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 Diverse Writings 14

Making Way to Music

Making Way to Music: 
Heidegger and Adorno

Michael Eldred

artefact - A Site of Philosophy

artefact text and translation 
Cologne,
Germany


     

    Table of contents

    A Abstract 

    in PDF

    1. A parallel way 

      2. Making way 

      3. The quivering of propriation

    4. Subjectivist aesthetics (Adorno)

    4.1 Meaningful musical language?

    5. Literature
     

    Abstract

    With the aid of Heidegger's late lecture, 'Der Weg zur Sprache', a parallel way to music is sought that breaks with metaphysical ways of thinking on music. The way is parallel ultimately because of the twofold way in which the world opens up for human being, namely, in understanding and attunement. Human beings can only make music through being attuned to and listening to the quivering that grants attunements. That is, it is the originary quivering that enables human beings to be musical, thus being used by propriation (Ereignis) to allow music itself to make way to music. As a foil to this post-metaphysical way to music, Adorno's theologically transcendent, subjectivist music aesthetics is discussed.(1) 

    5. Literature

    • Adorno, Theodor W. 'Fragment über Musik und Sprache' in Musikalische Schriften I-III Vol. 16 Gesammelte Schriften Suhrkamp, Frankfurt/M. 1978 S. 251-256 
    • Adorno, Theodor W. 'Musik und Technik' in ibid. S. 229-248
    • Adorno, Theodor W. 'Vers une musique informelle' in Quasi una Fantasia Suhrkamp, Frankfurt 1963 
    • Ansermet, Ernest Die Grundlagen der Musik im menschlichen Bewußtsein Piper, München 1965 (transl. H Leuchtmann/E. Mischat) Fr.: Les fondements de la musique dans la conscience humaine Edition de la Baconnière, Neuchatel 1961 
    • Becker, Oskar 'Frühgriechische Mathematik und Musiklehre' in Archiv für Musikwissenschaft Vol. 14 1957 pp. 156-164 
    • Beckett, Samuel Dream of Fair to middling Women (eds.) Eoin O'Brien and Edith Fournier with a foreword by Eoin O'Brien, Arcade Publishing, New York in association with Riverrun Press 1993 
    • Cage, John Silence Wesleyan U.P., Middletown 1961 
    • Cage, John Für die Vögel: John Cage im Gespräch mit Daniel Charles Merve, Berlin 1984 
    • Charles, Daniel John Cage oder Die Musik ist los Merve, Berlin 1979 
    • Cross, Jonathan; Harvey, Jonathan et al. Identity and Difference: Essays on music, language and time Collected Writings of the Orpheus Institute, Ghent, Leuven U.P. 2004 containing inter alia Helmut Lachenmann 'Philosophy of Composition - Is there such a thing?' 'Music and Language' by Albrecht Wellmer and 'Theses on the Relationship between Music and Time' by Richard Klein. 
    • Di Scipio, Agostino 'The Sound Ecosystems of Agostino Di Scipio' interview with Marco Mancuso digimag 2009 
    • Eldred, Michael Capital and Technology: Marx and Heidegger in Left Curve No. 24, Oakland, May 2000, revised and extended Version 3.0 www.arte-fact.org 2010 
    • Eldred, Michael 'Critiquing Feenberg on Heidegger's Aristotle and the Question Concerning Technology' www.arte-fact.org 2009b 
    • Eldred, Michael The Digital Cast of Being: Metaphysics, Mathematics, Cartesianism, Cybernetics, Capitalism, Communication ontos, Frankfurt 2009; revised, emended and extended Version 2.0 www.arte-fact.org 2011 
    • Eldred, Michael Heidegger's Hölderlin and John Cage www.arte-fact.org 1995/2006 
    • Eldred, Michael Social Ontology Recasting Political Philosophy Through a Phenomenology of Whoness ontos, Frankfurt 2008. Revised, emended and extended Version 2.0 www.arte-fact.org 2011 
    • Eldred, Michael 'Sprache (und Musik) nach Heidegger' in Twisting Heidegger: Drehversuche parodistischen Denkens M. Eldred (ed.) Junghans Verlag, Cuxhaven 1993 pp. 153-178. Included in the collection Entständigung: Philosophische Aufsätze www.arte-fact.org 2010. 
    • Eldred, Michael 'Technology, Technique, Interplay: Questioning Die Frage nach der Technik' www.arte-fact.org 2006/2010 
    • Encyclopaedia Britannica Ultimate Reference Suite Chicago 2008, article on "music". 
    • Feldman, Morton 'XXX Anecdotes & Drawings, 1984' 1984 in Morton Feldman Essays (ed.) Walter Zimmermann, Kerpen 1985 pp. 144-180 
    • Feldman, Morton 'A Compositional Problem' in ibid. pp. 113-114 
    • Feldman, Morton 'Aus einer Diskussion, 1972' 1972 in Musik-Konzepte 48/49 (eds.) Heinz-Klaus Metzger & Rainer Riehn, Munich 1986 pp. 148-154 
    • Feldman, Morton in Desert Plants (ed.) Walter Zimmermann, Vancouver 1976 pp. 4-20 
    • Feldman, Morton 'Public Lecture in Darmstadt, 26 July 1984' 1984a in Summer Gardeners (ed.) Kevin Volans, Durban 1985 pp. 107-121; also in Morton Feldman Essays op. cit. pp. 180-213 
    • Fritz, Kurt von 'Die A)rxai/ in der griechischen Mathematik' in Archiv für Befriffsgeschichte I 1955 pp. 13-103 
    • Georgiades, Thrasybulos Nennen und Erklingen: Die Zeit als Logos posthumously edited by Irmgard Bengen, Vandenhoeck & Ruprecht, Göttingen 1985 
    • Heidegger, Martin Unterwegs zur Sprache Neske, Pfullingen 1959, eighth edition 1986 
    • Marx, Eduardo Heidegger und der Ort der Musik Königshausen & Neumann, Würzburg 1998 
    • Metzger, Heinz-Klaus and Riehn, Rainer (eds.) John Cage I and II Sonderbände Musik-Konzepte edition text + kritik, Munich 1990 
    • Picht, Georg 'Grundlinien einer Philosophie der Musik' in Wahrheit, Vernunft, Verantwortung: Philosophische Studien Ernst Klett, Stuttgart, 1969 pp. 408 426 
    • Schopenhauer, Arthur 'Zur Metaphysik der Musik' in Die Welt als Wille und Vorstellung II Zweiter Teilband, Diogenes, Zürich 1977 
    • Stahl, Gerry 'Attuned to being: Heideggerian music in technological society' in Boundary 2, IV(2), 1976 pp. 637-664. 
    • Staub, Volker Morton Feldmans Untitled Composition für Cello und Klavier Feedback Papers 38, Cologne 1992 
    • Waerden, B.L. van der 'Die Harmonielehre der Pythagoreer' in Hermes Vol. 78 1943 pp. 163-199 

      Notes
         
         
      1. Paper presented to the conference Heidegger. Natur Kunst Technik 25 28 May 2011 in Meßkirch convened by Alfred Denker and Holger Zaborowski, extracted from my The Quivering of Propriation: A Parallel Way to Music www.arte-fact.org 1998/2010. Back 

      2.  


      Copyright (c) 2010-2011 by Michael Eldred, all rights reserved. This text may be used and shared in accordance with the fair-use provisions of U.S. and international copyright law, and it may be archived and redistributed in electronic form, provided that the author is notified and no fee is charged for access. Archiving, redistribution, or republication of this text on other terms, in any medium, requires the consent of the author.

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