Sound Figures of Modernity: German Music and Philosophy PDF
Preview Sound Figures of Modernity: German Music and Philosophy
Sound Figures of Modernity German Music and Philosophy Edited by and The publication of this book was supported by grants from William F. Vilas Trust Estate Wisconsin Alumni Research Foundation (WARF) The University of Wisconsin Press 1930 Monroe Street Madison, Wisconsin 53711 www.wisc.edu/wisconsinpress/ 3 Henrietta Street London WC2E 8LU, England Copyright © 2006 The Board of Regents of the University of Wisconsin System All rights reserved 1 3 5 4 2 Printed in the United States of America Library of Congress Cataloging-in-Publication Data Sound figures of modernity: German music and philosophy / edited by Jost Hermand and Gerhard Richter. p. cm. Includes bibliographical references and index. ISBN 0-299-21930-5 (cloth: alk. paper) 1. Music—Germany—Philosophy and aesthetics. 2. Music and literature. I. Hermand, Jost. II. Richter, Gerhard. ML3845.S6833 2006 781.1´7—dc22 2006008595 Acknowledgments vii 1. German Music and Philosophy: An Introduction 3 and 2. Doppelbewegung:The Musical Movement of Philosophy and the Philosophical Movement of Music 19 3. Brazen Wheels: F. W. J. Schelling on the Origins of Music and Tragedy 64 4. The Will as World and Music: Arthur Schopenhauer’s Philosophy of Music 92 5. The Ringas Deconstruction of Modernity: Reading Wagner with Benjamin 106 6. “Not MereMusic”: Nietzsche and the Problem of Moral Content in Music 124 and 7. Bloch’s Dream, Music’s Traces 141 8. Dissonance and Aesthetic Totality: Adorno Reads Schönberg 181 9. Thomas Mann: Pro and Contra Adorno 201 v vi Contents 10.The Composer as Dialectical Thinker: Hanns Eisler’s Philosophical Reflections on Music 232 11. Double Mimesis: Georg Lukács’s Philosophy of Music 244 Contributors 261 Index 263 The essays gathered in this book, with the exception of Samuel Weber’s contribution, first were presented as papers at the international confer- ence “Elective Affinities: German Music and Philosophy,” the 36th Wisconsin Workshop, jointly organized by Jost Hermand and Gerhard Richter at the University of Wisconsin–Madison in October 2003. All of the texts have been substantially revised and expanded for the present volume. In addition to the speakers whose essays appear here, modera- tors from the University of Wisconsin’s Departments of German, Musi- cology, and Philosophy, along with a lively multidisciplinary audience, helped to make the three days of the conference a success. Joan Leffler’s unfailing grace and unparalleled efficiency once again proved invalu- able to the organization and execution of the event. Special thanks also are extended to the University of Wisconsin Anonymous Fund, the Trustees of the William F. Vilas Estate, the Wisconsin Alumni Research Foundation, the DAAD Center for German and European Studies at the University of Wisconsin, the Deutsche Forschungsgemeinschaft, and the University of Wisconsin’s Department of German, all of whom furnished material support for the conference or for the present volume. The editors also would like to thank the staff at the University of Wis- consin Press and the two anonymous reviewers of the manuscript. An earlier German version of Lydia Goehr’s essay appeared in Dialektik der Freiheit: Frankfurter Adorno-Konferenz 2003, ed. Axel Honneth (Frankfurt am Main: Suhrkamp, 2005). Portions of David Farrell Krell’s essay were included in his The Tragic Absolute: German Idealism and the LanguishingofGod(Bloomington:IndianaUniversityPress,2005).Finally, a German version of Samuel Weber’s contribution first appeared in Narben des Gesamtkunstwerks,ed. Richard Klein (Munich: Fink, 2001). vii
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