Introduction Musicking As a Cultural Practice Unless Otherwise Noted, All

Notes

Introduction Musicking as a Cultural Practice

Unless otherwise noted, all translations from German are my own. Likewise, all italics within quotations appear in the original text unless indicated by my own emphasis. 1. Hannah Arendt, Men in Dark Times (New York: Harcourt Brace & Company, 1968). 2. For a “utopian” reading of these emancipatory practices, see Slavoj Žižek, The Year of Dreaming Dangerously (London: Verso Press, 2012). 3. Friedrich Hölderlin, “Patmos,” in Hymns and Fragments, trans. Richard Sieburth (Princeton: Princeton University Press, 1984), 89. 4. For a damning assessment of this political era from a perspective similar to the critical theory of the Frankfurt School, see Robert Hullot-Kentor, Things Beyond Resemblance: Collected Essays on Theodor W. Adorno (New York: Columbia University Press, 2006), 2–3. 5. Since the early twentieth century, Berlin has maintained a strong leftist political tradition (especially, in its eastern boroughs) as well as a large and diverse alternative scene of artists, musicians, and writers. While first drafting this text, Berlin was governed by an unprecedented “red-red coalition” of the center-left Social Democratic Party of Germany and the far-left Party of Democratic Socialism, which succeeded the Socialist Unity Party of Germany, the Marxist–Leninist political party that had previously ruled East Germany. 6. Rolf Dieter Brinkmann, Briefe an Hartmut. 1974–1975 (Reinbek bei Hamburg: Rowohlt Verlag, 1999), 93. 150 / notes

7. For a late capitalist study of this ideological appropriation, see Joseph Heath and Andrew Potter, Nation of Rebels: Why Counterculture Became Consumer Culture (New York: HarperCollins Publishing, 1995). 8. EA80, 2 Takte Später, self-release, 1985, LP. 9. Peter Wicke, Rock Music: Culture, Aesthetics and Sociology, trans. Rachel Fogg (Cambridge, UK: Cambridge University Press, 1990), 174–75. This passage is taken from the text’s conclusion, which was rewritten for the English translation. Wicke’s original conclusion addresses the future of popular music in the former East Germany. See his Rockmusik. Zur Ästhetik und Soziologie eines Massenmediums (Leipzig: Reclam Verlag, 1987), 236–50. He is Germany’s first professor for the Theory and History of Popular Music at the Humboldt-Universität zu Berlin. I kindly acknowledge Wicke for supporting my affiliation with the university’s Center for Popular Music Research during my academic stay in Berlin from 2003 to 2004. 10. Following philosopher Antonio Gramsci’s formulations on hegemony, a “cultural-revolutionary” condition is a historically specific field of possible “collective and individual subject forma- tions.” In this new cultural hegemony, people would achieve— through sound—an enhanced critical understanding of their historically and ideologically specific subjectivity. See Jürgen Link, “Kulturrevolutionäre Strategien und Taktiken—Damals und Heute (Vortrag im Mai 1988 an der FU Berlin im Rahmen der Ringvorlesung ‘Mai 68 und die Folgen’),” kultuRRevolution 21 (Juli 1989): 31. 11. Jürgen Habermas, Knowledge and Human Interests, trans. Jeremy J. Shapiro (Boston: Beacon Press, 1971), 55. 12. Herbert Marcuse, “A Note on Dialectic,” in Reason and Revolution: Hegel and the Rise of Social Theory, 2nd ed. (Boston: Beacon Press, 1960), ix. 13. Pamela M. Potter, Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler’s Reich (New Haven: Yale University Press, 1998), x. 14. Christopher Small, Musicking: The Meanings of Performing and Listening (Hanover, NH: Wesleyan University Press, 1998), 9. notes / 151

15. For standard historical and theoretical surveys of the Frankfurt School, see Susan Buck-Morss, The Origin of Negative Dialectics: Theodor W. Adorno, Walter Benjamin, and the Frankfurt Institute (New York: Macmillan Free Press, 1977); David Held, Introduction to Critical Theory: Horkheimer to Habermas (Berkeley: University of California Press, 1980); Martin Jay, The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research, 1923–1950 (Berkeley: University of California Press, 1996); and Rolf Wiggershaus, The Frankfurt School: Its History, Theories, and Political Significance, trans. Michael Robertson (Cambridge, MA: Massachusetts Institute of Technology Press, 1994). For a reveal- ing study of the school’s exile from Nazi oppression in New York and California from 1934 to 1950, see Thomas Wheatland, The Frankfurt School in Exile (Minneapolis: University of Minnesota Press, 2009). 16. Max Horkheimer, “Traditional and Critical Theory,” in Critical Theory: Selected Essays, trans. Matthew J. O’Connell et al. (New York: Seabury Press, 1975), 199. Here, critical theory differs from post-structuralist theory and criticism by its insistence on retaining the concept of the subject, however problematic and fractured. 17. Theodor W. Adorno, Towards a Theory of Musical Reproduction: Notes, a Draft and Two Schemata, ed. Henri Lonitz, trans. Wieland Hoban (Cambridge, UK: Polity Press, 2006), 230. 18. See Mário Vieira de Carvalho, “Towards Dialectical Listening: Quotation and Montage in the Work of Luigi Nono,” Contemporary Music Review 18 (1999): 37–85. 19. Mário Vieira de Carvalho, “ ‘New Music’ between Search for Identity and Autopoiesis: Or, the ‘Tragedy of Listening,’ ” Theory, Culture & Society 16 (1999): 128. 20. Peter Wicke, Proseminar: “Populäre Musik in der Theorie: Theoreme— Methoden—Konzepte—Paradigmen,” Musikwissenschaftliches Seminar, Humboldt-Universität zu Berlin, October 31, 2003. 21. See Lawrence Kramer, “Subjectivity Rampant! Music, Her meneutics, and History,” in The Cultural Study of Music: A Critical Introduction, ed. Martin Clayton, Trevor Herbert, and Richard Middleton (New York: Routledge Publishing, 2003), 124–35. Even though music’s social intelligibility is ultimately constructed 152 / notes

through its discursive circulation as a material practice of real individuals, it is still able to sustain a fleeting degree of aesthetic autonomy: the metonymic slippage of musical signifiers always prevents the reification of precise semantic decodings. 22. John Shepherd and Peter Wicke, Music and Cultural Theory (Cambridge, UK: Polity Press, 1997), 20. 23. Jacques Attali, Noise: The Political Economy of Music, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1985). 24. Attali, Noise, 29. 25. Theodor W. Adorno and Max Horkheimer, Dialectic of Enlightenment: Philosophical Fragments, ed. Gunzelin Schmid Noerr, trans. Edmund Jephcott (Stanford: Stanford University Press, 2002), 9. 26. For two key cultural analyses of tonal harmony, see Susan McClary, Feminine Endings: Music, Gender, and Sexuality, 2nd ed. (Minneapolis: University of Minnesota Press, 2002) and Christopher Small, Education, Music, Society (Hanover, NH: Wesleyan University Press, 1996). 27. See Raymond Williams, “Structures of Feeling,” in Marxism and Literature (New York: Oxford University Press, 1977), 128–35. 28. Louis Althusser, “Ideology and Ideological State Apparatuses (Notes towards an Investigation),” in Lenin and Philosophy and Other Essays, trans. Ben Brewster (New York: Monthly Review Press, 1971), 127–86 and “Anmerkungen über die ideologischen Staatsapparate (ISA),” in Ideologie und ideologische Staatsapparate, ed. Peter Schöttler, trans. Rolf Löper, Klaus Riepe, and Peter Schöttler (Westberlin: VSA Verlag, 1977), 154–68. The latter text is only available in the original French and German translation. Music serves as an ideological state apparatus, because ideology’s very act of interpellation has “clearly a conspicuously sonoric dimension.” John Mowitt, Percussion: Drumming, Beating, Striking (Durham: Duke University Press, 2002), 45. 29. For an important dialectical analysis of the culture industry, which includes a more positive appraisal of popular culture’s critical potential, see Deborah Cook, The Culture Industry Revisited: Theodor W. Adorno on Mass Culture (Lanham, MD: Rowman & Littlefield Publishers, 1996). notes / 153

30. I am grateful to Catherine Liu for suggesting this formulation. See also Benjamin’s eighth thesis of his “On the Concept of History” (SW, 4: 392). 31. Carl Schmitt, Political Theology: Four Chapters on the Concept of Sovereignty, trans. George Schwab (Chicago: University of Chicago Press, 1985). According to philosopher Giorgio Agamben, the state of emergency was only meant to be a provisional measure. It has, however, become a normalized paradigm of governmentality in the twentieth and twenty-first century. Translated by some commen- tators as the “state of exception,” I prefer the alternate translation, “state of emergency,” since it precisely renders the need for imme- diate counterpolitical mobilization. For more information on the term’s historical and philosophical context, see Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life, trans. Daniel Heller- Roazen (Stanford: Stanford University Press, 1998) and State of Exception, trans. Kevin Attell (Chicago: University of Chicago Press, 2005). 32. Robert Walser, Running with the Devil: Power, Gender, and Madness in Heavy Metal Music (Hanover, NH: Wesleyan University Press, 1993), 29. 33. Richard Leppert, “Music ‘Pushed to the Edge of Existence’ (Adorno, Listening, and the Question of Hope),” Cultural Critique 60 (Spring 2005): 102. 34. Habermas, Knowledge and Human Interests, 310. 35. See Jürgen Habermas, “Modernity: An Unfinished Project,” trans. Nicholas Walker, in Habermas and the Unfinished Project of Modernity: Critical Essays on the Philosophical Discourse of Modernity, ed. Maurizio Passerin d’Entrèves and Seyla Benhabib (Cambridge, MA: Massachusetts Institute of Technology Press, 1997), 38–55 and Richard Rorty, “The Continuity between the Enlightenment and ‘Postmodernism,’ ” in What’s Left of Enlightenment: A Post modern Question, ed. Keith Michael Baker and Peter Hanns Reill (Stanford: Stanford University Press, 2001), 19–36. 36. Baron Hieronymus Carl Friedrich von Münchhausen was an eighteenth-century nobleman, and later fictionalized literary character, who was known for telling exaggerated and outrageous stories about his worldly adventures—including how he pulled himself, 154 / notes

and the horse that he was seated on, out of a bog by his very own hair. 37. In his lecture, “Science and Reflection” (1953), Martin Heidegger stresses that “theory” is an active involvement in the hermeneutic process: a “beholding that watches over truth.” Martin Heiddeger, The Question Concerning Technology and Other Essays, trans. William Lovitt (New York: Harper & Row Press, 1977), 165. 38. Marie Fleming, Emancipation and Illusion: Rationality and Gender in Habermas’s Theory of Modernity (University Park: Pennsylvania State University Press, 1997), 17. 39. Even for philosopher Louis Althusser, ideology is a system of material representations absolutely necessary for individuals “to be formed, transformed and equipped to respond to the demands of their condi tions of existence.” Louis Althusser, “Marxism and Humanism,” in For Marx, trans. Ben Brewster (London: Allen Lane Press, 1969), 235. However, as literary scholar James Kavanaugh points out, the concern with any social practice should be the rhetorical strategies of its discourses and their subsequent relation to the subject: “exactly how, and to exactly which ‘social conditions of existence,’ they ‘form, transform and equip’ men and women to respond.” James H. Kavanaugh, “Ideology,” in Critical Terms for Literary Study, ed. Frank Lentricchia and Thomas McLaughlin, 2nd ed. (Chicago: University of Chicago Press, 1995), 314. 40. Kristeva makes an important distinction between “revolution” and “revolt.” For her, “psychic revolt, analytic revolt, artistic revolt . . . refers to a state of permanent questioning, of transformation, change, an endless probing of appearances.” Julia Kristeva, Revolt, She Said: An Interview by Philippe Petit, ed. Sylvère Lotringer, trans. Brian O’Keefe (Los Angeles: Semiotext(e), 2002), 120. 41. Max Paddison, Adorno, Modernism and Mass Culture: Essays on Critical Theory and Music (London: Kahn & Averill Publishers, 1996), 25. 42. Max Paddison, “The Language-Character of Music: Some Motifs in Adorno,” Journal of the Royal Musical Association 116 (1991): 269. 43. For a concise summary of this new musical orientation, see David Gramit, Cultivating Music: The Aspirations, Interests, and Limits notes / 155

