Performance and the Silent Work
This article examines the concept of silence in Adorno’s writings on musical performance, and in particular in his unfinished project Zu einer Theorie der musikalischen Reproduktion. The relation between reflexion, mediation and reification in music is explored conceptually, taking as the central po...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/filigrane, |
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| Prif Awdur: | |
| Fformat: | Article ou chapitre numérique |
| Iaith: | Anglais |
| Cyhoeddwyd: |
Filigrane
2024
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| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Crynodeb: | This article examines the concept of silence in Adorno’s writings on musical performance, and in particular in his unfinished project Zu einer Theorie der musikalischen Reproduktion. The relation between reflexion, mediation and reification in music is explored conceptually, taking as the central point of reference Adorno’s notion of silence as muteness (Stummheit). This is employed as a limiting concept (Grenzbegriff) in its various manifestations as the ‘silent work’, ‘silent reading’, ‘silent music-making’, and ultimately music ‘falling silent’ as critique. It is argued that the silent reading of the score functions as the extreme case which serves to reveal the gesture of muteness underlying the performed musical work, and which constitutes its riddle-character. |
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