Adorno and the Aesthetics of Performance

背景：这个项目的重点是阿多诺在音乐复制理论方面的工作，在他去世时留下了不完整的作品，现在越来越引起人们的兴趣。1999年，我在法兰克福的西奥多·W·阿多诺档案馆研究休假期间，研究了阿多诺关于音乐表演的零碎笔记和草稿，并与档案馆馆长罗尔夫·蒂德曼博士(现已退休)和正在编辑文件准备出版的亨利·洛尼茨博士讨论了这些材料。这些片段现已在德文出版，名为“Zu einer Theorie der musikalischen Reproduktion”(法兰克福：Suhrkamp Verlag，2001)，不久将出版英文译本(Cambridge：Polity，2006)。我的书将是对阿多诺的演奏理论的概念性研究，特别关注模仿、手势、表情、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“作为表演的作品”和“作为乐谱的作品”之间的张力的背景下，特别提到他的“无声作品”的“限制概念”。基础研究已经完成(尽管现在需要进行一些进一步的详细概念研究)，到目前为止已经起草了大约20,000-25,000字。我现在正在与剑桥大学出版社接触，提出一个建议。在我上次研究休假期间开始的这个项目已经产生了一些会议论文和出版物(见我的出版物清单--那些标有星号的出版物与当前的提案直接相关)。这一研究假将用于完成对概念的一定数量的额外研究，并完成这本书(总字数约80,000字)。目的和目标：本项目的目的是通过详细考虑阿多诺关于音乐表演的著作，特别是参考他死后出版的片段，扩大讨论音乐表演的概念性职权范围(阿多诺，2001，见上文)。我的目标是：1.通过公开本杰明、卢卡奇和柯利施等人对阿多诺思想的影响，来解释和扩大阿多诺在他的“再现计划”中的职权范围；2.通过追踪这些片段与他整个作品中的主要主题(特别是他在作曲、音乐作品和音乐材料的概念以及音乐的商品化方面的写作)之间的联系，对这些片段提供解释性和批判性的评论；3.将阿多诺的作品放在当前对演奏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；以及4.到目前为止，关于阿多诺的“音乐再现理论”(如Danuser(2003)、Seiwert(2003)、Johnson(1999))的文献和会议贡献不多。应用和益处：这本书的研究方向将是音乐表演的美学，而不是直接针对音乐实践。尽管近年来在表演理论和表演研究方面做了很多工作，但关于表演美学的讨论仍然有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，但提供了丰富的术语，我们可以‘思考’表演，这可能是有益于音乐学，音乐表演和音乐美学。我在这个领域的研究也将有助于补充对阿多诺音乐美学其他领域的研究，这些领域强调音乐生产、发行和接受/消费领域，但往往忽略了作为表演的复制领域。

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.