Adorno and the Aesthetics of Performance

阿多诺与表演美学

• 批准号: AH/E001130/1
• 负责人: Max Paddison
• 金额: $ 2.6万
• 依托单位: Durham University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2006
• 资助国家: 英国
• 起止时间: 2006 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE001130%2F1
• 关键词: Adorno; Aesthetics; Performance

Context: This project focuses on Adorno's work on a theory of musical reproduction, left incomplete at his death and now the subject of increasing interest. I studied Adorno's fragmentary notes and drafts on musical performance during research leave at the Theodor W. Adorno Archive in Frankfurt in 1999, and was able to discuss these materials with the Director of the Archive, Dr Rolf Tiedemann (now retired), and Dr Henri Lonitz, who was editing the documents for publication. The fragments have now been published in German as 'Zu einer Theorie der musikalischen Reproduktion' (Frankfurt: Suhrkamp Verlag, 2001), and will shortly appear in an English translation (Cambridge: Polity, 2006). My book will be a conceptual study of Adorno's theory of performance, with a particular focus on the concepts of mimesis, gesture, expression, temporality, spatialization (in relation to the score), mediation, and exakte Vorstellung (precise imagination) in the context of what Adorno sees as the tension between the 'work as performance' and the 'work as score', with special reference to his 'limiting concept' of the 'silent work'. The basic research has been completed (although some further detailed conceptual research is now called for), and about 20,000-25,000 words have been drafted so far. I am now approaching Cambridge University Press with a proposal. A number of conference papers and publications have already resulted from this project, begun during my previous research leave (see my list of publications - those publications marked with an asterisk are directly related to the current proposal). This research leave will be used to complete a certain amount of additional research into concepts and to complete the book (which will total ca 80,000 words).Aims and objectives: The aim of this project is to expand the conceptual terms of reference for the discussion of musical performance through a detailed consideration of Adorno's writings on musical performance, with particular reference to the posthumously published fragments (Adorno, 2001, see above). My objectives are:1. to interpret and expand Adorno's terms of reference in his 'reproduction project' through making overt the influences on his thinking from, for example, Benjamin, Lukács, and Kolisch; 2. to offer an interpretative and critical commentary on the fragments through tracing the way they connect with the main motifs in his work as a whole (especially with his writings on composition, the concepts of the musical work and of musical material, and the commodification of music); 3. to put Adorno's work in the context of current thinking about performance theory and suggest ways in which his conceptual framework will both enrich and extend current ideas; and4. to contribute to the, as yet, small body of literature and conference contributions referring to Adorno's 'theory of musical reproduction' (e.g., Danuser (2003), Seiwert (2003), Johnson (1999)). Applications and benefits: The orientation of the book that will result from this research will be towards the aesthetics of musical performance rather than directly towards musical practice. In spite of much work done on performance theory and performance studies in recent years, there remains a relatively restricted conceptual terminology for the discussion of the aesthetics of performance. Adorno's pioneering work, although never completed, offers an enrichment of the terms in which we can 'think' performance and which can be of benefit to musicology, musical performance, and music aesthetics. My research in this field will also serve to complement research done on other areas of Adorno's aesthetics of music which has understandably emphasised the spheres of musical production, distribution and reception/consumption, but has tended to neglect the sphere of reproduction as performance.

背景：这个项目主要关注阿多诺关于音乐再现理论的工作，在他去世时留下了不完整的内容，现在人们对这个主题越来越感兴趣。1999年，我在法兰克福的西奥多·w·阿多诺档案馆研究期间，研究了阿多诺关于音乐表演的片断笔记和草稿，并与档案馆主任罗尔夫·蒂德曼博士（现已退休）和正在编辑这些文件准备出版的亨利·洛尼茨博士讨论了这些材料。这些片段现在已经以德语出版，名为《音乐理论》（Zu einer Theorie der musikalischen reproduction）（法兰克福：Suhrkamp出版社，2001年），并将很快出版英文译本（剑桥：Polity出版社，2006年）。我的书将是对阿多诺的表演理论的概念性研究，特别关注模仿，手势，表达，时间性，空间化（与乐谱有关），调解和exakte Vorstellung（精确想象）的概念，在阿多诺认为“作为表演的工作”和“作为乐谱的工作”之间的紧张关系的背景下，特别提到他的“沉默的工作”的“限制概念”。基础研究已经完成（虽然还需要一些更详细的概念研究），到目前为止已经起草了大约2 - 2.5万字。我现在向剑桥大学出版社提出一项建议。在我之前的研究休假期间，这个项目已经产生了许多会议论文和出版物（见我的出版物列表-标有星号的出版物与当前提案直接相关）。这个研究假期将用于完成一定数量的额外研究概念和完成这本书（这将总计约8万字）。目的和目标：该项目的目的是通过详细考虑阿多诺关于音乐表演的著作，特别是他死后出版的片段，来扩展音乐表演讨论的概念范围（阿多诺，2001年，见上文）。我的目标是：1。通过公开本雅明、Lukács和科利施等人对阿多诺思想的影响，来解释和扩展阿多诺在“再生产计划”中的参照范围；2. 通过追踪这些片段与他的整个作品的主要主题（特别是他关于作曲、音乐作品和音乐材料的概念以及音乐商品化的著作）的联系方式，对这些片段提供解释性和批判性的评论；3. 将阿多诺的工作置于当前对行为理论的思考的背景下，并提出他的概念框架将丰富和扩展当前思想的方法；and4。为阿多诺的“音乐再现理论”(如Danuser (2003), Seiwert （2003), Johnson(1999)）的一小部分文献和会议贡献做出贡献。应用和好处：从这项研究中得出的这本书的方向将是音乐表演的美学，而不是直接针对音乐实践。尽管近年来在性能理论和性能研究方面做了很多工作，但讨论性能美学的概念术语仍然相对有限。阿多诺的开创性工作，虽然从未完成，但提供了丰富的术语，我们可以“思考”表演，这对音乐学，音乐表演和音乐美学都有好处。我在这一领域的研究也将有助于补充阿多诺音乐美学的其他领域的研究，这些领域可以理解地强调音乐生产、发行和接收/消费领域，但往往忽视了作为表演的复制领域。