Abstract
I cannot warn often enough against the overvaluation of these analyses, since they lead only to what I have always fought against – the recognition of how the piece is made; whereas I have always helped my students to recognize – what it is! I have tried to make that comprehensible to Wiesengrund [– Adorno] and also to Berg and Webern. But they do not believe me.
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Chapter Six
4. Arnold Schoenberg, Style and Idea, ed. Leonard Stein, with translations by Leo Black (London: Faber and Faber, 1975), p. 237.
6. Theodor Adorno, Philosophy of Modern Music, tr. Anne G. Mitchell and Wesley V. Bloomster (London: Sheed and Ward, 1973), p. 39.
8. Nietzsche, The Birth of Tragedy (with The Case of Wagner), ed. Walter Kaufmann (New York: Vintage Books, 1967), p. 60.
10. H. H. Stuckenschmidt, Arnold Schoenberg, his Life, World and Work (London: John Calder, 1977), p. 205.
17. John Cage, Silence (Cambridge, Mass, and London: The M.I.T. Press, 1966), p. 154.
20. Jonathan Cott, Stockhausen: Conversations with the Composer (London: Pan Books, 1974), p. 150.
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© 1985 Peter Franklin
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Franklin, P. (1985). Chaos, the Machine or the Mystic Word. In: The Idea of Music. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-17996-1_6
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DOI: https://doi.org/10.1007/978-1-349-17996-1_6
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