of German Musical Culture, 1770–1848 (Berkeley: University of California Press, 2002), 1–26. Similarly, philosopher Lydia Goehr describes how—again around 1800—the practice of classical music underwent a paradigmatic shift through the crystallization of a musical “work-concept”: that is, how an historically revered composition, now linked to the Romantic concept of the artist-genius, was to be meticulously realized in performance and exegetically expounded in criticism. See Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (New York: Oxford University Press, 1992). 44. Rajan Tilottama and David L. Clark, “Speculations: Idealism and Its Rem(a)inders,” in Intersections: Nineteenth-Century Philosophy and Contemporary Theory, ed. Rajan Tilottama and David L. Clark (Albany: State University of New York Press, 1995), 3. 45. Douglas Kellner, review of The Culture Industry Revisited, by Deborah Cook, Journal of Communication 47 (September 1997): 147. 46. Michael W. Jennings, Dialectical Images: Walter Benjamin’s Theory of Literary Criticism (Ithaca: Cornell University Press, 1987), 10. 47. Friedrich Nietzsche, The Birth of Tragedy and Other Writings, ed. Raymond Geuss and Ronald Speirs, trans. Ronald Speirs (Cambridge, UK: University of Cambridge Press, 1999), 6. 48. Paul Lafargue, “Reminiscences of Marx,” in Erich Fromm, Marx’s Concept of Man (New York: Continuum Publishing, 1995), 232. 49. I borrow this phrase from Antonín Dvořák’s song “Come, Let Us Sing and Dance Together,” which appears in his collection of unaccompanied choruses, Songs of Nature, Op. 63 (1882).

1 Friedrich Schlegel and Romanticized Music

1. For the sake of legibility, and as decoded by the editors of the Kritische Friedrich-Schlegel-Ausgabe, I have silently expanded Schlegel’s idio- syncratic and often indecipherable abbreviations (which include Greek letters, algebraic notation, and abridged words) into complete words and phrases. 2. Literary scholar Hans Eichner characterizes these observations on music as “rare and unimportant” in Friedrich Schlegel, Literary 156 / notes

Notebooks, 1797–1801, ed. Hans Eichner (Toronto: Toronto University Press, 1957), 272. He also suggests that Schlegel’s wife, Dorothea, may have directly influenced the writing of these fragments. As the oldest daughter of philosopher Moses Mendelssohn, her education—like many young women of her educated milieu— involved the study and appreciation of literature, music, and the visual arts. She was, by all accounts, a talented singer and pia- nist, who regularly attended musical performances, especially opera. Dorothea later became the beloved aunt of composer Felix Mendelssohn-Bartholdy. See Carola Stern, “Ich möchte mir Flügel wünschen”: Das Leben der Dorothea Schlegel (Reinbek bei Hamburg: Rowohlt Verlag, 1990), 28, 56, 249–50, 305. 3. To refute Forkel’s inadequate understanding of music, particularly its rhythmic quality, Schlegel vowed to write an apologia of classical Greek music in the winter of 1796 (KA, 23: 226). He, unfortu- nately, never completed this study. 4. John Daverio, Nineteenth-Century Music and the German Romantic Ideology (New York: Schirmer Books, 1993), 10. A representative list of Schlegel’s fragments on music can be found in Barbara Naumann, ed., Die Sehnsucht der Sprache nach der Musik: Texte zur musikalischen Poetik um 1800 (Stuttgart: J. B. Metzler Verlag, 1994), 177–86. See also Barbara Naumann, “Musikalisches Ideen- Instrument”: Das Musikalische in Poetik und Sprachtheorie der Frühromantik (Stuttgart: J. B. Metzler Verlag, 1990), 123–57. 5. Peter D. Krause, Unbestimmte Rhetorik. Friedrich Schlegel und die Redekunst um 1800 (Tübingen: Max Niemeyer Verlag, 2001), 190. 6. Daverio, Nineteenth-Century Music, 4. 7. Azade Seyhan, Representation and Its Discontents: The Critical Legacy of German Romanticism (Berkeley: University of California Press, 1992), 15. 8. Writing in his The Concept of Art Criticism in German Romanticism, Walter Benjamin characterized the literary and philosophical work of Schlegel as “the Romantic theory of criticism,” because he “made this problematical and philosophical object his own” (SW, 1: 118). For an introduction to Schlegel’s life and philosophical pursuits, see Ernst Behler, German Romantic Literary Theory (Cambridge, UK: Cambridge University Press, 1993), 36–40, 72–130, 131–80. notes / 157

9. Frederick C. Beiser, The Romantic Imperative: The Concept of Early German Romanticism (Cambridge, MA: Harvard University Press, 2003), 123. 10. Frederick C. Beiser, German Idealism: The Struggle against Subjectivism, 1781–1801 (Cambridge, MA: Harvard University Press, 2002), 453. 11. Throughout this essay, I take a deconstructive-anarchic view of early German Romanticism: “[T]he deconstructive-anarchic [critique of civilization] sees in Romantic criticism the formulation of a program that allows the members of society to free themselves at least momentarily from the repressive, alienating intellectual pressures of modernity, thereby creating a critical potential that is a prereq- uisite for every intervention in social reality.” Jochen Schulte-Sasse, “The Concept of Literary Criticism in German Romanticism, 1795–1810,” in A History of German Literary Criticism, 1730 –1980, ed. Peter Uwe Hohendahl (Lincoln: University of Nebraska Press, 1988), 114. 12. Michel Chaouli, The Laboratory of Poetry: Chemistry and Poetics in the Work of Friedrich Schlegel (Baltimore: Johns Hopkins University Press, 2002), 5. 13. Maurice Blanchot, “The Athenaeum,” in The Infinite Conversation, trans. Susan Hanson (Minneapolis: University of Minnesota Press, 1993), 353. 14. This evaluation of language’s hermeneutic inexhaustibility is most likely indebted to Schlegel’s Graecomania. His uncanny knack for foreign languages, notably ancient Greek, which he mastered without difficulty, allowed him to meticulously investigate the key texts of classical Greek philosophy, poetry, and rhetoric. Moreover, Greek’s renowned grammatical complexity—with its intricate chiastic structures (which demand the active participation of its readers)—ideally characterizes the rhetorical operations of an end- lessly interpretable language. See Behler, German Romantic Literary Theory, 36–39. 15. Friedrich Schlegel, On the Study of Greek Poetry, trans. Stuart Barnett (Albany: State University of New York Press, 2001), 59. 16. For further insight into the metonymic slippage of signification, see Jacques Lacan, Écrits: A Selection, trans. Bruce Fink et al. (New York: W. W. Norton & Company, 2002). 158 / notes

17. Jochen Schulte-Sasse, “Romanticism’s Paradoxical Articulation of Desire,” in TP, 5. 18. John Neubauer, The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics (New Haven: Yale University Press, 1986), 204. 19. In a subsequent interpretation of sound’s self-referentiality in 1854, music critic Eduard Hanslick argues for a purely formalist aesthetic, which prizes music for its internally coherent, technical construction. See his On the Musically Beautiful: A Contribution towards the Revision of the Aesthetics of Music, trans. Geoffrey Payzant (Indianapolis: Hackett Publishing Company, 1986). 20. Andrew Bowie, Aesthetics and Subjectivity: From Kant to Nietzsche (Manchester, UK: Manchester University Press, 1990), 2. 21. In his 1739 treatise, The Perfect Conductor, music critic Johann Mattheson helped to develop the rhetorical doctrine of affects (Affektenlehre) by describing how human emotions may be depicted by music. See his Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, trans. Ernest C. Harriss (Ann Arbor: UMI Research Press, 1981). 22. Neubauer, The Emancipation of Music, 135. 23. Roland Barthes, S/Z: An Essay, trans. Richard Miller (New York: Hill & Wang Press, 1974), 5. 24. Carl Dahlhaus, The Idea of Absolute Music, trans. Roger Lustig (Chicago: University of Chicago Press, 1989), 7. For additional studies on absolute music, see Mark Evan Bonds, Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton: Princeton University Press, 2006); Daniel K. L. Chua, Absolute Music and the Construction of Meaning (Cambridge, UK: Cambridge University Press, 1999); and Berthold Hoeckner, Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment (Princeton: Princeton University Press, 2002). 25. Wilhelm Heinrich Wackenroder, “Phantasien über die Kunst, für Freunde der Kunst,” in Sämtliche Werke und Briefe. Historisch- Kritische Ausgabe, ed. Silvio Vietta and Richard Littlejohns, 2 vols. (Heidelberg: Universitätsverlag Winter, 1991), 1: 243. After Wackenroder’s early death at age 24, Tieck edited this text and added several of his own essays. notes / 159

26. E. T. A. Hoffmann, “Beethoven: 5. Symphonie,” in Sämtliche Werke, ed. Hartmut Steinecke and Wulf Segebrecht, 6 vols. (Frankfurt am Main: Deutscher Klassiker Verlag, 2003), 1: 532. 27. Hoffmann, “Beethoven: 5. Symphonie,” 1: 534, 535. 28. Bonds, Music as Thought, 45–50. 29. For a further discussion of the aesthetics of Nietzsche, Schopenhauer, and Wagner, see Dieter Borchmeyer, Richard Wagner: Theory and Theatre, trans. Steward Spencer (Oxford: Clarendon Press of Oxford University Press, 1991), 107–27. See also Max Paddison, “Music as Ideal: The Aesthetics of Autonomy,” in The Cambridge History of Nineteenth-Century Music, ed. Jim Samson (Cambridge, UK: Cambridge University Press, 2002), 318–42. 30. John Daverio, “Symmetry and Chaos: Friedrich Schlegel’s Views on Music,” Nineteenth-Century Contexts 11 (1987): 51. 31. Immanuel Kant, Critique of Judgment, trans. Werner S. Pluhar (Indianapolis: Hackett Publishing Company, 1987), 199. See also Martin Weatherston, “Kant’s Assessment of Music in The Critique of Judgment,” British Journal of Aesthetics 36 (1996): 56–65. 32. G. W. F. Hegel, Aesthetics: Lectures on Fine Art, trans. T. M. Knox, 2 vols. (Oxford: Clarendon Press of Oxford University Press, 1975), 2: 902. See also Richard Eldridge, “Hegel on Music,” in Hegel and the Arts, ed. Stephen Houlgate (Evanston: Northwestern University Press, 2007), 119–45. Hegel, however, was not a musical dilettante. He enjoyed the operas of Christoph Willibald Gluck, Mozart, and Gioachino Rossini; frequented the Prussian Court Opera across the boulevard from the University of Berlin; and was also fond of sacred music. For an account of Hegel’s musical tastes, see Otto Pöggeler, ed., Hegel in Berlin. Preußische Kulturpolitik und idealistische Ästhetik: Zum 150. Todestag des Philosophen (Berlin: Staatsbibliothek Preußischer Kulturbesitz, 1981), 86–94, 239–45. 33. Kant, Critique of Judgment, 182. 34. Friedrich Schlegel, Philosophical Fragments, trans. Peter Firchow (Minneapolis: University of Minnesota Press, 1991), 92. 35. Charles Rosen, The Romantic Generation (Cambridge, MA: Harvard University Press, 1995), 73. 36. Daverio, “Chaos and Symmetry,” 53. 37. Behler, German Romantic Literary Theory, 90. 160 / notes

