Towards a theory of musical reproduction: notes, a draft, and two schemata

Description

At the beginning of his career in the 1920s, Adorno sketched a plan to write a major work on the theory of musical reproduction, a task he returned to time and again throughout his career but never completed. The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately as possible, beyond simply playing what is written. Editor's Foreword. Translator's Introduction. Notes I. Ad Dorian. On Richard Wagner's 'Uber das Dirigieren'. Concerning the Older Material. AdAancient Musical Notation. Notes Taken After the Darmstadt Lecture. Notes II. Draft. Structural Keywords for chapters 2, 4 and 5 of the Draft. Material for the Reproduction Theory. Two Schemata. Keywords for the 1954 Darmstadt Seminar. Notes. Bibliography. Index of Names.