Music Criticism and Adorno
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چکیده
Résumé When thinking of Adorno and music criticism, two strategies suggest themselves. The one is to look at the kind of criticism, cultural criticism in general and music criticism in particular, propagated by Adorno. It is, after all, difficult to overestimate the degree of his influence on musical thought in the twentieth century (whether one agrees with his views or not) and of the intellectual history of music traditional logic and the crisis of language when interpreting music is discussed. Special attention is paid to the not inconsiderable challenges the Adornian text presents to the reader, and the relevancy of these texts in the present as a source of critical concepts, techniques and results. Lastly, the article also dwells on the position of the (music) critic vis-à-vis society as an enabling position for Adorno’s so-called ‘immanent’ criticism by restating and interrogating some arguments in his essay in Prisms, ‘Cultural Criticism and Society’. The Adornian alternatives of immanent criticism and transcendent criticism are explained through a close reading of this essay.
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