38. Philippe Lacoue-Labarthe and Jean-Luc Nancy, The Literary Absolute: The Theory of Literature in German Romanticism, trans. Philip Barnard and Cheryl Lester (Albany: State University of New York Press, 1988), 5. 39. Chua, Absolute Music, 3–7, 167–70, 177–82. 40. Dalhaus, The Idea of Absolute Music, 147. 41. Nicolaus Listenius, Musica: Ab authore denuo recognita, multisque novis regulis & exemplis adaucta (Wittenberg: Georg Rhau, 1537), folio a3v. 42. Matthias Schöning, Ironieverzicht. Friedrich Schlegels theore tische Konzepte zwischen “Athenäum” und “Philosophie des Lebens” (Paderborn: Verlag Ferdinand Schöningh, 2002), 80. Because the romantic imperative demands a kind of textual synaesthesia, Schlegel believed that the romanticized musical work necessarily leads to opera: “Opera must be romantic, for it is both music and painting” (KA, 16: 118). See also Daverio, “Chaos and Symmetry,” 55 –57. 43. Daverio, Nineteenth-Century Music, 8. 44. Daverio, Nineteenth-Century Music, 13. 45. Schlegel, On the Study of Greek Poetry, 18. 46. Chaouli, The Laboratory of Poetry, 63. 47. Schlegel, On the Study of Greek Poetry, 33. 48. Behler, German Romantic Literary Theory, 177. Schlegel found a model of these “surprising turns and configurations” in the literary works of Plato and G. E. Lessing, two authors whom he greatly admired. 49. Although Schlegel believed that harmony is the essence of music, he never reduces musical symmetry to tonal harmony. Rather, music’s guiding principle is rhythm or “gigantic repetitions and refrains” (KA, 2: 208). See Daverio, Nineteenth-Century Music, 10–11. 50. Susan McClary, “The Blasphemy of Talking Politics during Bach Year,” in Music and Society: The Politics of Consumption, Performance, and Reception, ed. Richard Leppert and Susan McClary (Cambridge, UK: Cambridge University Press, 1996), 18. For an analysis of the social implications of tonal harmony, see Christopher Small, Education, Music, Society, 7–33, 80–96. 51. Lacoue-Labarthe and Nancy, The Literary Absolute, 40. notes / 161

52. Detlev Schöttker, “Fragment und Traktat. Walter Benjamin und die aphoristische Tradition,” Weimarer Beiträge 43 (1997): 513. 53. Manfred Frank, Einführung in die frühromantische Ästhetik. Vorle sungen (Frankfurt am Main: Suhrkamp Verlag, 1989), 292–94. 54. Paul de Man, “The Rhetoric of Temporality,” in Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism, rev. ed. (Minneapolis: University of Minnesota Press, 1983), 207. 55. Frank, frühromantische Ästhetik, 295. 56. While fully aware that the complete systematization of knowledge is impossible, Schlegel still believes in the very necessity of a system—if only as an incentive to perpetually incite philosophical inquiry. He famously remarks: “For the spirit, it is equally fatal to have a system or not to have one at all. It will therefore be necessary to join the two” (TP, 320). His desire to systematize philosophy is a “purely regulative status, a goal [to] approach but never attain.” Beiser, German Idealism, 446. This goal is an aesthetically productive activity, because it continuously produces fantastically formed artworks. 57. Schöning, Ironieverzicht, 139. 58. Likewise, philosopher F. W. J. von Schelling conceives of art as a complete philosophical system that not only potentiates both rationality and sensuality, but also provides an aesthetic ground for the subject’s thought-generating activities. See his The Philosophy of Art, trans. Douglas W. Stott (Minneapolis: University of Minnesota Press, 1989) and System of Transcendental Idealism (1800), trans. Peter Heath (Charlottesville: University Press of Virginia, 1993). 59. Beiser, German Idealism, 448. 60. For Schlegel, irony is the absolutely crucial epistemological realization of the impossibility of aspiring toward complete knowledge or absolute truth. This realization is based upon the hermeneutic impossibility of intuitively understanding any signifying system. One can only eternally strive toward any systematicity in the form of a constant approximation: “Thinking should be cyclical, should become agile, eternal.” Krause, Unbestimmte Rhetorik, 123. But, as Frank argues, this inconclusiveness of knowledge does not prevent, but rather allows one in the process of recontextualization to make “cognitive advances.” Manfred Frank, Unendliche Annäherung. Die 162 / notes

Anfänge der philosophischen Frühromantik (Frankfurt am Main: Suhrkamp Verlag, 1997), 867. 61. I take this term from Paul de Man, Aesthetic Ideology, ed. Andrzej Warminski (Minneapolis: University of Minnesota Press, 1996). To use Lacanian psychoanalytic parlance, “aesthetic ideology” is an ideological mechanism that transforms the aesthetic realm into a cognitive-affective screen onto which the subject’s fantasies (i.e., the coordinates of its desire) are projected and supposedly reconciled in privileged consciousness. Although de Man used this specific expression—only occasionally—during his university seminars, it did not become a frequently cited philosophical category until after his death, when the above collection of papers was published. I appreciate Warminski further clarifying this early genealogy in a personal email. For background notes on this collection’s title, see Warminski, “Introduction: Allegories of Reference,” in de Man, Aesthetic Ideology, 1–2. 62. This reverential contemplation of music continues to represent the listening ideal within the serious (i.e., concert hall) culture of the Western world. For further historicization of this type of active listening, see Matthew Riley, Musical Listening in the German Enlightenment: Attention, Wonder, and Astonishment (Aldershot, UK: Ashgate Publishing, 2004) and Mirko M. Hall, “Listening,” in Keywords in German Aesthetics, ed. J. D. Mininger and Jason Michael Peck (Cambridge, MA: Harvard University Press, forthcoming).

2 Walter Benjamin and the Dialectical Sonority

1. Theodor W. Adorno and Walter Benjamin, The Complete Correspondence, 1928–1940, ed. Henri Lonitz, trans. Nicholas Walker (Cambridge, MA: Harvard University Press, 1999), 119. 2. Walter Benjamin, The Correspondence of Walter Benjamin, 1910–1940, ed. Gershom Scholem and Theodor W. Adorno, trans. Manfred R. Jacobson and Evelyn M. Jacobson (Chicago: University of Chicago Press, 1994), 549. If music had a tangible “emancipatory” effect for Benjamin, it could only seemingly occur under intoxication. While visiting a dance hall in Marseilles in notes / 163

1930, and under the influence of hashish, he found himself tap- ping along to the energetic beat of the jazz music with his foot. Yet Benjamin—forever the sensible German bourgeois intellectual— was troubled by this very reaction. It was “against [his] education, and it did not happen without inner disputation” (SW, 2: 678). 3. The verbal noun Rauschen has a rich tradition in German poetics and refers, for example, to the rustling of leaves, the rushing of water, and the whistling of the wind. 4. Roger Behrens, Pop Kultur Industrie. Zur Philosophie der populären Musik (Würzburg: Verlag Königshausen & Neumann, 1996), 154. 5. Gerhard Richter, Walter Benjamin and the Corpus of Autobiography (Detroit: Wayne State University Press, 2000), 194. 6. Helmut Kaffenberger, “Aspekte von Bildlichkeit in den Denkbildern Walter Benjamins,” in global benjamin: Internationaler Walter- Benjamin-Kongreß 1992, ed. Klaus Garber and Ludger Rehm, 3 vols. (Munich: Wilhelm Fink Verlag, 1999), 1: 449–77 and Richter, “Benjamin’s Ear: Noise, Mnemonics, and the Berlin Chronicle” in Corpus of Autobiography, 163–97. 7. Kaffenberger, “Bildlichkeit in den Denkbildern,” 460. 8. Kaffenberger, “Bildlichkeit in den Denkbildern,” 465. 9. For a representative list of various sounds in Benjamin, see Kaffenberger, “Bildlichkeit in den Denkbildern,” 464–65. 10. In a letter to his friend Gershom Scholem in 1933, Benjamin refers to this particular text as the “most precise portrait I shall ever be able to give of myself.” Benjamin, Correspondence, 424. 11. Walter Benjamin, “Anmerkungen zu [‘Franz Kafka’],” in Gesammelte Schriften, ed. Rolf Tiedemann and Hermann Schweppenhäuser, 7 vols. (Frankfurt am Main: Suhrkamp Verlag, 1972–89), 2: 1215. 12. Graeme Gilloch, Walter Benjamin: Critical Constellations (Cambridge, UK: Polity Press, 2002), 61. 13. Benjamin’s theory about the acoustics of postlapsarian language relies considerably on Hebrew Scripture and its view of the lingua adamica, which argues that there once existed an intimate unity— embedded within a suprasensory linguistic relationship—between nature/consciousness, subject/object, and essence/appearance. 164 / notes

However, after the Fall and the confusion of tongues at Babel, this lingua adamica is deprived of its sacred, revelatory function and deteriorates into a multiplicity of historical human languages. Language’s originary mimetic relationship to nature now degener- ates into an entirely arbitrary series of artificial signs. Yet Benjamin was convinced that the original phonetic traces of Adamic naming still resided in the symbolic character of words, which preserved residues of the sacred in its interplay of linguistic materialities. That is to say, the phonetic and visual-graphic character of postlapsarian language “archives” the divine signature of God, which now appears only indirectly through a sudden, shocking correspondence. See, for example, his “On Language as Such and on the Language of Man” (SW, 1: 62–74); “Doctrine of the Similar” (SW, 2: 694–98); and “On the Mimetic Faculty” (SW, 2: 720–22). 14. Benjamin’s argument that Rausch-like sonorities function as a divine footprint is also shared by such Baroque lyric poets as Georg Philipp Harsdörffer and Sigmund von Birken. Citing literary scholar Fritz Strich on Birken, Benjamin implies that the sounds of lyric poetry were “ ‘actually required by religion, because it is God who is revealed in the rustling of the forests . . . and the roar of the storm.’ ” Walter Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London: Verso Press, 1977), 205. 15. Max Pensky, Melancholy Dialectics: Walter Benjamin and the Play of Mourning (Amherst: University of Massachusetts Press, 1993), 57. 16. Benjamin, The Origin of German Tragic Drama, 207. 17. Benjamin, The Origin of German Tragic Drama, 166. 18. Richter, Corpus of Autobiography, 174. 19. See Carol Jacobs, “Berlin Chronicle: Topographically Speaking,” in In the Language of Walter Benjamin (Baltimore: Johns Hopkins University Press, 1999), 27–30. 20. See Richter, Corpus of Autobiography, 43–44. 21. See Richter, Corpus of Autobiography, 86. 22. Avital Ronell, The Telephone Book: Technology, Schizophrenia, Electric Speech (Lincoln: University of Nebraska Press, 1989), 9. 23. Gershom Scholem, Walter Benjamin: The Story of a Friendship, trans. Harry Zohn (Philadelphia: Jewish Publication Society of America, 1981), 25. notes / 165

24. Mark Hansen, “On Some Motifs in Benjamin: (Re)Embodying Technology as Erlebnis, or the Postlinguistic Afterlife of Mimesis,” in Embodying Te c h n e s i s : Technology Beyond Writing (Ann Arbor: University of Michigan Press, 2000), 246. 25. Samuel Weber, Mass Mediauras: Form, Technics, Media (Stanford: Stanford University Press), 98. 26. See Sigmund Freud, Beyond the Pleasure Principle, ed. and trans. James Strachey (New York: W. W. Norton & Company, 1990). Here, Benjamin adopted Freud’s theory of shock, which was par- tially based on the war neuroses (“shell shock”) of soldiers in the First World War. Freud argued that human consciousness—by continually fixating on psychological defenses against external threats—no longer serves as a processor of excessive sensory stim- uli, but rather as a protective shield that safeguards itself from their traumatic incursion. As Benjamin writes: “The more readily consciousness registers these shocks, the less likely they are to have a traumatic effect” (SW, 4: 317). 27. Jennings, Dialectical Images, 83. 28. Buck-Morss, Jennings, and Pensky have all masterfully unpacked the dialectical image as a philosophical concept. See Susan Buck- Morss, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: Massachusetts Institute of Technology Press, 1989); Jennings, Dialectical Images; and Pensky, Melancholy Dialectics. 29. Max Pensky, “Method and Time: Benjamin’s Dialectical Images,” in The Cambridge Companion to Walter Benjamin, ed. David S. Ferris (Cambridge, UK: Cambridge University Press, 2004), 178. 30. For more information on the methodological function of Adorno’s “constellation,” see Susan Buck-Morss, The Origin of Negative Dialectics, 90–110. See also Steven Helmling, “Constellation and Critique: Adorno’s Constellation, Benjamin’s Dialectical Image,” Postmodern Culture 14 (2003), available online at http://muse .jhu.edu/journals/pmc/v014/14.1helmling.html (accessed May 1, 2014). 31. I am indebted to Leslie Morris for originally sharing this reference with me and, thereby, helping to influence my interpretation of the dialectical sonority. 166 / notes

