Friendly remainders : essays in musical criticism after Adorno

MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict Cover 1 Contents 6 Preface 8 1 Ashton’s Remainder 16 2 Just for Nice 42 3 The Work of Music 71 4 Technique 86 5 Wagner, Terrorist 115 6 Spätstil Zappas 133 7 Stars down from Heaven 152 8 Moses und Adorno 185 Conclusion 199 Notes 206 Works Cited 238 Index 252 A 252 B 254 C 255 D 256 E 256 F 256 G 256 H 257 I 257 J 257 K 257 L 257 M 257 N 258 O 259 P 259 R 259 S 259 T 260 V 260 W 260 Z 261 Dineen Draws On Adorno's Concept Of The Negative Dialectic, Examining Its Importance In Adorno's Thought And Its Critical Application To Musical Forms. Moving Beyond A Positivist View Where Musical Object And Appreciation Operate As A Synthesis, The Negative Dialectic Method Focuses On Divergence And Dissonance In Musical Forms And In Society. Contradictions And Divergent Details And Concepts Become 'remainders,' Friendly Because Of The Fresh Perspective They Offer On Musical Forms. Dineen Examines These Contradictory Remainders In Subjects Such As The Fascist Element In Wagner's Character, The Torpor Of Schoenberg's Twelve-tone Method, The Self-contradiction Implicit In Beethoven's Late Style, Frank Zappa's Attempt To Define Himself As A 'serious' Composer, The Reactionary Stasis In Marilyn Manson's Dvd 'guns, God And Government World Tour,' And The Death Motive In John Coltrane--p. [4] Of Cover. Ashton's Remainder -- Just For Nice -- The Work Of Music -- Technique -- Wagner, Terrorist -- Spätstil Zappas -- Stars Down From Heaven -- Moses Und Adorno -- Conclusion. Murray Dineen. Includes Bibliographical References (p. [225]-238) And Index. Friendly Remainders draws on Adorno's concept of the negative dialectic, examining its importance in Adorno's thought and its critical application to musical forms. Moving beyond a positivist view where musical object and appreciation operate as a synthesis, the negative dialectic method focuses on divergence and dissonance in musical forms and in society. Contradictions and divergent details and concepts become "remainders," friendly because of the fresh perspective they offer on musical forms. Dineen examines these contradictory remainders in subjects such as the fascist element in Wagner's character, the torpor of Schoenberg's twelve-tone method, the self-contradiction implicit in Beethoven's Late Style, Frank Zappa's attempt to define himself as a "serious" composer, the reactionary stasis in Marilyn Manson's DVD "Guns, God and Government World Tour," and the death motive in John Coltrane. Friendly Remainders takes seriously the project of making Adorno accessible, asking the same questions of classical and popular music - taking the measure of Mahler as much as Manson - for the value of the critical insights they provoke. Dineen draws on Adorno's concept of the negative dialectic, examining its importance in Adorno's thought and its critical application to musical forms. Moving beyond a positivist view where musical object and appreciation operate as a synthesis, the negative dialectic method focuses on divergence and dissonance in musical forms and in society. Contradictions and divergent details and concepts become 'remainders, ' friendly because of the fresh perspective they offer on musical forms. Dineen examines these contradictory remainders in subjects such as the fascist element in Wagner's character, the torpor of Schoenberg's twelve-tone method, the self-contradiction implicit in Beethoven's Late Style, Frank Zappa's attempt to define himself as a 'serious' composer, the reactionary stasis in Marilyn Manson's DVD 'Guns, God and government world tour, ' and the death motive in John Coltrane"--Page [4] of cover A critical look at modern music from Beethoven and Coltrane to Schoenberg and Zappa