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Towards a Theory of Musical Reproduction TOWARDS A THEORY OF MUSICAL REPRODUCTION TOWARDS A THEORY OF MUSICAL REPRODUCTION Notes, a Draft and Two Schemata Theodor W. Adorno Edited by Henri Lonitz Translated by Wieland Hoban polity First published in German as Zu einer Theorie der musikalischen Reproduktion: Aufzeichnungen, ein Entwurf und zwei Schemata by T. W. Adorno © Suhrkamp Verlag, Frankfurt am Main, 2001. This English translation copyright © Polity Press 2006. Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Polity Press 350 Main Street Malden, MA 02148, USA All rights reserved. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. ISBN-10: 0-7456-3198-3 ISBN-13: 978-07456-3198-1 ISBN-10: 0-7456-3199-1 (pb) ISBN-13: 978-07456-3199-8 (pb) A catalogue record for this book is available from the British Library. Typeset in 10½ on 12 pt Sabon by SNP Best-set Typesetter Ltd, Hong Kong Printed and bound in India by Replika Press Pvt Ltd. The publisher has used its best endeavours to ensure that the URLs for external websites referred to in this book are correct and active at the time of going to press. However, the publisher has no responsibility for the websites and can make no guarantee that a site will remain live or that the content is or will remain appropriate. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publishers will be pleased to include any necessary credits in any subsequent reprint or edition. For further information on Polity, visit our website: www.polity.co.uk The publication of this work was supported by a grant from the Goethe-Institut. CONTENTS editor’s foreword xi translator’s introduction xvi NOTES I 1 Ad Dorian 7 On Richard Wagner’s ‘Über das Dirigieren’ 24 Concerning the older material 51 Ad ancient musical notation 57 Notes taken after the Darmstadt lecture 91 NOTES II 157 DRAFT 163 Structural keywords for chapters 2, 4 and 5 of the draft 214 MATERIAL FOR THE REPRODUCTION THEORY 216 TWO SCHEMATA 226 APPENDIX: KEYWORDS FOR THE 1954 DARMSTADT SEMINAR 228 notes 235 bibliography 272 index of names 274 DETAILED CONTENTS Editor’s Foreword xi Translator’s Introduction xvi Notes I 1 Overview: X-ray image 1 – Substitutability of the different dimensions of music- making I 2 – Fidelity to the letter 2 – Mimetic element in reproduction 2 – Analysis as a precondition for reproduction 2 – The ideal of silent music-making 2 – What is a musical text? 3 – Musical notation and writing 3 – Two fundamentally incorrect notions of the nature of musical interpretation 3 – Musical sense I 3 – Toscanini’s style of presentation 4 – Non-intentionality of the musical text 4 – Reading music as a conceptual extreme 5 – Critique of the culinary 5 – Change in the musical work and reproduction 5 – Works unfold within time 5 – Insuffi ciency of older records 6 – Writing and instrument 6 – Parting of the sensual and intellectual aspects of music 6 – The musician as ‘player’ 6 – Rubato 7 – Historico-philosophical interpre- tation of the dominance of interpretation over the matter itself 7 – Objectivity of reproduction 7 – Ad Dorian 7 – Wagner’s ‘Über das Dirigieren’ 24 – Historical character of interpretation 30 – Critique of musical historicism 40 – Wagner’s ‘Über den Vortrag der IX. Symphonie Beethoven’s’ 40 – Representation of the dialectical image of the composition 49 – The works’ process of becoming uninterpret- able I 49 – On the critique of historicism 50 – Dialectic of retouching I 50 – Reproduction is a form 51 – Concerning the older material 51 – Mechanization 52 – On the origin of musical notation 52 – detailed contents vii Playing from memory 54 – Against relativism of interpretation 54 – Rigour and freedom 55 – Idiom 56 – Why is the change undergone by the works objective? 56 – Ad ancient musical notation: Riemann 57 – Mimic nature of music 63 – Intentionality in music and language 64 – Notation as sign and image 64 – Theory of musical listening 65 – Polyvalence of the texts 65 – Objectivity through an increase in subjectivity 65 – Character and totality 66 – Playing dissonances 66 – Desiderata 66 – On the terminology 67 – On the dialectic between the idiomatic, neumic and mensural elements of interpretation 67 – Against the fetishism of the musical text 67 – On determining what is ‘musical’ 68 – The idiomatic element is not equally strong with all composers and schools 68 – The idiomatic and language 69 – True reproduction and analysis I 69 – Theory of sight-reading I 69 – ‘Tempo giusto’ 69 – Interpretation as a dialectical process 69 – Rules 70 – On the theory of phrasing I 70 – Defi nition of the musical 71 – On musical stupidity 72 – Thematic music-making I 72 – Critique of the ‘dead interval’ 72 – Tradition and notation 72 – Insuffi ciency of musical notation 73 – On the theory of phrasing II 73 – The functions of the elements of presentation 73 – Musical elements and sign system 74 – The subcutaneous 74 – Basic rule: realize intention 74 – On the presentation of new music 74 – On the opening of the Fifth Symphony by Beethoven 75 – On the B fl at major Trio by Beethoven 75 – Correct characters and correct tempi; latent beat 76 – Correct delivery of a theme 76 – Espressivo 77 – Expression and tempo 78 – Presentation and substance 79 – Retrieval through interpretation and critique 79 – Anger as an element of interpretation 80 – ‘Beautiful passages’ 80 – Interpretation as the renewal of the composition’s force fi eld 80 – True reproduction and analysis II 81 – Theory of sight-reading II 81 – Dynamic extremes 82 – Dialectic of retouching II 82 – On the theory of phrasing III 83 – ‘Tradition is sloppiness’ 85 – On the concept of clarity I 85 – The works’ process of becoming uninterpretable II 86 – On the theory of improvisation 87 – Bach interpretation 87 – On the distinction of the concept of musical insight 88 – The voice as carrier of expression and as instrument 88 – Against caution 89 – Playing realistically as a criterion 89 – Treat- ment of tempo 90 – Form as sedimented content 90 – Interpretation as disassembly and reassembly 90 – Layers of incorrect interpretation 91 – [Notes taken after the Darmstadt Lecture] The idea of revealing the subcutaneous 91 – Critique of the sonic façade 91 – Correct interpretation as an idea 92 – Musical sense II 92 – Music as a force fi eld 92 – The author is not the fi nal authority 93 – On the concept of the mensural element 93 – On the concept of the neumic 94 – Objectivism as the dying-out of the idiomatic element 97 – Analysis viii detailed contents and representation 95 – Negative representation 96 – Imagination as the analytical-reconstructive element 96 – Against the separation of emotion and intellect 97 – Task of analysis 97 – Dying-out of inter- pretation and the idea of true interpretation 97 – Making music against tonal hierarchies 97 – Interpretation and alienation 98 – Tempered intonation and mode of playing 99 – On the problem of the culinary; neutralization 99 – On the concept of clarity II 100 – Thematic music-making II 101 – Against the false separation and contamination of musical elements 101 – Basic rule for tempo 102 – Discussion of Kolisch’s ‘Tempo and Character in Beethoven’s Music’ 102 – Tempo problem as an expression of the compositional antago- nism between the parts and the whole 103 – Tempo treatment as a function of musical content 103 – On dynamics 105 – Dynamics and distinction between principal voice, secondary voice and completely receding voice 106 – Dynamics and musical sense 107 – Music is not a standard condition 108 – Thematic music-making III 108 – On the theory of phrasing IV 109 – On the study’s strategy 111 – Freedom and technical disposal 111 – Representation of harmonic relation- ships through the form 112 – Higher questions of interpretation 114 – On the theory of the conductor I 114 – On the theory of musical stupidity as a critical theory of interpretation 115 – On the theory of the conductor II 116 – Construction and clarity 116 – Reproduction and control over nature 116 – Relationship between tempo and com- position 117 – On the relationship between the objectivity of the matter and subjective imagination 118 – Critique of ‘higher questions of interpretation’ 119 – On the theory of the conductor III 119 – Sig- nifi cance 119 – Running thread 120 – Secret of true interpretation 120 – Critique of historicism 121 – ‘Music-making’ and ego weakness 121 – Socio-economic conditions of interpretation 121 – Against intuitionism and positivism 122 – On the difference between the respective presentation of traditional and new music; rules of thumb 122 – Quick melodies 123 – Notation and subjective intention 123 – Postulate of clarity 124 – For equal temperament 124 – Presentation of dense polyphony 124 – Sound space 125 – Main rule for the pres- entation of polyphony 126 – Critique of false connections on the sound-surface 126 – Critique of dropping 126 – Solution of the problems of interpretation through models 127 – Elements of inter- pretation within the compositions 127 – Higher problems of presen- tation 128 – Taking up impulses I 129 – Interpreting means: composing the composition in the way that it wishes to be composed itself 129 – Layers of musical interpretation 130 – Interpretation participates in the dialectic of labour division 130 – Against recogniz-
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