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 antecendents, 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 Verkla¨rte Nacht and Phantasy for violin and piano and Webern’s Six Bagatelles for string quartet, op. 9.

Work Structure and Musical Representation: Reflections on Adorno’s Analyses for Interpretation

BORIO, GIANMARIO
2007

Abstract

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 antecendents, 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 Verkla¨rte Nacht and Phantasy for violin and piano and Webern’s Six Bagatelles for string quartet, op. 9.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11571/135383
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