32. This metaphor is also favored by Friedrich Schlegel, the theorist par excellence in Benjamin’s doctoral dissertation on art criticism in early German Romanticism. For Schlegel, the flash of lightening is always associated with the materialization of “wit” (Witz)—that shocking, spontaneous generation of meaning. 33. Benjamin, The Origin of German Tragic Drama, 37. 34. Rainer Nägele, Echoes of Translation: Reading between Texts (Baltimore: Johns Hopkins University Press, 1997), 8. 35. Nägele, Echoes of Translation, 8. 36. Pensky, Melancholy Dialectics, 214. 37. Although this phrase does not exist in Benjamin’s oeuvre, I have used his standard literary-philosophical vocabulary to coin this term for the benefit of interested non-German language readers. 38. Gilloch, Critical Constellations, 229. 39. Jennings, Dialectical Images, 50. 40. John McCole, Walter Benjamin and the Antinomies of Tradition (Ithaca: Cornell University Press, 1993), 298. 41. Buck-Morss, Dialectics of Seeing, 67. For detailed analyses of the so-called Adorno-Benjamin Debate, see Buck-Morss, The Origin of Negative Dialectics, 136–84 and Richard Wolin, Walter Benjamin: An Aesthetic of Redemption (Berkeley: University of California Press, 1994), 163–212. 42. Although viewed as a “dangerous” relationship by Adorno and Scholem, Benjamin and Brecht formed an important friendship and intellectual partnership in the 1930s. See Erdmut Wizisla, Walter Benjamin and Bertolt Brecht: The Story of a Friendship, 1924– 1940, trans. Christine Shuttleworth (New Haven: Yale University Press, 2009). In his radical commitment to a new mass aesthetics, Benjamin was influenced by Brecht’s understanding of dialectical thought as a specially designed didactic intervention into cultural practice, as well as by his privileging of the “functional transformation” (Umfunktionierung) of cultural artifacts—a procedure that destroys an object’s artistic illusion of reconciliation through its politically progressive resemanticization and recontextualization. This latter procedure was the explicit goal of Brecht’s epic theater and its famous “estrangement effect” (Verfremdungseffekt), which sought to instill in everyday people a new critical consciousness notes / 167

of both sensual enjoyment and critical reception. Among several particularly harsh objections, Adorno critiqued Brecht’s belief that art could offer a solution to society’s persistent trials and tribula- tions by maintaining a cooperative and pedagogical relationship with capitalism. He insisted, on the contrary, that every radicalized artwork must renounce any and all cooperation. 43. Adorno and Benjamin, The Complete Correspondence, 283. 44. See Pensky, Melancholy Dialectics, 224–31. 45. Jean-Michel Rabaté, The Future of Theory (Oxford: Blackwell Publishing, 2002), 61, 62. 46. Adorno and Benjamin, The Complete Correspondence, 132. 47. For an assessment of the essay’s topicality in the new millennium, see Hans Ulrich Gumbrecht and Michael Marrinan, ed., Mapping Benjamin: The Work of Art in the Digital Age (Stanford: Stanford University Press, 2003). 48. Esther Leslie, Walter Benjamin: Overpowering Conformism (London: Pluto Press, 2000), xii. 49. Behrens, Pop Kultur Industrie, 133. 50. Pensky, Melancholy Dialectics, 196. 51. Luigi Russolo, The Art of Noises, trans. Barclay Brown (New York: Pendragon Press, 1986), 28. 52. For several influential studies on the nexus of music, technology, and subjectivity in the digital age, see Mark Katz, Capturing Sound: How Technology Has Changed Music, rev. ed. (Berkeley: University of California Press, 2010); Timothy D. Taylor, Strange Sounds: Music, Technology, and Culture (New York: Routledge Publishing, 2001); and Paul Théberge, Any Sound You Can Imagine: Making Music/Consuming Technology (Hanover, NH: Wesleyan University Press, 1997). For a comprehensive survey of the development of electronic music, see Thom Holmes, Electronic and Experimental Music: Technology, Music, and Culture, 4th ed. (New York: Routledge Publishing, 2012) and Peter Manning, Electronic and Computer Music, 4th ed. (New York: Oxford University Press, 2013). 53. Gilloch, Critical Constellations, 2. 54. Richard Middleton, Studying Popular Music (Milton Keynes, UK: Open University Press, 1990), 65. On a related note, media scholar 168 / notes

Lutz Koepnick argues that Benjamin is skeptical of the effects of synchronized film sound, because such “noise”—in its very cacophony of acoustic blows—distracts individuals from cinema’s politically progressive emphasis on visuality. I disagree with his assessment that Benjamin’s notion of “[a]uthentic experience and memory” (122) originates predominantly from the visual realm; I believe that it draws equally from both visuality and aurality. Lutz Koepnick, “Benjamin’s Silence,” in Sound Matters: Essays on the Acoustic of Modern German Culture, ed. Nora M. Alter and Lutz Koepnick (New York: Berghahn Books, 2004), 117–29. 55. Inverted déjà vu is a mnemotechnical phenomenon that arrests a cultural artifact’s auratic spell of tedious familiarity and redeems, however momentarily, its unrecognized and unfulfilled ener- gies. See Peter Krapp, Déjà Vu: Aberrations of Cultural Memory (Minneapolis: University of Minnesota Press, 2004). 56. Richter, Corpus of Autobiography, 187. 57. Susan Buck-Morss, “Aesthetics and Anaesthetics: Walter Benjamin’s Artwork Essay Reconsidered,” October 62 (Fall 1992): 18. 58. Gilloch, Critical Constellations, 147. 59. Theodor W. Adorno, “Transparencies on Film,” in The Culture Industry: Selected Essays on Mass Culture, ed. J. M. Bernstein (New York: Routledge Publishing, 2001), 183, 184. 60. Attali, Noise, 137. Of course, even these individuals—in their relationship to the culture industry—are still embedded within the matrix of late capitalist production, consumption, and reception. As media scholar John Fiske reminds us, apropos of the mix tape, such polytechnical practices of musical production “may not be resistive ideologically, but [they are still] productive . . . pleasurable, and . . . at least evasive, if not resistive, economically.” John Fiske, Understanding Popular Culture, 2nd ed. (New York: Routledge Publishing, 2010), 119. See also the application of Benjamin’s theory of technological reproducibility to popular—electrically amplified—music in Helmut Salzinger, Swinging Benjamin (Frankfurt am Main: S. Fischer Verlag, 1973). Salzinger’s text was one of the first attempts to mobilize Benjamin’s historical-materialist philosophy for a cultural- revolutionary musical aesthetics. 61. Gilloch, Critical Constellations, 237. notes / 169

62. Benjamin, The Origin of German Tragic Drama, 182. 63. Wolin, An Aesthetic of Redemption, 264. 64. Benjamin, The Origin of German Tragic Drama, 182. 65. Pensky, Melancholy Dialectics, 220. 66. See Vieira de Carvalho, “Towards Dialectical Listening;” “Tragedy of Listening;” and “Idiom, Trauerspiel, Dialektik des Hörens. Zur Benjamin-Rezeption im Werk Luigi Nonos,” in Klang und Musik bei Walter Benjamin, ed. Tobias Robert Klein (Munich: Wilhelm Fink Verlag, 2013), 179–99. 67. Vieira de Carvalho is cautious here with regard to the undialectical application of technology to music: “[S]ound technology should not lead to reified sound effects, virtually unchangeable or self- generated according to a logic of autopoiesis, but rather to the inten- sification of the subject-object dialectic, to new possibilities for musical objectivation of dynamic subjectivity.” Vieira de Carvalho, “Tragedy of Listening,” 132–33. 68. Nono wrote this operatic sound installation, while musicking with live electronics and spatial acoustics at Southwest Radio’s Experimental Studio for acoustic arts in Freiburg, Germany from 1980 to 1989. For a sensitive performance of this composition by conductor Ingo Metzmacher, a noted expert on his work, listen to Luigi Nono, Prometeo: Tragedia dell’ascolto, EMI Classics, CRMCD 1039, 1995, CD. 69. Vieira de Carvalho, “Tragedy of Listening,” 133. 70. Cf. Richter, Corpus of Autobiography, 246.

3 Theodor W. Adorno and Radical Music

1. Theodor W. Adorno, “Amorbach,” in Gesammelte Schriften, ed. Rolf Tiedemann, 20 vols. (Frankfurt am Main: Suhrkamp Verlag, 1970–86), 10: 306. 2. Roger Behrens, Adorno-ABC (Leipzig: Reclam Verlag, 2003), 31. 3. Although dismissed as cryptic philosophical mumbo-jumbo by Arnold Schoenberg, Philosophy of New Music had a significant influence on the musical-aesthetic programs of post-1945 composers such as Pierre Boulez, György Ligeti, and Karlheinz Stockhausen. Likewise, Thomas Mann’s novel Doctor Faustus (1943–47), which 170 / notes

dramatizes the life and work of composer Adrian Leverkühn (who deliberately contracts syphilis to potentiate—through madness— his artistic abilities), was deeply influenced by the text’s philosophical perspectives on modern music. See, for example, Evelyn Cobley, “Decentred Totalities in Doctor Faustus: Thomas Mann and Theodor W. Adorno,” Modernist Cultures 1 (October 2005): 181–91. 4. For detailed analyses of the reciprocal effectivity between music and philosophy in Adorno’s works, see Richard Leppert’s authori- tative commentary in EM, 1–82; Max Paddison, Adorno’s Musical Aesthetics (Cambridge, UK: Cambridge University Press, 1997); and Lambert Zuidervaart, Adorno’s Aesthetic Theory: The Redemption of Illusion (Cambridge, MA: Massachusetts Institute of Technology Press, 1991). 5. For a comprehensive bibliography on the primary, secondary, and tertiary literature on Adorno up until the new millennium, see EM, 681–708. 6. Theodor W. Adorno, “Culture Industry Reconsidered,” in The Culture Industry, 106. 7. Adorno, “Culture Industry Reconsidered,” 104. 8. Robert Hullot-Kentor, “Right Listening and a New Type of Human Being,” in The Cambridge Companion to Adorno, ed. Tom Huhn (Cambridge, UK: Cambridge University Press, 2004), 181. 9. Adorno, “Culture Industry Reconsidered,” 106. 10. Robert W. Witkin, Adorno on Popular Culture (New York: Routledge Publishing, 2003), 3. 11. For two insightful discussions of Adorno’s critique of popular music, see Theodore A. Gracyk, “Adorno, Jazz, and the Aesthetics of Popular Music,” Music Quarterly 76 ( Winter 1992): 526 – 42 a nd Robert W. Witkin, “Why Did Adorno ‘Hate’ Jazz?,” Sociological Theory 18 (2000): 145–70. Unlike the latter author, Gracyk argues that Adorno’s writing “actually support the appraisal of jazz (and, by extention, other popular music)” (526). For several arguments against the notion that Adorno “blindly pursue[d] an elitist agenda against nonclassical music” (xiii), see the essays by James Buhler, Larson Powell, and Martin Scherzinger in Apparitions: New Perspectives on Adorno and Twentieth-Century notes / 171

