Ricardo Mandolini

My article explores some aspects of Theodor W. Adorno's work in relation to contemporary music in general and electroacoustic music in particular. Let us recall that Adorno never seriously considered the latter, which he regarded more as a technological bricolage than as a legitimate source for the production of works. One of the purposes of this paper is to demonstrate that under the definition of musique informelle, Adorno opens wide the door to all musics, even those that do not depend directly on musical writing.

Musicology – Musical Semiology – Music – Heuristics

1) ADORNO, Theodor W. – Théorie esthétique, translated by Marc Jimenez, Paris, Klincksieck, 1995.

2) ADORNO, Theodor W. – Quasi una fantasia (Almost a fantasy), translated by Jean-Louis Leleu assisted by Ole Hansen- Løve and Philippe Joubert, Paris, Gallimard, 1982.

3) ARISTOTLE, The Nicomachean Ethics, translated by F. H. Peters, M.A. 5th Edition (London, Kegan Paul, Trench, Truebner & Co., 1893), Book VI, 4, p. 134, the online library of Liberty, Liberty Fund, Inc., online in https://oll-resources.s3.us-east 2.amazonaws.com/oll3/store/titles/903/Aristotle_0328_EBk_v60.pdf.

4) BOISSIÈRE, Anne – Adorno, la vérité de la musique moderne, (The Truth in modern music) Villeneuve d’Ascq, Presses universitaires du Septentrion, 1999.

5) COURT, Raymond – Adorno et la nouvelle musique (Adorno and the new music), Paris, Klincksieck, 1981.

6) DALHAUS, Carl – « La crise de l’expérimentation » (“The crisis of experimentation”), in Contrechamps no 3, Éditions l’Âge d’Homme, 1984.

7) MCADAMS, Stephen, Emmanuel BIGAND – « Introduction à la cognition auditive » (“Introduction to auditive cognition”), Ircam (1993/McAdams 93b).

8) MANOURY, Philippe – « Le transitoire et l’éternel ou le crépuscule des modernes ?( “The transitory and the eternal or the twilight of the moderns?”) » in inHarmonique no 7, janvier 1991 : Musique et authenticité.

09) RATTE, Michel – « Le problème du devenir dans le concept adornien de musique informelle » (”The problem of becoming in Adorno’s concept of musique informelle”), article online in : www.uqtr.uquebec.ca/AE/vol_3/ratte.htm

10) SCHAEFFER, Pierre – « La musique mécanisée » (“Mechanised music”), in Polyphonie, Paris, Richard Masse Editor, 1950.

11) SZENDY, Peter – « Musique, temps réel », Ircam (1988/Szendy 98b).

12) SZENDY, Peter – « De la harpe éolienne à la toile » (“From wind harp to the net”), Ircam (1996/Szendy 96d).

13) Daniel TERUGGI, « Quel esprit pour demain ? »(“What spirit for tomorrow ?”) in La Musique électroacoustique : un bilan (Electroacoustic music , a balance), articles compiled by Vincent Tiffon, Colloquium organized by Ricardo Mandolini and Vincent Tiffon, 2000, CEAC, Lille 3 University, p. 80.

14) VINET, Hugues – « Les enjeux de la recherche et du développement technologique pour la création musicale » (“The challenges of research and technological development for musical creation”), Ircam (1998/Vinet 98a).

15) ZANARDO, Marcelo – « La dialéctica y el análisis musical », (“Dialectic and musical analysis”) article online in www.monografias.com/trabajos15/analisis-musical/analisismusical.shtml

VOLUME 04 ISSUE 03 MARCH 2021