Hostname: page-component-745bb68f8f-hvd4g Total loading time: 0 Render date: 2025-01-10T18:09:15.203Z Has data issue: false hasContentIssue false
  • English
  • Français

Spaces of Resistance: the Adorno–Nono Complex

Published online by Cambridge University Press:  27 March 2013

WESLEY PHILLIPS
Get access Rights & Permissions [Opens in a new window]

Abstract

The historical and theoretical resonances between the work of Theodor Adorno and that of Luigi Nono have hitherto remained underexplored. In this article a debate is constructed between the two figures concerning the politics of space in advanced music in order to question a frequently held opposition between ‘autonomous’ and ‘political’ art. Nono can be seen to interweave German and Italian traditions of historical materialism, responding simultaneously to the issues of both reification and imperialism. This is drawn out by way of Adorno's evolving attitude towards the younger generation at Darmstadt, via his revised understanding of the relationship between music and painting. Conversely the solidarity Nono maintained with contemporary spaces of resistance while not compromising his musical language promises to expand Adorno's aesthetic theory.

Type
Articles
Information
Twentieth-Century Music , Volume 9 , Special Issue 1-2: Music – Politics – Semiotics: Aspects of the Legacy of David Osmond-Smith (1946–2007) , March 2012 , pp. 79 - 99
Copyright
Copyright © Cambridge University Press 2013

