Adorno introduces this article by identifying “two spheres of music”, that being popular music and serious music. Adorno On ‘Musical Language’ The starting point […] 4 1938 was a significant year for Adorno. In 1947 Theodor W. Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music.Intensely polemical from its first publication, every aspect of this wor I. https://www.thefamouspeople.com/profiles/theodor-w-adorno-2996.php The musical material : by Theodor W. Adorno, with the assistance of George Simpson : Originally published in: Studies in Philosophy and Social Science, New York: Institute of Social Research, 1941, IX, 17-48. THEODOR ADORNO & MASS CULTURE A Cuddly Introduction to a Controversial Topic, with passing reference to Adorno & Horkheimer's humdinger of a volume Dialectic of Enlightenment. Theodor Adorno‟s theory of listener regression is set out most comprehensively in the second part of his 1938 essay “On the Fetish Character in Music and the Regression of Listening”. Adorno's father, Oskar Wiesengrund (1870-1946), was a wine merchant and an assimilated Jew who Theodor Wiesengrund Adorno was born in Frankfurt am Main on 11 September 1903.1 He died from a heart attack just short of his sixty-sixth birthday on 6 August 1969 while on vacation in Switzerland. Before his death in August 1969 (the very reason the Beatles disbanded, as their master composer was gone) 9. A publishing event—a revealing new translation of Theodor Adorno's manifesto of musical radicalism? Adorno, Theodor (1941) ‘On Popular Music’, Studies in Philosophy and Socail Science, No. ACCADEMIA MUSICALE CHIGIANA SIENA, November 21-23 2019 Symposium The Mediations of Music: Theodor W. Adorno’s Critical Musicology today Conception: Gianmario Borio Advisory Board: Stefano Jacoviello, Nicola Sani, Stefano Velotti SESSION 1: Music in the Electronic Age Dietrich Mersch’Music is the Logic of Judgmentless Synthesis’ . This text was performed by Ben Watson at Goldsmiths College, New Cross on 18 October 1995, with quotes from Adorno projected on the wall like placards borne aloft in a Brecht play.

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