Music, ed. Berthold Hoeckner (New York: Routledge Publishing, 2006), 103–82. 12. See, for example, Roger Behrens, Pop Kultur Industrie and Verstummen. Die negative Dialektik der bestimmten Negation und andere Texte über Adorno (Laatzen: Wehrhahn Verlag, 2004); Cook, The Culture Industry Revisited; and Dieter Prokop, Mit Adorno gegen Adorno. Negative Dialektik der Kulturindustrie (Hamburg: VSA Verlag, 2003) and Das Nichtidentische der Kulturindustrie. Neue kritische Kommunikationsforschung über das Kreative der Medien- Waren (Köln: Herbert von Halem Verlag, 2005). Prokop reminds us: “When we criticize the critique of the culture industry, praise of the culture industry does not [necessarily] follow. Negation must continue. It continues by exactly observing [and critiquing the culture industry].” Prokop, Adorno gegen Adorno, 10. 13. Calvin Thomas, “A Knowledge That Would Not Be Power: Adorno, Nostalgia, and the Historicity of the Musical Subject,” New German Critique 48 (Fall 1989): 174. 14. In their overall evaluation of the administration of culture, Adorno and Horkheimer refuse to equate culture (Kultur) with an elitist concept. In his 1931 inaugural lecture at the University of Frankfurt, “The Present Situation of Social Philosophy and the Tasks of an Institute for Social Research,” Horkheimer defines culture as “not only the so-called intellectual elements, such as science, art, and religion, but also law, customs, fashion, public opinion, sports, lei- sure activities, lifestyle, etc.” Max Horkheimer, Between Philosophy and Social Science: Selected Early Writings, trans. G. Frederick Hunter, Matthew S. Kramer, and John Torpey (Cambridge, MA: Massachusetts Institute of Technology Press, 1993), 11. 15. Adorno, “Culture Industry Reconsidered,” 98. 16. Adorno and Benjamin, The Complete Correspondence, 130. Although both men advocated the dialectical self-dissolution of myth, Adorno accused Benjamin of underestimating the critical- negative powers of autonomous art and overestimating the progressive political capabilities of technologically reproducible mass art. Benjamin seems to have remained unconvinced, writing to Adorno on December 9, 1939, from Paris: “I do not mean to sug- gest that acoustic and optical perception are equally susceptible 172 / notes

to revolutionary transformation. This may explain the fact that the prospect of a quite different way of listening, with which you conclude your essay [“On the Fetish-Character in Music and the Regression of Listening”], is not immediately clear, at least to someone like me, for whom Mahler is not a completely intelligible experience.” Adorno and Benjamin, The Complete Correspondence, 295. 17. Adorno, “Culture Industry Reconsidered,” 99. 18. Adorno’s childhood “provided him a model of happiness whose memory served as a standard against which he would measure all subsequent disappointments.” Martin Jay, Adorno (Cambridge, MA: Harvard University Press, 1984), 25. For further perspectives on his childhood, see Theodor W. Adorno, Kindheit in Amorbach. Bilder und Erinnerungen, ed. Reinhard Pabst (Frankfurt am Main: Insel Verlag, 2003). 19. Despite the quip that “Adorno needs no introduction” (Hoeckner, “Preface: On Apparition,” in Apparitions, vii), see the thorough doc- umentation of his musical life in Stefan Müller-Doohm, Adorno: A Biography, trans. Rodney Livingstone (Cambridge, UK: Polity Press, 2003), 31–43, 61–82, 103–04, 124–85. 20. Joseph Auner, A Schoenberg Reader: Documents of a Life (New Haven: Yale University Press, 2003), 337. 21. For a complete listing of Adorno’s compositions, see Rainer Riehn, “Werkverzeichnis,” in Musik-Konzepte 63/64: Theodor W. Adorno. Der Komponist, ed. Heinz-Klaus Metzger und Rainer Riehn (Munich: Edition Text + Kritik, 1989), 144–46. These works include piano songs, studies for string quartet, and orchestral pieces. For a sensitive performance of these latter two works by the Frankfurt Buchberger Quartet and the Frankfurt Opera House and Museum’s Orchestra, listen to Theodor W. Adorno, Kompositionen, Schott Wergo Music Media, WER 6173–2, 1990, CD. 22. Theodor W. Adorno and Thomas Mann, Correspondence 1943– 1955, ed. Christoph Gödde and Thomas Sprecher, trans. Nicholas Walker (Cambridge, UK: Polity Press, 2006), 24. 23. Rose Rosengard Subotnik, “Adorno’s Diagnosis of Beethoven’s Late Style: Early Symptom of a Fatal Condition,” Journal of the American Musicological Society 29 (Summer 1976): 247–48. notes / 173

24. Subotnik, “Beethoven’s Late Style,” 247. For commentary on Adorno’s “obvious impatience with the process of detailed technical [musical] analysis” (169), see Paddison, Adorno’s Musical Aesthetics, 169–71. 25. See Robert W. Witkin, Adorno on Music (New York: Routledge Publishing, 1998), 28–49. 26. Further explicating this nexus of subjectivization and objectivation, Adorno writes: “To understand music is nothing other than to trace the interaction of [‘musical qualities and their technical organization’ and ‘the spirit of the music’]: to be musical converges with the philosophy of music” (M, 149). 27. Subotnik, “Beethoven’s Late Style,” 248–49. 28. Subotnik, “Beethoven’s Late Style,” 245. See also Theodor W. Adorno, Beethoven: The Philosophy of Music, trans. Edmund Jephcott (Stanford: Stanford University Press, 1998), especially the discussion of the Missa Solemnis on 138–53. 29. For a discussion of musical language’s nonconceptual status, see Zuidervaart, Adorno’s Aesthetic Theory, 125–28. 30. Leppert, “Music ‘Pushed to the Edge of Existence,’ ” 104. 31. For this reason, Adorno championed as well the high modernist aesthetic of Samuel Beckett, Paul Celan, and Franz Kafka in literature; Paul Klee and Pablo Picasso in painting; and Alberto Giacometti in sculpture. 32. See Theodor W. Adorno, Negative Dialectics, trans. E. B. Ashton (New York: Seabury Press, 1973). 33. In qualifying art’s social truthfulness, Adorno makes a crucial distinction between “authentic” and “resigned” art (AT, 154): authentic art ruthlessly critiques the administered world through immanent fragmentation, while resigned art actively promotes capitalism’s exchange-value through false reconciliations. See also Paddison, Adorno’s Musical Aesthetics, 54–55. 34. See Leppert’s concise commentary on mimesis in EM, 89–91. 35. Paddison, Adorno’s Musical Aesthetics, 110. 36. Paddison, Adorno, Modernism, and Mass Culture, 59. 37. The full passage in “On the Social Situation of Music” reads: “No matter where music is heard today, it sketches in the clearest possible lines the contradictions and flaws which cut through present-day 174 / notes

society; at the same time, music is separated from this same society by the deepest of all flaws produced by this society itself. And yet, society is unable to absorb more of this music than its ruins and external remains” (EM, 391). 38. Rose Rosengard Subotnik, review of Adorno’s Musical Aesthetics, by Max Paddison, Journal of the Royal Musical Association 122 (June 1997): 139. 39. See Roger W. H. Savage, “Dissonant Conjunctions: On Schönberg, Adorno, and Bloch,” Telos 127 (Spring 2004): 79–95. 40. Theodor W. Adorno, Quasi una Fantasia: Essays on Modern Music, trans. Rodney Livingstone (London: Verso Press, 1998), 319. 41. Adorno, Quasi una Fantasia, 84. 42. Adorno, “Neunzehn Beiträge über neue Musik,” in Gesammelte Schriften, 18: 80. 43. For a comprehensive historical analysis and survey of this term, see Hermann Danuser, “Neue Musik,” in Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher, 2nd rev. ed., 17 vols. (Stuttgart: J. B. Metzler Verlag, 1997), 7: 75–122. 44. Theodor W. Adorno, In Search of Wagner, trans. Rodney Livingstone (London: Verso Press, 2005), 89. 45. Adorno, Quasi una Fantasia, 85. 46. Adorno, Quasi una Fantasia, 272. 47. The Institute for Social Research, now relocated to Los Angeles, posthumously published Benjamin’s “On the Concept of History” in a limited number of mimeographed booklets in German, enti- tled Walter Benjamin in Memoriam (1942). Although Benjamin did not intend for his theses to be published, Adorno—acting as a conscientious “literary executor”—considered them far too important to hide away. 48. Theodor W. Adorno, “The Actuality of Philosophy,” Telos 31 (Spring 1977): 120–33. 49. Paddison, Adorno, Modernism, and Mass Culture, 98. 50. Karl Ekman, Jean Sibelius: His Life and Personality, trans. Edward Birse (New York: Alfred A. Knopf Press, 1938), 191. 51. Paddison, Adorno, Modernism, and Mass Culture, 98. notes / 175

52. For a recent musical-philosophical analysis of these sounds in Mahler’s oeuvre, see Julian Johnson, Mahler’s Voices: Expression and Irony in the Songs and Symphonies (New York: Oxford University Press, 2009), 53–70. 53. Theodor W. Adorno, Alban Berg: Master of the Smallest Link, trans. Juliane Brand and Christopher Hailey (Cambridge, UK: Cambridge University Press, 1991), 63. 54. Adorno, Quasi una Fantasia, 253. 55. Musicologist Rose Rosengard Subotnik further argues that the continuous recycling of musical materials poses a grave danger— the very extinction of music itself. “[A]s more and more musical vocabulary becomes familiar to society, less and less uncorrupted language remains available to authentic music. Consequently, the latter will be characterized by more and more breaks in sound until it eventually falls silent altogether.” Subotnik, “Beethoven’s Late Style,” 266. If we follow the avant-garde’s disintegration of musical material to its logical extreme, then, the application of the most advanced Technik available would lead music—in progressive stages of incomprehensibility—to utter intelligibility or, even, silence. But when musical works “no longer speak, their muteness itself speaks” (AT, 286). That is to say, rather provocatively, only music’s self-liquidation can ensure its freedom from further exploi- tation by instrumental reason. 56. Thomas, “Adorno, Nostalgia, and the Historicity of the Musical Subject,” 172. 57. Adorno, Quasi una Fantasia, 84. 58. Hoeckner, Programming the Absolute, 7. 59. Roland Barthes, “Listening,” in The Responsibility of Forms: Critical Essays on Music, Art, and Representation, trans. Richard Howard (New York: Hill & Wang Press, 1985), 249. Cf. Leppert, “Music ‘Pushed to the Edge of Existence,’ ” 112. 60. Thomas, “Adorno, Nostalgia, and the Historicity of the Musical Subject,” 171. 61. In a similar manner, Adorno became concerned about the reification of radical music itself. In his controversial essay, “The Aging of New Music” (1955), he critiques the “total rationalization” (EM, 176 / notes

188) of musical material in the post-1945 avant-garde, including the rigid application of Schoenberg’s 12-tone technique. For him, the valorization of methodology over music’s inherently self-actu- alizing materials, and the reduction of Technik to mere technological innovation, severely undermines music’s critical-negative impulses. 62. Quoted in Jay, Adorno, 138. For the entire passage, see Theodor W. Adorno and Ernst Krenek, Briefwechsel, ed. Wolfgang Rogge (Frankfurt am Main: Suhrkamp Verlag, 1974), 38. 63. Radical music’s materials and techniques also unmask the futility of life in capitalist society: “The shocks of the incom- prehensible—which artistic technique in the age of its mean- inglessness dispenses—reverse. They illuminate the meaningless world . . . These shocks make the individual directly aware of his nullity in the face of the titanic machinery of the entire system” (PNM, 102, 117). 64. Adorno, Berg, 32. 65. See Lydia Goehr, “Dissonant Works and the Listening Public,” in The Cambridge Companion to Adorno, 222–47. 66. Adorno, Towards a Theory of Musical Reproduction, 231. 67. For a fascinating personal reflection on the “rigor mortis” (x) of the positivist-formalist approach that characterized postwar musicology, see Richard Leppert, Sound Judgment: Selected Essays (Aldershot, UK: Ashgate Publishing, 2007), ix–xxiv. 68. See also Rose Rosengard Subotnik, “Toward a Deconstruction of Structural Listening: A Critique of Schoenberg, Adorno, and Stravinsky,” in Deconstructive Variations: Music and Reason in Western Society (Minneapolis: University of Minnesota Press, 1996), 148–76. 69. Theodor W. Adorno, “On Tradition,” Telos 94 (Winter 1992/1993): 78. 70. This quote refers to a translation endnote by Hullot-Kentor about Benjamin’s essay on the technologically reproducible artwork in PNM, 183. 71. Richard Leppert, “ ‘Four Hands, Three Hearts’: A Commentary,” Cultural Critique 60 (Spring 2005): 11. 72. Wiggershaus, The Frankfurt School, 6. notes / 177