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adorno, Theodor W.Philosophie der Neuen Musik. Tübingen: Mohr, 1949. Trans. Robert Hullot-Kentor. Minneapolis: Minnesota University Press, 2006.Google Scholar
Adorno, Theodor W.Versuch über Wagner. Berlin and Frankfurt: Suhrkamp, 1952. Trans. Rodney Livingstone as In Search of Wagner. London: Verso, 2005.Google Scholar
Adorno, Theodor W.Negative Dialektik. Frankfurt: Suhrkamp, 1966. Trans. E. B. Ashton. London: Routledge, 1990.Google Scholar
Adorno, Theodor W.Ästhetische Theorie, ed. Adorno, Gretel and Tiedemann, Rolf. Gesammelte Schriften 7. Frankfurt: Suhrkamp, 1970. Trans. Robert Hullot-Kentor. London: Athlone Press, 1997.Google Scholar
Adorno, Theodor W.Dissonanzen; Einleitung in die Musiksoziologie, ed. Tiedemann, Rolf. Gesammelte Schriften 14. Frankfurt: Suhrkamp, 1973.Google Scholar
Adorno, Theodor W. ‘Das Altern der Neuen Musik’ (1955), in Adorno, Dissonanzen. 143–67. Trans. Robert Hullot-Kentor and Frederic Will in Adorno, Essays on Music. 181–202.Google Scholar
Adorno, Theodor W.Musikalische Schriften, vols 1–3, ed. Tiedemann, Rolf and Schulz, Klaus. Gesammelte Schriften 16. Frankfurt: Suhrkamp, 1978.Google Scholar
Adorno, Theodor W. ‘Musik, Sprache, und ihr Verhältnis im gegenwärtigen Komponieren’ (1956), in Musikalische Schriften, vols 1–3. 649–64. Trans. Susan H. Gillespie in Adorno, Essays on Music. 113–226.Google Scholar
Adorno, Theodor W. ‘Über einige Relationen zwischen Musik und Malerei’ (1965), in Musikalische Schriften, vols 1–3. 628–42. Trans. Susan H. Gillespie in Musical Quarterly 79 (1995), 66–79.Google Scholar
Adorno, Theodor W. ‘Vers une musique informelle’ (1961), in Musikalische Schriften, vols 1–3. 493–540. Trans. Rodney Livingstone in Adorno, Quasi una fantasia. 269–322.Google Scholar
Adorno, Theodor W. ‘Wagners Aktualität’ (1963), in Musikalische Schriften, vols 1–3. 543–64. Trans. Susan H. Gillespie in Adorno, Essays on Music. 584–602.Google Scholar
Adorno, Theodor W. ‘Wien’ (1960), in Musikalische Schriften, vols 1–3. 433–53. Trans. Rodney Livingstone in Adorno, Quasi una fantasia. 201–24.Google Scholar
Adorno, Theodor W.Musikalische Schriften, vol. 5, ed. Tiedemann, Rolf and Schulz, Klaus. Gesammelte Schriften 18. Frankfurt: Suhrkamp, 1984.Google Scholar
Adorno, Theodor W. ‘Neue Musik heute’ (1956), in Musikalische Schriften, vol. 5. 124–33. Trans. Wieland Hoban in Adorno, Night Music. 384–400.Google Scholar
Adorno, Theodor W. ‘Über das gegenwärtige Verhältnis von Philosophie und Musik’ (1953), in Musikalische Schriften, vol. 5. 149–76. Trans. Susan H. Gillespie in Adorno, Essays on Music. 135–61.Google Scholar
Adorno, Theodor W. ‘Zum Verhältnis von Malerei und Musik heute’ (c 1950), in Musikalische Schriften, vol. 5. 140–48. Trans. Wieland Hoban in Adorno, Night Music. 411–25.Google Scholar
Adorno, Theodor W.Quasi una fantasia: Essays on Modern Music, trans. Livingstone, Rodney. London: Verso, 1992.Google Scholar
Adorno, Theodor W.Metaphysik: Begriff und Probleme (1965), ed. Tiedemann, Rolf. Frankfurt: Suhrkamp, 1998. Trans. Edmund Jephcott. London: Polity Press, 2001.Google Scholar
Adorno, Theodor W. ‘Die Funktion der Farbe in der Musik’ (1966), in Darmstadt-Dokumente I, ed. Metzger, Heinz-Klaus and Riehn, Rainer. Munich: edition text+kritik, 1999. 263–312.Google Scholar
Adorno, Theodor W.Essays on Music. ed. Leppert, Richard. Berkeley: University of California Press, 2002.Google Scholar
Adorno, Theodor W.Night Music: Essays on Music 1928–1962. Trans. Hoban, Wieland. Calcutta: Seagull, 2009.Google Scholar
Adorno, Theodor W., and Horkheimer, Max. Dialektik der Aufklärung. Amsterdam: Querido, 1944. Trans. Edmund Jephcott. Stanford, CA: Stanford University Press, 2002.Google Scholar
Arditti, Irvine. ‘Nono's Fragmente-Stille …’, in Luigi Nono: Fragments of Venice (concert programme, Queen Elizabeth Hall, 23 October 2007). London: South Bank Centre, 2007.Google Scholar
Benjamin, Walter. Selected Writings, vol. 2: 1931–1934, ed. Eiland, Howard and Jennings, Michael W.. Cambridge, MA: Harvard University Press, 2005.Google Scholar
Bertaggia, Michele. ‘Conversation entre Luigi Nono et Massimo Cacciari’, trans. Baud, Thierry, in Luigi Nono: Festival d'Automne à Paris 1987. Paris: Contrechamps, 1987. 132–46.Google Scholar
Borio, Gianmario, and Danuser, Hermann, eds. Im Zenit der Moderne: die Internationalen Ferienkurse für Neue Musik Darmstadt 1946–1966: Geschichte und Dokumentation. 4 vols. Freiburg im Breisgau: Rombach, 1997.Google Scholar
