This is a blog for the community of Rhetoric 108—On the Philosophy of Music: "Music to Hear"—in the Department of Rhetoric at the University of California, Berkeley, Spring 2011 and Fall 2011.
Tuesday, April 19, 2011
Schonberg with Adorno on Counterpoint See Power Point
While there is a continual base of articulated rhythm a connective patterning from pronunciating features reconstituted this base foundation. Concentration will only worsen the listening experience through false comprehension just as removing the pine from a porcupine will likely cause more pain before any remedial effect. The reversing of this process is open to interpretation as being the appropriate mode because of the negligence to "hypostatiz[e] something as being that [which] is in fact a process, a becoming, and into elevating a behaviour to the level of human becoming."
It would feel as if the behaviour would be more quality seeking if this sort of approach didn't compromise raison d'être in a way that allowed for music that is not, and music that is, music to express something emanating uniquely in music. The discussion by Adorno of art as rejecting raisin d'être would follow through if music produced for articulative comprehension was distinct from a kind produced for interpretation. I don't believe music can be effectively absolute in its ends based on these sorts of conceptual intents during (pre)production.
This comment has been removed by the author.
ReplyDeleteThe interplay between the strings remind me of The lyrical work here:
ReplyDeletehttp://www.youtube.com/watch?v=7JYtpQDcwKw&feature=related
While there is a continual base of articulated rhythm a connective patterning from pronunciating features reconstituted this base foundation. Concentration will only worsen the listening experience through false comprehension just as removing the pine from a porcupine will likely cause more pain before any remedial effect. The reversing of this process is open to interpretation as being the appropriate mode because of the negligence to "hypostatiz[e] something as being that [which] is in fact a process, a becoming, and into elevating a behaviour to the level of human becoming."
It would feel as if the behaviour would be more quality seeking if this sort of approach didn't compromise raison d'être in a way that allowed for music that is not, and music that is, music to express something emanating uniquely in music. The discussion by Adorno of art as rejecting raisin d'être would follow through if music produced for articulative comprehension was distinct from a kind produced for interpretation. I don't believe music can be effectively absolute in its ends based on these sorts of conceptual intents during (pre)production.