4 Blixa Bargeld and Noise

This chapter is also dedicated to the memory of my friend, Matt Gay. While stationed together with the US Army in Darmstadt, Germany, Matt and I attended our first Einstürzende Neubauten concert at the Künstlerhaus Mousonturm in Frankfurt in July 1993. I remain grateful to David Mason for lending me his CD of Neubauten’s Haus der Lüge on that fateful day in Monterey, California. 1. For detailed information on this individual performance, see Kirsten Borchardt, Einstürzende Neubauten (Höfen, Austria: Hannibal Verlag, 2002), 13–15, 65–66, 129–30. 2. The commemorative plaque from the Berlin Senate and a reen- actment of this event can be seen at the 17:03–19:57 mark in Einstürzende Neubauten: Liebeslieder, directed by Klaus Maeck and Johanna Schenkel (1993; Berlin: Studio !K7, 2005), DVD. 3. For the first scholarly analysis and history of Bargeld and Neubauten to be published in English, see Jennifer Shryane, Blixa Bargeld and Einstürzende Neubauten: German Experimental Music: ‘Evading do- re-mi’ (Farnham, UK: Ashgate Publishing, 2011). 4. Buck-Morss, The Origin of Negative Dialectics, 20. 5. Quoted in Christoph Dallach and Marianne Wellershoff, “Ich mag schwarzes Risotto,” Der Spiegel, April 3, 2000, 250. 6. Given the argumentative parameters of this chapter, I am unable to survey the entire spectrum of the band’s aesthetic, cultural, and political influences from Bargeld’s multilayered perspective. Besides drawing inspiration from these bands, this perspective was also strongly inspired, for example, by the primal screams of playwright Antonin Artaud’s theater of cruelty and the Merz sound poetry of artist Kurt Schwitters. For a detailed discussion of these and other artistic precursors, see Shryane, Blixa Bargeld and Einstürzende Neubauten, 25–59, 119–48. I only concentrate on those influences that closely parallel the critical-deconstructive tendencies of this book’s featured thinkers. 7. See Ulrike Groos, Peter Gorschlüter, and Jürgen Teipel, ed., Zurück zum Beton: Die Anfänge von Punk und New Wave in Deutschland 1977–‘82: Kunsthalle Düsseldorf, 7. Juli–15. September 2002 (Köln: Verlag der Buchhandlung Walther König, 2002); 178 / notes

Petra Reichensperger, ed., Lieber zu viel als zu wenig. Kunst, Musik, Aktionen zwischen Hedonismus und Nihilismus (1976–1985) (Berlin: Neue Gesellschaft für Bildende Kunst, 2003); and Jürgen Teipel, Verschwende Deine Jugend. Ein Doku-Roman über den deutschen Punk und New Wave (Frankfurt am Main: Suhrkamp Verlag, 2001). 8. For more information on the collective’s aesthetic program, see Wolfgang Müller, ed., Geniale Dilletanten (Berlin: Merve Verlag, 1982). I am grateful to Rembert Hüser for the original gift of this book. 9. Cyrus Shahan, Punk Rock and German Crisis: Adaptation and Resistance after 1977 (New York: Palgrave Macmillan Press, 2013). 10. For more information on the aesthetics and cultural history of industrial music, see the classic account in V. Vale and Andrea Juno, Industrial Culture Handbook (San Francisco: RE/Search Publications, 1983) and the first scholarly study in S. Alexander Reed, Assimilate: A Critical History of Industrial Music (New York: Oxford University Press, 2013). For a critique of this term, see Reed, Assimilate, 13–17. 11. Jon Savage, “Introduction,” in Vale and Juno, Industrial Culture Handbook, 4–5. 12. Bargeld has also quoted the philosophical and cultural criticism of German individuals as diverse as Albrecht Dürer, Johann Wolfgang von Goethe, Franz Kafka, Else Lasker-Schüler, Heiner Müller, Rio Reiser of the band Ton Steine Scherben, and Friedrich Schiller. 13. Quoted in Louise Gray, “Dissident Sounds from the City of Scars,” The Independent (UK), March 26, 2000, available online at http:// www.independent.co.uk/arts-entertainment/music/features/dissi dent-sounds-from-the-city-of-scars-723696.html (accessed May 1, 2014). 14. As Neubauten began to reach prominence on the national cultural scene, many progressive artists, musicians, and thinkers in West Germany had already latched unto the post-structuralist theories of Gilles Deleuze and Félix Guattari, Jacques Derrida, Michel Foucault, and Jacques Lacan as a kind of antidote to the Frankfurt School’s pessimistic assessments of popular culture. This curious notes / 179

fascination with French post-structuralism was also enhanced by its (supposed) ability to better explain and work through the “suc- cessful failure” of 1968 and the left-wing terrorist attacks of the German Autumn in 1977. Bargeld, though, relied almost exclu- sively on the German philosophical tradition—and, most notably, on Benjamin. For a brief overview of the former phenomenon, see Geoffrey Winthrop-Young and Michael Wutz, “Translators’ Introduction: Friedrich Kittler and Media Discourse Analysis,” in Friedrich Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz (Stanford: Stanford University Press, 1999), xvi–xx. 15. Gershom Scholem, “Walter Benjamin and His Angel,” in On Walter Benjamin: Critical Essays and Recollections, ed. Gary Smith (Cambridge, MA: Massachusetts Institute of Technology Press, 1988), 51. 16. Quoted in Blixa Bargeld, Stimme frißt Feuer (Berlin: Merve Verlag, 1988), 106. Founded by Hans Magnus Enzensberger, per- haps Germany’s foremost living poet, and a colleague in 1965, the progressive—but also sharply self-critical—cultural and political commentary of Kursbuch has had a significant influence on the intellectual life of (West) German society. 17. Bargeld, Stimme frißt Feuer, 119. 18. Quoted in Kenneth Laddish and Mark Dippé, “Blixa Einstürzende: Bargeld Harassed,” Mondo 2000 (1993): 95. During the National Socialist regime, Josef Goebbels and the Reich Music Chamber effectively mobilized the German musical tradition—particularly, the works of Beethoven and Wagner—to organize mass desire into the fantasy of a populist-heroic (völkisch-heroisch) state. However, unlike a more sympathetic Wagner, Beethoven’s late period works required considerable rhetorical manipulation, because their construction immanently resisted the auratic spell of social reconciliation. Because the regime seized all state infrastructures, it could easily enforce its interpretive vision of music onto performances, criticism, and education. Although pockets of resistance did exist, National Socialism temporarily won the struggle surrounding the politics of music. See, for example, Potter, Most German of the Arts and Carolyn Birdsall, Nazi Soundscapes: Sound, Technology and 180 / notes

Urban Space in Germany, 1933–1945 (Amsterdam: Amsterdam University Press, 2012). 19. Bargeld, Stimme frißt Feuer, 98. 20. Quoted in Laddish and Dippé, “Blixa Einstürzende: Bargeld Harassed,” 95. 21. Quoted in Listen with Pain: 20 Years of Einstürzende Neubauten, directed by Christian Beetz and Birgit Herdlitschke (2000; London: Cherry Red Records, 2006), DVD. 22. Shahan, Punk Rock and German Crisis, 25. For an important discussion of how this generation’s East German counterparts engaged similar questions under a communist regime, see William Seth Howes, “Punk Avant-Gardes: Disengagement and the End of East Germany” (PhD dissertation, University of Michigan, 2012). 23. Shahan, Punk Rock and German Crisis, 3. 24. Quoted in Laddish and Dippé, “Blixa Einstürzende: Bargeld Harassed,” 95. 25. Quoted in Laddish and Dippé, “Blixa Einstürzende: Bargeld Harassed,” 95. 26. Quoted in Laddish and Dippé, “Blixa Einstürzende: Bargeld Harassed,” 95. 27. Einstürzende Neubauten, Tabula Rasa, Mute Records, BETON 106, 1993, CD. 28. Blixa Bargeld, Headcleaner: Text für einstürzende Neubauten/Text for Collapsing New Buildings, ed. Maria Zinfert, trans. Matthew Partridge (Berlin: Die Gestalten Verlag, 1997), 73. 29. Quoted in Max Dax and Robert Defcon, Nur was nicht ist, ist möglich. Die Geschichte der Einstürzenden Neubauten (Berlin: Bosworth Music, 2006), 38. 30. Quoted in Chris Sharp, “Beauty and the Beholder,” The Wire, October 1996, 21. 31. Rolf Tiedemann, “Historical Materialism or Political Messianism? An Interpretation of the Theses ‘On the Concept of History,’ ” in Benjamin: Philosophy, Aesthetics, History, ed. Gary Smith (Chicago: University of Chicago Press, 1989), 202. 32. The photograph is printed on the back sleeve of Einstürzende Neubauten, Kollaps, ZickZack Records, ZZ 65, 1981, LP. Cf. Shryane, Blixa Bargeld and Einstürzende Neubauten, 14–15. Given notes / 181

the Cold War backdrop to Neubauten’s production of noise, the photograph’s location takes on additional significance. The area around the Olympic Stadium was considered to be the last Allied defensive position in the event that East German military forces breeched the Wall in order to capture West Berlin. See DER FALL X. Wie die DDR West-Berlin erobern wollte, directed by Rainer Burmeister and Hans Sparschuh (2010; Berlin: Heimatfilm GbR und Rundfunk Berlin-Brandenburg, 2010), DVD. 33. Quoted in Klaus Maeck, Hör mit Schmerzen/Listen with Pain: Einstürzende Neubauten, 1980–1996, 2nd rev. ed. (Berlin: Die Gestalten Verlag, 1996), 11. Largely comprised of previously published interviews and journalistic essays, this book was the first significant “biography” of the band. It often includes side-by-side English and German translations. 34. Shahan, Punk Rock and German Crisis, 32. 35. Simon Reynolds, Rip It Up and Start Again: Postpunk 1978–1984 (New York: Penguin Books, 2006), 2. 36. Erhard Schüttpelz, “Akademie der Dilettanten (Back to D.),” in Akademie, ed. Stefan Dillemuth (Köln: Permanent Press, 1995), 40. In an interview with the left cultural weekly Jungle Word, Bargeld responds to a question about whether literature, music, or theatre is his favorite field of work: “Music. Still. I dilettantize (dilettiere) in the other areas.” Stefan Wirner, “Interview mit Blixa Bargeld: ‘Wir sind kein Teil der Kulturindustrie,’ ” Jungle World, February 22, 2006, available online at http://jungle-world.com /artikel/2006/08/16966.html (accessed May 1, 2014). 37. Cf. Adorno and Benjamin, The Complete Correspondence, 283. See also the discussion of the “Adorno-Benjamin Debate” in chapter two of this book. 38. For a detailed description of this album, see Borchardt, Einstürzende Neubauten, 68–72. 39. Johannes Ullmaier, “Einsturz auf Raten: Die Einstürzenden Neubauten auf dem Weg von E nach U,” Neue Zeitschrift für Musik 158 (March/April 1997): 23. I appreciate Ullmaier’s assistance in helping me secure a copy of his article. This interpretation must, however, be understood historically, since several genres of contemporary electronic music have surpassed Neubauten’s original 182 / notes

