Towards a Theory of Musical Reproduction by Theodor W. Adorno

Towards a Theory of Musical Reproduction by Theodor W. Adorno

Author:Theodor W. Adorno
Language: eng
Format: epub
ISBN: 9780745631981
Publisher: Wiley
Published: 2014-09-09T12:10:34+00:00


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Rethink the relationship to mechanical reproduction. The old argument of the disappearance of the performer207 is probably in need of revision, not least in the face of the latest developments, which this argument endorses. For traditional music until Schönberg and Webern, including these, is by its own definition dependent on performers. This is very closely connected to the neumic element of notation. Where subjectivity, sense, and that which opposes what has become estranged are essential to the matter itself, yet at the same time congealed, ‘encoded’ within it, that aspect requires an equal, namely the subject, in order to be salvaged – precisely for the sake of the factual content. My earlier view was too simplified. Here I shall also have to address certain distinctions made by Kurth – admittedly expressed rather psychologistically – for example between tone psychology and music psychology;208 tone and music have so far been confused in the electronic theory. Equally criticize Seashore;209 what he calls deviation is precisely the true constituent of music, not a mere ingredient (this shows a general tendency in my thinking in relation to widespread views). See if Furtwängler's reactionary theory of ‘inexactitude’210 and the corresponding practical approach could perhaps be retrieved. Dialectically, of course: the inexact, for example the stipulation that no beat should be mechanically equal to another, should itself be taken exactly, i.e. developed strictly from the musical context. On the other hand, music-making has often lagged behind the most advanced methods of technical reproduction – those of film – and above all, for social reasons, it has not yet made full use of the radio. And so the old-fashioned, entirely inadequate rehearsal system (cf. ‘Neue Musik/Interpretation/Publikum’) continues unchanged, instead of the radio organizing as many rehearsals as necessary in order to achieve authentic performances and then capture them. A film director can ‘shoot’ a single scene ten times and then choose the best take. The same should be possible with music on the radio, although one would still have to see whether and on what scale one could also create a final performance through montage (the ‘living totality’ of a performance, especially with larger forms, is probably a mere ideology, as in many other areas). Incidentally: the function of the conductor as compared to that of the film director. It is based largely on an archaic economy of scarcity. Because of the lack of rehearsal time, the supposedly specific conducting talent of direct, suggestive transmission of intention is demanded of the conductor; and where this is lacking, one indeed finds – under the present circumstances – only flat, inadequate performances. But where is it written that according to the matter itself interpretation should be tied to gestures and signs with the ideal of minimal explanations? It is solely the result, the true interpretation, that matters; how it is reached is unimportant; the ‘fascinating’ conductor is a fetish like the master violinist, and belongs to the culture industry. The first violinist of a quartet is already entitled to explain and interrupt as much as he pleases, and will indeed do so.



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