Книга "Течение музыки" (англ. "Current of Music") рассказывает о периоде жизни немецкого философа Теодора Адорно, когда он, бежав от нацистов, находился в Нью-Йорке в качестве беженца с 1938 по 1941 год. В эти годы он углубленно изучал, как недавно разработанные техники массовой передачи музыки по радио трансформировали восприятие самой музыки. Это исследование было задумано как исследование, частично эмпирическое, утверждений Вальтера Беньямина о потенциале освобождения искусства в эпоху его механического воспроизведения. Результаты проекта Адорно привели его в решительное противоречие с тезисами Беньямина и в то же время стали основой мышления Адорно в его "Философии новой музыки". "Течение музыки" - это название, которое сам Адорно дал этому проекту. Однако по сложным причинам Адорно не смог завершить несколько тысяч страниц этого масштабного исследования, большая часть которого была написана на английском языке, до отъезда из Нью-Йорка в Калифорнию, где он немедленно приступил к работе с Максом Хоркхаймером над "Диалектикой Просвещения". Роберт Хуллот-Кентор, выдающийся ученый Адорно, восстановил проект Адорно для Архива Адорно в Германии и предоставил длинное и информативное введение к фрагментарным текстам, собранным в этом томе. "Течение музыки" будет широко обсуждаться из-за того, как она проясняет развитие мышления Адорно, его сложные отношения с Вальтером Беньямином, а, главное, из-за важных перспектив, которые она предоставляет на вопросы популярной культуры, музыки промышленного развлечения, истории радио и социальных аспектов воспроизведения искусства.
Adorno, one of the great German philosophers, was forced to leave Germany in 1933 due to his political activism. As he fled Nazi Germany, Adorno spent intensive time studying the way in which new techniques of music communication were being applied by the radio. He became convinced that the "philosophy of music" developed in concrete circumstances would firmly ground the aesthetic approach, and his practice of German Philosophy in relation to musical theory was probably the foundation for his later philosophical aesthetics, according to Hegel and Baumgarten, for example.\nAmong the current projects, Adorno devised a title for this study: "Current of Music". Despite the fact that many of these concepts helped underpin his own philosophy, paradoxically, Adorno lost interest in finalising the wider project prior to migration to New York. However, Robert Hullot has reconstructed the project following a determination from Adorno after reuniting with Max Horkemaker in Berkley.\nAs the cultural historian and spokesperson for the Professor of German Cultural Studies Bank in Amsterdam explains, "the fragments collected here are initially presented in chronological order, starting with the introduction of mass democracy, first radio messages then both written and verbal expressions.\nA few themes were isolated, including political culture (e.g., newspapers, cartoons, popular song text) and artistic output (Buttel, rooms, musical compositions).
Электронная Книга «Current of Music» написана автором Группа авторов в году.
Минимальный возраст читателя: 0
Язык: Английский
ISBN: 9780745692883
Описание книги от Группа авторов
Fleeing the Nazis, Theodor W. Adorno lived in New York City as a refugee from 1938 until 1941. During these years, he was intensively involved in a study of how the recently developed techniques for the nation-wide transmission of music over radio were transforming the perception of music itself. This broad ranging radio research was conceived as nothing less than an investigation, partly empirical, of Walter Benjamin's speculative claims for the emancipatory potential of art in the age of its mechanical reproduction. The results of Adorno's project set him decisively at odds with Benjamin's theses and at the same time became the body of thinking that formed the basis for Adornos own aesthetics in his Philosophy of New Music. Current of Music is the title that Adorno himself gave to this research project. For complex reasons, however, Adorno was not able to bring the several thousands of pages of this massive study, most of it written in English, to a final form prior to leaving New York for California, where he would immediately begin work with Max Horkheimer on the Dialectic of Enlightenment. Robert Hullot-Kentor, the distinguished Adorno scholar, reconstructed Adorno's project for the Adorno Archive in Germany and provides a lengthy and informative introduction to the fragmentary texts collected in this volume. Current of Music will be widely discussed for the light it throws on the development of Adorno's thought, on his complex relationship with Walter Benjamin, but most of all for the important perspectives it provides on questions of popular culture, the music of industrial entertainment, the history of radio and the social dimensions of the reproduction of art.
