"A book of landmark importance. It is unprecedented in its design:
a brilliantly selected group of essays on music coupled with lucid,
deeply incisive, and in every way masterly analysis of Adorno's
thinking about music. No one who studies Adorno and music will be
able to dispense with it; and if they can afford only one book on
Adorno and music, this will be the one. For in miniature, it
contains everything one needs: a collection of exceptionally
important writings on all the principal aspects of music and
musical life with which Adorno dealt; totally reliable scholarship;
and powerfully illuminating commentary that will help readers at
all levels read and re-read the essays in question."--Rose
Rosengard Subotnik, author of "Deconstructive Variations: Music and
Reason in Western Society
"An invaluable contribution to Adorno scholarship, with well
chosen essays on composers, works, the culture industry, popular
music, kitsch, and technology. Leppert's introduction and
commentaries are consistently useful; his attention to secondary
literature remarkable; his interpretation responsible. The new
translations by Susan Gillespie (and others) are outstanding not
only for their care and readability, but also for their sensitivity
to Adorno's forms and styles."--Lydia Goehr, author of "The Quest
for Voice: Music, Politics and the Limits of Philosophy
"With its careful, full edition of Adorno's important musical
texts and its exhaustive yet eminently readable commentaries,
Richard Leppert's magisterial book represents a brilliant solution
to the age-old dilemma of bringing together primary text and
interpretation in one volume."--James Deaville, Director, School of
the Arts, McMasterUniversity
"The developing variations of Adorno's life-long involvement
with musical themes are fully audible in this remarkable
collection. What might be called his 'literature on notes'
brilliantly complements the 'notes to literature' he devoted to the
written word. Richard Leppert's superb commentaries constitute a
book-length contribution in their own right, which will enlighten
and challenge even the most learned of Adorno scholars."--Martin
Jay, author of "The Dialectical Imagination: A History of The
Frankfurt School and the Institute of Social Research
"There is afoot in Anglo-American musicology today the first
wholesale reconsideration of Adorno's thought since the pioneering
work of Rose Rosengard Subotnik around 1980. "Essays on Music will
play a central role in this effort. It will do so because Richard
Leppert has culled Adorno's writings so as to make clear to
musicologists the place of music in the broad critique of modernity
that was Adorno's overarching project; and it will do so because
Leppert has explained these writings, in commentaries that amount
to a book-length study, so as to reveal to non-musicologists the
essentially musical foundation of this project. No one interested
in Adorno from any perspective--or, for that matter, in modernity
and music all told--can afford to ignore "Essays on Music."--Gary
Tomlinson, author of "Metaphysical Song: An Essay on Opera
"This book is both a major achievement by its author-editor and
a remarkable act of scholarly generosity for the rest of us. Until
now, English translations of Adorno's major essays on music have
been scattered and often unreliable. Until now, there has been no
comprehensive scholarly treatment ofAdorno's musical thinking. This
volume remedies both problems at a single stroke. It will be read
equally--and eagerly--for Adorno's texts and for Richard Leppert's
commentary on them, both of which will continue to be essential
resources as musical scholarship seeks increasingly to come to
grips with the social contexts and effects of music. No one knows
Adorno better than Leppert, and no one is better equipped to
clarify the complex interweaving of sociology, philosophy, and
musical aesthetics that is central to Adorno's work. From now on,
everyone who reads Adorno on music, whether a beginner or an
expert, is in Richard Leppert's debt for devoting his exceptional
gifts of learning and lucidity to this project."--Lawrence Kramer,
author of "Musical Meaning: Toward a Critical History
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