Adorno and the Aesthetics of Performance

内容：这个项目的重点是阿多诺的工作理论的音乐再现，留下了不完整的，在他的死亡，现在的主题越来越感兴趣。我在特奥多尔W。1999年，阿多诺在法兰克福的档案馆，并能够与档案馆馆长罗尔夫·蒂德曼博士（现已退休）和亨利·洛尼茨博士讨论这些材料，他正在编辑这些文件以供出版。这些片段现在已经以德文出版，名为“Zu einer Theorie der musikalischen Reproduktion”（法兰克福：Suhrkamp Verlag，2001），不久将出现英译本（剑桥：Polity，2006）。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，空间化等概念（in relation to the score），mediation，and（与分数有关），调解和（精确的想象）在阿多诺所认为的“作为表演的作品”和“作为分数的作品”之间的紧张关系的背景下，特别提到了他对“无声工作”的“限制性概念”。基础研究已经完成（尽管现在需要进行一些更详细的概念研究），到目前为止已经起草了大约20，000 - 25，000字。我现在带着一个建议去找剑桥大学出版社。在我之前的研究休假期间，这个项目已经产生了一些会议论文和出版物（见我的出版物列表-标有星号的出版物与当前的提案直接相关）。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书（全文约80 000字）。本项目的目的是通过对阿多诺关于音乐表演的著作的详细考虑，特别是关于死后出版的片段（阿多诺，2001年，见上文）。我的目标是：1。通过对本雅明、卢卡奇和科利施等思想的影响，解释和扩展阿多诺在其“再生产计划”中的职权范围;通过追踪这些片段与他整个作品中的主要主题（特别是与他关于作曲、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，对这些片段进行解释和评论; 3.把阿多诺的工作在当前的背景下思考绩效理论，并提出方法，他的概念框架将丰富和扩展当前的想法;和4。贡献，到目前为止，小机构的文献和会议的贡献，指的是阿多诺的“音乐再现理论”（例如，Danuser（2003），Seiwert（2003），约翰逊（1999））。应用和优势：这本书的方向，将导致从这项研究将对音乐表演美学，而不是直接对音乐实践。尽管近年来在表演理论和表演研究方面做了大量的工作，但在讨论表演美学时，仍然存在一个相对有限的概念术语。阿多诺的开创性工作，虽然从未完成，提供了一个丰富的术语，我们可以'认为'的表现，这可能是有益的音乐学，音乐表演和音乐美学。我在这一领域的研究也将有助于补充阿多诺音乐美学其他领域的研究，可以理解，阿多诺强调音乐生产，分配和接受/消费领域，但往往忽视作为表演的再现领域。

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.