brachiality. One can point to the “noise music” of Tokyo-based artist Masami Akita, better known as Merzbow, whose electronic compositions gained global prominence in the 1990s. 40. Quoted in Maeck, Hör mit Schmerzen/Listen with Pain, 30. 41. Einstürzende Neubauten, Zeichnungen des Patienten O.T., Some Bizzare Records, SBVART 2, 1983, LP and Halber Mensch, Some Bizzare Records, BART 331, 1985, LP. Listen also to the following collection of recorded songs from 1980 to 1983 on Einstürzende Neubauten, 80–83 Strategien gegen Architekturen/80–83 Strategies against Architecture, Mute Records, STUMM 14, 1984, LP. 42. Quoted in Borchardt, Einstürzende Neubauten, 68. 43. Quoted in Laddish and Dippé, “Blixa Einstürzende: Bargeld Harassed,” 92. 44. For a compendium of lyrics with English translations from this period, see Bargeld, Headcleaner. 45. Dax and Defcon, Die Geschichte der Einstürzenden Neubauten, 130. 46. See Maeck, Hör mit Schmerzen/Listen with Pain, 46–49. 47. Quoted in Teipel, Verschwende Deine Jugend, 237. 48. Quoted in Bargeld, Stimme frißt Feuer, 106. 49. Benjamin, The Origin of German Tragic Drama, 152. 50. Cf. Shryane, Blixa Bargeld and Einstürzende Neubauten, 21–22. Both Shryane and I make similar observations about the band independently of each other. See, for example, my earlier conclusion in Mirko M. Hall, “ ‘Mit den Ohren denken’: A Critical Theory of Dialectical Listening” (PhD dissertation, University of Minnesota, 2006), 111–27. 51. Attali, Noise, 26. 52. For a recent phenomenological study of twentieth-century noise from the perspective of “cultural aesthetics,” see Paul Hegarty, Noise/Music: A History (New York: Continuum Publishing, 2007). 53. Adorno, Quasi una Fantasia, 256. 54. Bargeld, Headcleaner, 37. Cf. the song “To Be No Part of It” (“Kein Bestandteil sein”) from Einstürzende Neubauten, Fünf auf der nach oben offenen Richterskala, Some Bizzare Records, BART 332, 1987, LP. Refusing to acquiesce to society’s false demands, Bargeld ironically and poetically mimics its repetition-compulsion notes / 183

by singing: “Want want want to be no part of it/want want want want to be no part of it/want want to be no part of it/no part of it.” Bargeld, Headcleaner, 141. 55. Adorno, Quasi una Fantasia, 256. 56. Friedrich Kittler, “World-Breath: On Wagner’s Media Technology,” in Opera through Other Eyes, ed. David J. Levin (Stanford: Stanford University Press, 1993), 224. 57. See Behrens, Verstummen, 203–04. 58. Adorno, Towards a Theory of Musical Reproduction, 82. 59. See Mark Amerika, “Avant-Pop Manifesto: Thread Baring Itself in Ten Quick Posts,” ALTX Online Network (n.d.), available online at http://www.altx.com/manifestos/avant.pop.manifesto.html (accessed May 1, 2014) and Behrens, Pop Kultur Industrie. 60. Benjamin, The Origin of German Tragic Drama, 182. 61. During the heyday of the post-punk movement, Bohn wrote for the New Music Express and Melody Maker. He is currently the edi- tor of the influential London-based independent music magazine, The Wire. 62. Biba Kopf, “Shatter the Harmony and You Shatter the Social Structure,” in Maeck, Hör mit Schmerzen/Listen with Pain, 116, 118. A shorter version of this essay comprises the liner notes to Einstürzende Neubauten, Haus der Lüge, Some Bizzare Records, BART 333, 1989, CD. 63. Bargeld, Stimme frißt Feuer, 98. 64. Richard Norton, Tonality in Western Culture: A Critical and Historical Perspective (University Park: Pennsylvania State University Press, 1984). 65. Quoted in Maeck, Hör mit Schmerzen/Listen with Pain, 118. 66. Quoted in Maeck, Hör mit Schmerzen/Listen with Pain, 118. 67. Norton, Tonality in Western Culture, 271. 68. Quoted in Maeck, Hör mit Schmerzen/Listen with Pain, 38. 69. Nick Smith, “The Splinter in Your Ear: Noise as the Semblance of Critique,” Culture, Theory & Critique 46 (2005): 53. 70. Martin Scherzinger, “Music, Corporate Power, and the Age of Unending War,” in Apparitions, 160. 71. Although originally writing about the radio dial, a comment by Adorno about experimentation suggests how the knobs of the 184 / notes

synthesizer could, for example, assist in music’s aesthetic-technical potentiation through dialectical sonorities: “One must experiment with methods of composition, which correspond to the behav- ior of the listener, who plays around with the knobs.” Adorno, “Über die musikalische Verwendung des Radios,” in Gesammelte Schriften, 15: 383–84. See also Mirko M. Hall and Naida Zukić, “The DJ as Electronic Deterritorializer,” in DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music, ed. Bernardo Alexander Attias, Anna Gavanas, and Hillegonda C. Rietveld (London: Bloomsbury Academic Publishing, 2013), 103–22. At the same time, however, Adorno saw early synthesizers as threatening. He believed that these instruments could prefabri- cate a musical work and, thereby, forfeit the aesthetic possibilities of nonidentity in the process of musical reproduction. 72. Philip A. Gunderson, “Danger Mouse’s Grey Album, Mash-Ups, and the Age of Composition,” Postmodern Culture 15 (2004), available online at http://muse.jhu.edu/journals/pmc/toc/pmc15.1.html (accessed May 1, 2014). 73. Scherzinger, “Music, Corporate Power, and the Age of Unending War,” 153. 74. Reed, Assimilate, 313, 314. 75. Reed, Assimilate, 315.

Coda Toward a Musical Future Perfect

1. Habermas, Knowledge and Human Interests, 55. 2. G. W. F. Hegel, Introduction to “The Philosophy of History”: With an Appendix from “The Philosophy of Right,” trans. Leo Rauch (Indianapolis: Hackett Publishing Company, 1988), 23. 3. Benjamin, Correspondence, 300. 4. For a persuasive reading on how Benjamin’s aesthetic and political project may be concretely realized through the programmatic methodology of his historical-philosophical theses, see Michael Löwy, Fire Alarm: Reading Walter Benjamin’s “On the Concept of History,” trans. Chris Turner (London: Verso Press, 2005). 5. See, for example, Martin J. C. Dixon, “Adorno on Technology and the Work of Art,” ARiADAtexts 1 (December 2000), available notes / 185

online at http://www.ariada.uea.ac.uk/ariadatexts/ariada1/content /Technik.pdf (accessed May 1, 2014). 6. Theodor [W.] Adorno and Max Horkheimer, Towards a New Manifesto, trans. Rodney Livingstone (London: Verso Press, 2011), 61, 85. 7. Gerhard von Breuning, Memories of Beethoven: From the House of the Black-Robed Spaniards, ed. Maynard Solomon, trans. Henry Mins and Maynard Solomon (Cambridge, UK: Cambridge University Press, 1992), 96, 138. 8. Lambert Zuidervaart, “Theodor W. Adorno,” in The Stanford Encyclopedia of Philosophy (October 10, 2011), available online at http://plato.stanford.edu/entries/adorno/ (accessed May 1, 2014). 9. I take this particular formulation—with important modifica- tions—from a powerful portrayal of another influential Frankfurt School thinker, Herbert Marcuse. See Douglas Kellner, “Theory and Practice,” September 8, 2002, [email protected]. viriginia.edu, available online at http://www.srcf.net/pipermail /theory-frankfurt-school/2002-September/001888.html (accessed May 1, 2014). 10. Max Horkheimer, “Kritische Theorie Gestern und Heute,” in Gesammelte Schriften, ed. Alfred Schmidt, 19 vols. (Frankfurt am Main: S. Fischer Verlag, 1985–96), 8: 353. 11. Quoted in Listen with Pain: 20 Years of Einstürzende Neubauten, directed by Christian Beetz and Birgit Herdlitschke. 12. For further explication of this rhetorical concept, see Michel Foucault, Fearless Speech, ed. Joseph Pearson (Los Angeles: Semiotext(e), 2001). Through parrhēsia, a speaker expresses his personal relationship to “truth instead of falsehood or silence, the risk of death instead of life and security, criticism instead of flattery, and moral duty instead of self-interest and moral apathy.” Foucault, Fearless Speech, 20. I am grateful to Ron Greene for this reference. 13. Karl Marx, “Letters from the Deutsch-Französische Jahrbücher,” in Karl Marx and Friedrich Engels, Collected Works, 50 vols. (Moscow: Progress Publishers, 1975–2005), 3: 142. 14. Peter Szondi, “Hope in the Past: On Walter Benjamin,” in On Textual Understanding and Other Essays, trans. Harvey Mendelsohn (Minneapolis: University of Minnesota Press, 1986), 145. 186 / notes

15. Marcuse, “A Note on Dialectic,” viii. 16. This conclusion is, of course, caught in a performative contradic- tion. Adorno needs to use the capacity for critical reasoning—now supposedly lost to instrumental reason—to support a new kind of theoretical reflection that promotes emancipatory consciousness. Such paradoxes are, however, not necessarily quandaries. Inassimilable viewpoints not only indicate the limitations of theory, but they also reveal epistemological struggles within theory against its more totalizing aspects. 17. Among the influential studies addressing how modernist aesthetic forms and avant-garde techniques might evade the institutional- ization of art, see Peter Bürger, Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1984); Andreas Huyssen, After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Indiana University Press, 1986); and Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham: Duke University Press, 1991). 18. Jochen Schulte-Sasse, “Imagination and Modernity: Or the Taming of the Human Mind,” Cultural Critique 5 (Winter 1986–87): 47–48. 19. Jochen Schulte-Sasse, “Theory of Modernism versus Theory of the Avant-Garde,” foreword to Bürger, Theory of the Avant-Garde, xxvi. 20. I take much of my theoretical orientation on modern aesthetic culture from the work of cultural and intellectual historian Jochen Schulte-Sasse. A fascinating collection of analyses and thought- experiments on the formation of aesthetics as a privileged space for cultural activity since the Enlightenment are found in his Der Ästhetische Blick. Genealogie einer Sehweise (The Aesthetic Gaze. Genealogy of a Way of Seeing), unpublished manuscript, n.d. Although this text remains unfinished due to Schulte-Sasse’s pass- ing, several excerpted essays on “fantasy,” “imagination,” “media,” and “perspective” have been published in Germany and the United States. I am appreciative of Linda Schulte-Sasse and the estate for their support in allowing me to recognize, however modestly, this project here. notes / 187

21. In a similar manner, Martin Jay argues that “[f]or if the study of intellectual history is to have any ultimate justification, it is its capacity to rescue the legacy of the past in order to allow us to real- ize the potential of the future.” Martin Jay, Marxism and Totality: The Adventures of a Concept from Lukács to Habermas (Berkeley: University of California Press, 1984), 20. Bibliography

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absolute music, 26, 33–5 Althusser, Louis Adorno, Theodor W., 19, 48–50, see ideological state apparatus 81–2, 87–8, 128–9, 139–40, Arendt, Hannah, 1 144, 172n21 Attali, Jacques, 75, 127 Adorno-Benjamin Debate, Noise: The Political Economy of 66–8, 86, 98, 171–2n16 Music, 8–9 Aesthetic Theory, 93–4 see also noise and autonomous art, 49, 93–4, avant-garde, historical, 118, 119, 133 173n33 critique of music under Bargeld, Blixa, 19–20, 110–11, 112 capitalism, 83–7 critique of ideology, 116–17, “Culture Industry Reconsidered,” 118–19, 120–2 86 and dilettantism, 122–3, 181n36 Dialectic of Enlightenment (text with privileging of Benjamin, 114–16, Horkheimer), 9–10, 68 178–9n14 on human suffering, 96–7, 106–7 as urban guerilla, 120 Introduction to the Sociology of see also Benjamin, Walter; Music, 105 Einstürzende Neubauten; noise Minima Moralia, 98 Barthes, Roland, 175n59 Philosophy of New Music, 101–2, 107 Beethoven, Ludwig van, 34, 50, and thinking with the ears, 14, 82 179–80n18 Towards a Theory of Musical diagnosis of subjectivity, 88–91 Reproduction, 6–7 and emancipation of the subject, 141–2 see also culture industry; see also sonata form deaesthetization of art; hope; Behrens, Roger, 54, 69, 81–2 Horkheimer, Max; listening; Benjamin, Walter, 21–2, 23–4, 53, promise of happiness; radical 121–2, 139 music Adorno-Benjamin Debate, 66–8, aesthetic ideology, 48–9, 162n61 86, 98, 171–2n16 aesthetics, 29–30, 45–6, 85–6 The Arcades Project, 62 and human emancipation, 14–15, The Concept of Art Criticism in 105–7, 145–6 German Romanticism, 46 see also aesthetic ideology; music and historical marginalia, 21–3, allegory, 43–4, 57–9 76–7, 98, 115–16 210 / index

