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Music and technology. --- Music appreciation. --- Music --- Philosophy and aesthetics. --- Technology and music --- Hermeneutics (Music) --- Musical aesthetics --- Analytical guides (Music) --- Appreciation of music --- Musical appreciation --- Aesthetics --- Philosophy --- Analysis, appreciation --- Analytical guides --- Appreciation --- Music theory --- Technology --- Musical analysis --- Instruction and study --- Music appreciation --- Music and technology --- Philosophy and aesthetics

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Adorno believed that a circular relationship was established between immediacy and mediation. Should we now say that this model with its clear Hegelian influence is outdated? Or does it need some theoretical integration? This volume addresses these questions by covering the performance of music, its technological reproduction and its modes of communication – in particular, pedagogy and dissemination through the media. Each of the book’s four parts deal with different aspects of the mediation process. The contributing authors outline the problematic moments in Adorno’s reasoning but also highlight its potential. In many chapters the pole of immediacy is explicitly brought into play, its different manifestations often proving to be fundamental for the understanding of mediation processes. The prime reference sources are Adorno’s Current of Music, Towards a Theory of Musical Reproduction and Composing for the Films. Critical readings of these texts are supplemented by reflections on performance studies, media theories, sociology of listening, post-structuralism and other contiguous research fields.

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Composition (Music) --- Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Composing (Music) --- Music composing --- Music composition --- Musical composition --- Concertante style --- Congresses --- Philosophy and aesthetics&delete& --- Composition --- composities (muziek) --- muziektheorie --- esthetiek --- muziek --- Philosophy and aesthetics

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"Das Werk Friedrich Holderlins beruht auf musikalischen Gesetzen; seine Poetik nennt er einen "Wechsel der Tone", seine Gedichte "Gesange"; Hyperion strebt nach der "Auflosung der Dissonanzen". Seine Dichtung wurde im 20. Jahrhundert fur Komponisten zu einem zentralen Bezugspunkt und stellte fur sie eine Zasur und das Symbol eines uberindividuellen Tendenzwechsels dar. Vernachlassigt wurden bis heute die poetologischen Grunde, die zu einer solchen Flut von Vertonungen fuhrten; selten hat man sich gefragt, warum Holderlins Dichtung solche Anziehungskraft auf Komponisten ausubt(e). Unter diesen Voraussetzungen werden im Band die musikalischen Elemente in Holderlins Dichtung und die musikalische 'Ubersetzung' seiner Dichtung bei den Komponisten untersucht. Der Band ist das Ergebnis der Tagung "Wechsel der Tone", die 2017 an der Fondazione Giorgio Cini in Venedig stattfand und eine enge Zusammenarbeit von Germanistik und Musikwissenschaft abbildet."--Publisher's information.

Music and literature --- German poetry --- Hölderlin, Friedrich,

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muziek --- muziektheater --- voordrachtskunst --- anno 1900-1999 --- 530 --- Muziekwetenschappelijke essays