a detailed understanding of all musical parameters in their historical context, and his reflections upon this task lead to a fundamental study of the nature of notation and musical sense. In the various notes and texts brought together in Towards a Theory of Musical Reproduction, one finds Adorno constantly circling around an irresolvable paradox: interpretation can only fail the work, yet only through it can musics true essence be captured. While he at times seems more definite in his pronouncement of a musical scores absolute value just as a book is read silently, not aloud his discourse repeatedly displays his inability to cling to that belief. It is this quality of uncertainty in his reflections that truly indicates the scope of the discourse and its continuing relevance to musical thought and practice today.

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Stand: 21.05.2018
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Towards a Theory of Musical Reproduction als eB...
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Towards a Theory of Musical Reproduction:Notes, a Draft and Two Schemata Theodor W. Adorno

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Stand: 14.05.2018
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Musical Rhythm in the Age of Digital Reproducti...
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Musical Rhythm in the Age of Digital Reproduction:

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Stand: 14.05.2018
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Musical Rhythm in the Age of Digital Reproducti...
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Musical Rhythm in the Age of Digital Reproduction:

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Stand: 14.05.2018
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Musical Listening in the Age of Technological R...
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Musical Listening in the Age of Technological Reproduction:

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Stand: 14.05.2018
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Musical Portraits
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Reproduction of the original.

Anbieter: buecher.de
Stand: 23.05.2018
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Musical Portraits
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Reproduction of the original.

Anbieter: buecher.de
Stand: 17.05.2018
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Musical Interpretation, Its Laws and Principles...
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Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Anbieter: buecher.de
Stand: 12.04.2018
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Editions Delatour France Revue Filigrane N°3 - ...
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Date de publication : 2006Format : 17 x 21 cmMatériel : RevueCo-auteurs : Collectif Sommaire revue Filigrane n°3 - La société dans l´écriture musicale Jean-Paul OliveÉditorial Theodor W, AdornoL’opéra bourgeois Gianmario BorioSigne et son, Les fonctions de l’écriture dans la représentation de la pensée musicale Georges BlœssEntre engagement, empathie, prophétie : l’œuvre d’art selon l’Expressionnisme Laurent FeneyrouStillstellung, État d’exception et dialectique immobile dans les dernières œuvres de Luigi Nono Sophie Charlin« Une grande vitesse d’échappement », Images du monde chez Samuel Beckett Vladimir SafatleLa nouvelle tonalité et l’épuisement de la forme critique Philippe IvernelBenjamin et Baudelaire, ou l’instance sociale dans la facture de l’écriture poétique Joël HeuillonLa musique du premier baroque ou la musique sublime d’une société perverse Denis MorrierLes sources de la basse continue : une pratique protéiforme, héritière de traditions et de contextes socioculturels divers Isabelle LaunaRéinventer l’héritage chorégraphique ou la passe des « Carnets Bagouet » Max PaddisonPerformance and the Silent Work, Mediation and Critical Reflexion in Adorno’s Theory of Musical Reproduction Revue en français et anglais

Anbieter: Woodbrass.com
Stand: 01.04.2018
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