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Adorno's Mahler and the Timbral Outsider

Adorno's Mahler and the Timbral Outsider Orchestral colour can be read as an important part, both literally and metaphorically, of Theodor W. Adorno's approach to Mahler. Adorno's examples of ‘breakthrough’, ‘suspension’ and ‘fulfilment’ show that timbre, traditionally considered largely irrelevant to music's deep structure, plays a significant role in his conception of Mahlerian form. For Adorno, these musical relationships resonated strongly with his post-Second World War concern for the plight of the outsider within the homogenizing bounds of modern society. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of the Royal Musical Association Cambridge University Press

Adorno's Mahler and the Timbral Outsider

Journal of the Royal Musical Association , Volume 131 (1): 45 – Jan 1, 2006

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Publisher
Cambridge University Press
Copyright
Copyright © 2006 Royal Musical Association
ISSN
1471-6933
eISSN
0269-0403
DOI
10.1093/jrma/fkl002
Publisher site
See Article on Publisher Site

Abstract

Orchestral colour can be read as an important part, both literally and metaphorically, of Theodor W. Adorno's approach to Mahler. Adorno's examples of ‘breakthrough’, ‘suspension’ and ‘fulfilment’ show that timbre, traditionally considered largely irrelevant to music's deep structure, plays a significant role in his conception of Mahlerian form. For Adorno, these musical relationships resonated strongly with his post-Second World War concern for the plight of the outsider within the homogenizing bounds of modern society.

Journal

Journal of the Royal Musical AssociationCambridge University Press

Published: Jan 1, 2006

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