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Beethoven : the Philosophy of Music.

Author: Theodor W Adorno; Rolf Tiedemann
Publisher: Oxford : Wiley, 2002.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Database:WorldCat
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Genre/Form: Electronic books
Criticism, interpretation, etc
Additional Physical Format: Print version:
Adorno, Theodor W.
Beethoven : The Philosophy of Music.
Oxford : Wiley, ©2002
Named Person: Ludwig van Beethoven; Ludwig van Beethoven
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Theodor W Adorno; Rolf Tiedemann
ISBN: 9780745694290 0745694292
OCLC Number: 927500397
Description: 1 online resource (246 pages)
Contents: ""CONTENTS""; ""TITLE PAGE""; ""COPYRIGHT""; ""EDITORS PREFACE""; ""ACKNOWLEDGEMENTS""; ""Fragments and Texts""; ""ONE PRELUDE""; ""TWO MUSIC AND CONCEPT""; ""Towards a Theory of Beethoven""; ""THREE SOCIETY""; ""Text 1: The Mediation Between Music and Society""; ""FOUR TONALITY""; ""FIVE FORM AND THE RECONSTRUCTION OF FORM""; ""SIX CRITIQUE""; ""SEVEN THE EARLY AND CLASSICAL PHASES""; ""On the Piano Trio op. 97: Elements of a Theory of the Extensive Type""; ""Towards a Theory of Beethoven""; ""EIGHT VERS UNE ANALYSE DES SYMPHONIES""; ""Text 2a: Beethoven’s Symphonies"" ""Text 2b: Radio and the Destruction of Symphonic Form""""NINE THE LATE STYLE (I)""; ""Text 3: Beethoven's Late Style""; ""Text 4: Ludwig Van Beethoven: Six Bagatelles for Piano, op. 126""; ""TEN LATE WORK WITHOUT LATE STYLE""; ""Text 5: The Alienated Magnum Opus: On the Missa Solemnis""; ""ELEVEN THE LATE STYLE (II)""; ""TWELVE HUMANITY AND DEMYTHOLOGIZATION""; ""Text 6: The Truth Content of Beethoven's Music""; ""APPENDIX I""; ""Text 7: Rudolph Kolisch's Theory of Tempo and Characters in Beethoven""; ""APPENDIX II""; ""Text 8: 'Beautiful Passages' in Beethoven""; ""APPENDIX III"" ""Text 9: Beethoven's Late Style""""ABBREVIATIONS""; ""EDITORS NOTE""; ""EDITORIAL AFTERWORD""; ""COMPARATIVE TABLE OF FRAGMENTS""; ""THEMATIC SUMMARY OF CONTENTS""; ""INDEXES""

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-Great works of art, Adorno knew, always resist the attempt to subsume them under theoretical categories. In the case of a supreme artist like Beethoven, a lifetime of futile efforts by Adorno to Read more...

 
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