tag:blogger.com,1999:blog-11295909.post159638566763148779..comments2024-02-23T03:28:33.435-05:00Comments on Culture Industry: Beethoven is Hegel in notes,Mark Scrogginshttp://www.blogger.com/profile/01431113440875342809noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-11295909.post-35678278629313626702011-06-27T12:14:42.168-04:002011-06-27T12:14:42.168-04:00wonderful writing and thoughtswonderful writing and thoughtsAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-11295909.post-24160713089185359482011-04-07T12:44:33.270-04:002011-04-07T12:44:33.270-04:00This comment has been removed by a blog administrator.cheap viagrahttp://www.xlpharmacy.com/noreply@blogger.comtag:blogger.com,1999:blog-11295909.post-83137134877633728322008-11-25T21:04:00.000-05:002008-11-25T21:04:00.000-05:00Found your post while googling "Beethoven Hegel".....Found your post while googling "Beethoven Hegel"...nice. Have you read the collection Adorno's fragments on Beethoven, published under the title "Beethoven: The Philosophy of Music"? TWA there makes the Beethoven/Hegel connection frequently and convincingly...it's very interesting. <BR/><BR/>For example:<BR/><BR/>"...[Beethoven] incessantly created entirely new categories, in secularized appliction of the theological concept of the creator -- not rhapsodically, but as a consequence of his musical thinking. This, however, is connected at the deepest level to the <I>content</I> of Beethoven's music. It is the truly <I>human</I> element, something not ossified but genuinely dialectical -- the exact opposite of the paranoiac. This ability has such importance in Beethoven because it is entirely without anything accidental, irresponsible, <I>aperçu</I>-like -- because in him, philosophically speaking, the power of the system (the sonata is the system as music) equals that of experience, each reciprocally producing the other. In this he is really more Hegelian than Hegel, who, in applying the <I>concept</I> of the dialectic proceeds far more rigidly, in the manner of all-embracing logic, than the theory itself teaches.... Beethoven is implacable and yielding at once. It must be so, but the prisoner is granted bread and water. One can no longer compose like Beethoven, but one must <I>think</I> as he composed."<BR/><BR/>Anyway, I can't recommend this book enough...it's wonderful. Fragmentary, but wonderful.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-11295909.post-2075678014536349992007-10-22T23:37:00.000-04:002007-10-22T23:37:00.000-04:00Mark,I'm new to your blog, but scanning recent ent...Mark,<BR/><BR/>I'm new to your blog, but scanning recent entries see many of my own touchstones - Messiaen, Bryars, Miles, Ruskin, Zukofsky, etc.<BR/><BR/>Based on your last two posts, I thought you might appreciate this passage from the liner notes of Messiaen's <I>Quatour pour la Fin du Temps</I> (EMI Classics/Yvonne Loriod. Notes by Michael Stegmann) "The Quartet is constructed in a broad arch form, in which there is a clear concordance between the second and seventh movements...and the central<I>Intermede</I>, which harks back to the first and third movements while anticipating the sixth and eighth. The large-scale form corresponds on a small scale to the "non-retrogradable rhythms" which are one of the fundamental elements of Messiaen's musical idiom: axially mirrored sequences of varying note values which yield the same sequence whether played forwards or backwards: an emblem for abolished time in which organized finiteness transforms itself into infinity."Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-11295909.post-58953810488538062782007-10-22T12:38:00.000-04:002007-10-22T12:38:00.000-04:00Hi, Mark!"The individual passages have to be grasp...Hi, Mark!<BR/><BR/>"The individual passages have to be grasped as consequences of what has come before, the meaning of a divergent repetition has to be evaluated, and reappearance has to be perceived not merely as architectonic correspondence but as something that has evolved with necessity." <BR/><BR/>This seems true of how we read poems as well, no? Which leads me to wonder, is it more true of Beethoven than of other composers? You know music better than I do--is this true of some kinds, some periods, more than others? (I'm guessing it's NOT true of that maddening Bear-Guitar solo I saw here a few weeks back, but maybe that's just my poor ear talking?)E. M. Selingerhttps://www.blogger.com/profile/00426524354823232002noreply@blogger.com