Benjamin, Walter—Continued Dahlhaus, Carl, 33 “On Some Motifs in Baudelaire,” Daverio, John, 26–7 61–2, 73, 102–3 de Man, Paul “On the Concept of History,” 11, see aesthetic ideology 73–4, 77, 98, 100–1, 115–16 deaesthetization of art (Entkunstung The Origin of German Tragic der Kunst), 92–3, 121 Drama, 57–9, 75–6, 126–7 see also Mahler, Gustav; radical on sound, 55–61, 162–3n2, music; Schoenberg, Arnold 167–8n54 Derrida, Jacques, 32 “The Destructive Character” (text), destructive character (concept), 115, 117, 123 115–16, 117 “The Work of Art in the Age of Its see also Bargeld, Blixa; Benjamin, Technological Reproducibility,” Walter 68–9 dialectic of enlightenment (concept), see also allegory; brushing history 83, 90 against the grain; dialectical see also Adorno, Theodor W. or sonority; dialectics at a standstill; Horkheimer, Max, Dialectic of historical materialism; profane Enlightenment (text) illumination, acoustics of; dialectical sonority, 18–19, 54, 75–6, 103 Technik and listening, 101–2 Berg, Alban, 104 properties of, 65–6 Berlin, 55–7, 60–1, 111–12, 149n5 relationship to dialectical image, Blanchot, Maurice, 30 62–5 Brecht, Bertolt, 67 see also allegory; dissonance; influence on Benjamin, 166–7n42 involuntary memory; listening, Breuning, Gerhard von, 141 dialectical; montage; shock Brinkmann, Rolf Dieter, 2 dialectics at a standstill, 65–6 brushing history against the grain, see also dialectical sonority 6–7, 98, 115–16, 121 dissonance, 41–2, 81–2, 93–7, 106, see also Benjamin, Walter; historical 127, 133 materialism; musicking, against see also noise the grain Dürer, Albrecht, 127 Buck-Morss, Susan, 73 EA80, 2 capitalism, 9–11, 83–7, 107, 134–5, Einstürzende Neubauten, 19–20, 144–5 109–10, 126 Chua, Daniel K. L., 39–40 Collapse (album), 123–5 constellation (philosopheme), 62, cultural-revolutionary project, 65–6, 75–6, 77–8 118–22 Critical Theory destructive psyche, 115–16, 117 see Frankfurt School; music, critical musical aesthetics of, 123–7, theory of 129–32 cultural revolution, 150n10 see also Bargeld, Blixa; Benjamin, culture industry, 9–10, 83, 85–7, 168n60 Walter; noise; radical music index / 211

Enlightenment, 13, 29 history, intellectual, 1, 3–4, 22, 23–4, see also dialectic of enlightenment 137–8, 146 experience, lived (Erfahrung), 56, Hoeckner, Berthold, 101 73, 102 Hoffmann, E. T. A., 34 Hölderlin, Friedrich, 1 fantasy (Fantasie), 44 hope (emancipatory principle), 57, 59, Fichte, J. G., 28, 47 106, 107, 142–3, 146 film, 71–2, 167–8n54 see also promise of happiness; utopia Fiske, John, 168n60 Horkheimer, Max, 6, 53, 83 force field (philosopheme), 62, 65, “Critical Theory Yesterday and 104–5, 138 Today,” 142 Forkel, Johann Nicolaus, 25 on culture, 171n14 fragment, 43–4 Dialectic of Enlightenment (text with Frank, Manfred, 43–4 Adorno), 9–10, 68 Frankfurt School, 10, 22 see also Adorno, Theodor W. philosophical program of, 5–6 Hullot-Kentor, Robert, 106 see also Adorno, Theodor W.; Horkheimer, Max; music, ideological state apparatus, 9, 152n28 critical theory of see also music Freud, Sigmund, 61, 102, 165n26 industrial music, 113–14, 135–6 functional transformation Institute of Social Research, University (Umfunktionierung), 166–7n42 of Frankfurt see Frankfurt School Goehr, Lydia, 154–5n43 involuntary memory (mémoire Gräfle, Albert, 50 involontaire), 56, 64–5 irony, 47–8, 161–2n60 Habermas, Jürgen, 13, 150n11 Hanslick, Eduard, 158n19 Jay, Martin, 187n21 Hardenburg, Friedrich von (Novalis), 31–2 Kaffenberger, Helmut, 55–7 harmony, tonal, 8–9, 42–3, 49, 94, Kant, Immanuel, 37, 83 127, 131–2 Critique of Judgment, 27, 45–6 disintegration of, 91, 92–3, 175n55 on music, 36 see also music Kittler, Friedrich, 128 Hegel, G. W. F., 15 Koepnick, Lutz, 167–8n54 and historical dialectics, 1, 65, 93, Kopf, Biba (Chris Bohn), 130 94, 144, 184n2 Krenek, Ernst, 103 on music, 36–7, 159n32 Kristeva, Julia, 15, 154n40 Heidegger, Martin, 154n37 historical materialism, 6, 75, 116, Lacan, Jacques, 31, 162n61 120–1, 123, 136 Lacoue-Labarthe, Philippe, 39, 43 see also Benjamin, Walter; brushing Lafrague, Paul, 23 history against the grain; Leppert, Richard, 12, 105, 106, musicking, against the grain 176n67 212 / index

Leslie, Esther, 69 Nancy, Jean-Luc, 39, 43 listening, 171–2n16 National Socialism, 117, 118, dialectical, 7, 46–50, 72–3, 78, 179–80n18 79–80, 101–2, 104–5, 130–1 see also Bargeld, Blixa, critique of regressive, 10–11, 83–4, 102 ideology see also musicking, against the grain negative dialectics, 93 Listenius, Nicolaus, 40 Nietzsche, Friedrich, 35, 114, 117, 155n47 noise, 60–1, 70, 109–10, 123–9, 133 Mahler, Gustav, 103 critical-negative power of, 118–21, musical aesthetics of, 98–101 136 and utopian moments, 105–6 see also Attali, Jacques; Bargeld, see also promise of happiness; Blixa; Einstürzende Neubauten radical music Nono, Luigi, 78–9 Mann, Thomas, 88, 169–70n3 Norton, Richard, 132 Marcuse, Herbert, 150n12, 185n9 Marx, Karl, 23, 142–3, 144 Paddison, Max, 15–16, 94, 99 memory (Gedächtnis), 59, 61–2, 72–3 parrhēsia (fearless speech), 142, 185n12 Middleton, Richard, 71–2 Pensky, Max, 58, 62, 64 mimesis, 26–7, 94 philosophy, 29, 145–6, 161n56 Monglond, André, 73–4, 146 see also Frankfurt School; music, montage, 64, 67, 69–72, 74, 78–9, critical theory of 129–30 politics, progressive, 11, 15, 111, Münchhausen, Baron Hieronymus 142–6 Carl Friedrich von, 13 popular music, 2–3, 83–4, 85–7, 129, music, 7–8, 9 132, 133, 170–1n11 affinity with philosophy, 38 Potter, Pamela M., 117, 150n13 critical theory of, 3–4, 6–8, 10–11, power, weak messianic, 57 12–16, 18, 138, 145–6, 173n26 profane illumination, acoustics of, 56 diagnosis of subjectivity, 9, 88–91, promise of happiness (promesse du 173–4n37 bonheur), 19, 107 and hermeneutic inexhaustibility, see also hope 32–4, 37–8, 46–8, 92 Proust, Marcel relationship to language, 7–8, see involuntary memory 15–16, 32–4, 37–40, 91–2, punk/post-punk music, 2–3, 113, 163–4n13 118–19, 122 see also musicking; popular music; punk/post-punk music; radical Rabaté, Jean-Michel, 67 music; Schlegel, Friedrich, and radical music, 19, 82–3 music’s romanticization aesthetics of, 93–7 musicking, 4–5, 7–8 as prefiguration of utopia, 107 against the grain, 6–7 see also Beethoven, Ludwig van; cultural-revolutionary potential, 10, Einstürzende Neubauten; 16–18, 137–8, 145 Mahler, Gustav; Schoenberg, see also music Arnold index / 213

Rameau, Jean-Philippe Scholem, Gershom, 60, 115 see harmony, tonal Schopenhauer, Arthur, 35 Rauschen (sound), 56–8, 163n3 Schulte-Sasse, Jochen, 157n11, reason, critical (Vernunft), 13–14, 186n18–20 186n16 Schüttpelz, Erhard, 122 Reed, S. Alexander, 135–6 Second Viennese School Reynolds, Simon, 122 see under Berg; Alban; Schoenberg, Richter, Gerhard, 55–6, 59–60, 73 Arnold Romanticism, early German, 22, Shahan, Cyrus, 118–19, 122 27–8, 39, 46, 157n11 shock, 61–2, 64–5, 69–70, 102–3, see also Schlegel, Friedrich 165n26, 176n63 romanticized music see also dialectical sonority; noise; see Schlegel, Friedrich, and music’s radical music romanticization Small, Christopher Ronell, Avital, 60 see musicking Rorty, Richard, 13 Smith, Nick, 133 Rosen, Charles, 38 sonata form, 38, 42–3, 89–91 Russolo, Luigi, 70 see also Beethoven, Ludwig van, diagnosis of subjectivity; Savage, Jon, 114 harmony, tonal; Schlegel, Schelling, F. W. J., 161n58 Friedrich Schlegel, Dorothea, 155–6n2 Spirit (Geist), 36–7, 88–9, 104–5, Schlegel, Friedrich, 18, 27–8, 146–7 173n26 “Dialogue on Poesy,” 27 state of emergency, 11, 77–8, on music, 25–6, 36–40, 160n49 138–40, 153n31 and music’s romanticization, 18, see also Benjamin, Walter 40–5, 160n42 surrealism, 64, 69–70 “On Goethe’s Wilhelm Meister,” see also shock 46–7 symphilosophizing, 20, 27, 147 “On the Study of Greek Poetry,” synthesizer-sampler 30–1 see technology and potentiation, 26 Szondi, Peter, 143 and revolutionary aesthetics, 27–30, see also hope 41–2, 45–6, 50–1 see also allegory, dissonance; Technik (technology, technics, and fragment; irony; technique), 69, 74, 95, 131, symphilosophizing; wit 140–1, 175n55, 175–6n61 Schmitt, Carl see also technology see state of emergency technology, 68, 128 Schoenberg, Arnold, 49, 87–8 dialectics of, 73–4, 140–1 critique of tonal harmony, 95–6, musical, 70–5, 114, 134–5, 169n67, 96–7 183–4n71 see also deaesthetization of art; theory, 13–14, 142, 154n37 dissonance; radical music Tieck, Ludwig, 33–4 214 / index

Ullmaier, Johannes, 123 Wackenroder, Heinrich unconscious, acoustic, 72 Wilhelm, 33–4 utopia, 106–7, 143–5 Wagner, Richard, 35, see also hope; promise of happiness 179–80n18 Wicke, Peter, 2–3 Vieira de Carvalho, Mário, 7, 78, 169n67 Williams, Raymond, 9 see also listening, dialectical wit (Witz), 44–5, 166n32