Brindle, Reginald Smith. The New Music: the Avant-Garde since 1945. London: Oxford University Press, 1975.Google Scholar
Cacciari, Massimo. Architecture and Nihilism: on the Philosophy of Modern Architecture, trans. Lombardo, Patrizia. New Haven: Yale University Press, 1993.Google Scholar
Cacciari, Massimo. ‘Eupalinos or Architecture’, trans. Sartarelli, Stephen. Oppositions 21 (1980), 106–16.Google Scholar
Claussen, Detlev. Theodor W. Adorno: One Last Genius. Cambridge, MA: Belknap Press, 2008.CrossRefGoogle Scholar
Ewenz, Gabriele, and others, eds. Adorno: eine Bildmonographie. Frankfurt: Suhrkamp, 2003.Google Scholar
Grant, M. J.Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Cambridge: Cambridge University Press, 2001.Google Scholar
Guerrero, Jeannie Maria. ‘Serial Intervention in Nono's Il canto sospeso’. Music Theory Online 12/1 (2006). <http://mto.societymusictheory.org/issues/mto.06.12.1/mto.06.12.1.guerrero.html>.CrossRefGoogle Scholar
Heidegger, Martin. ‘Bauen Wohnen Denken’, in Vorträge und Aufsätze. Stuttgart: Klett-Cotta, 1954. 139–56. Trans. Albert Hofstadter as ‘Building Dwelling Thinking’, in Poetry, Language, Thought. New York: Harper & Row, 1971. 145–61.Google Scholar
Kurth, Ernst. Musikpsychologie (1931), 2nd edn. Bern: Krompholz, 1947.Google Scholar
Lachenmann, Helmut. ‘Von Nono berührt’ (1991), in Musik als existentielle Erfahrung: Schriften 1966–1995, ed. Häusler, Josef, 2nd edn. Wiesbaden: Breitkopf & Härtel, 2004. 295–305. Trans. as ‘Touched by Nono’. Contemporary Music Review 18/1 (1999), 17–30.Google Scholar
Ligeti, György. ‘Form in der neuen Musik (1965–6)’, in György Ligeti: Gesammelte Schriften, vol. 1, ed. Lichtenfeld, Monika. Mainz: Schott, 2007. 185–99. Trans. Stephen Hinton in Contemplating Music: Source Readings in the Aesthetics of Music, vol. 3: Essence, ed. Ruth Katz and Carl Dahlhaus. Stuyvesant, NY: Pendragon Press, 1992. 781–96.Google Scholar
Lukács, Georg. History and Class Consciousness: Studies in Marxist Dialectics. London: Merlin Press, 1971.Google Scholar
Marx, Karl. ‘The Difference Between the Democritean and Epicurean Philosophy of Nature’, in Marx, Karl and Engels, Frederick, Collected Works, vol. 1: Marx, 1835–1843. London: Lawrence & Wishart, 1975. 25–107. Online at <http://www.marxists.org/archive/marx/works/1841/dr-theses/foreword.htm>.Google Scholar
Metzger, Heinz-Klaus. ‘Das Altern der Philosophie der Neuen Musik’. Die Reihe 4 (1958), 64–80. Trans. Leo Black as ‘Intermezzo I: Just Who Is Growing Old?’. Die Reihe (Eng. edn) 4 (1960), 63–82.Google Scholar
Metzger, Heinz-Klaus. ‘Wendepunkt Quartett?’, in Luigi Nono, ed. Metzger, Heinz-Klaus and Riehn, Rainer. Musik-Konzepte 20. Munich: edition text+kritik, 1981. 93–112.Google Scholar
Mila, Massimo. ‘La linea Nono (a proposito de Il canto sospeso)’. Rassegna musicale 30/4 (1960), 297–311. Fr. trans. Viviana Alberti in Luigi Nono: Festival d'Automne à Paris 1987. Paris: Contrechamps, 1987. 56–66.Google Scholar
Nielinger, Carola. ‘“The Song Unsung”: Luigi Nono's Il canto sospeso’. Journal of the Royal Musical Association 131/1 (2006), 83–150.CrossRefGoogle Scholar
Nono, Luigi. Luigi Nono: Texte, Studien zu seiner Musik, ed. Stenzl, Jürg. Zürich: Atlantis, 1975.Google Scholar
Nono, Luigi. ‘Die Entwicklung der Reihentechnik’ (1958), in Luigi Nono: Texte. 21–33.Google Scholar
Nono, Luigi. ‘Notizen zum Musiktheater heute’ (1961), in Luigi Nono: Texte. 61–7.Google Scholar
Nono, Luigi. Il canto sospeso (1956), for soprano, contralto and tenor soloists, mixed chorus, and orchestra. Study score (corrected edn, with an introduction by Christoph Flamm). London: Ernst Eulenburg, 1995.Google Scholar
Nono, Luigi, with Lachenmann, Helmut. ‘Geschichte und Gegenwart in der Musik von heute’ (1959), in Luigi Nono: Texte. 34–40. Trans. as ‘The Historical Reality of Music Today’, The Score 27 (1960), 41–5.Google Scholar
Nono, Luigi, ‘Text – Musik – Gesang’ (1960), in Luigi Nono: Texte. 41–60.Google Scholar
Osmond-Smith, David. ‘Break-Out from the Concert Hall’, in Luigi Nono (concert programme, Royal Festival Hall, 27 April 2005). London: South Bank Centre, 2005.Google Scholar
Pape, Gerard. ‘Luigi Nono and His Fellow Travellers’. Contemporary Music Review 18/1 (1999). 59–65.Google Scholar
Stenzl, Jürg. Luigi Nono. Reinbek bei Hamburg: Rowohlt, 1998.Google Scholar
Stockhausen, Karlheinz. ‘… wie die Zeit vergeht …’. Die Reihe 3 (1957), 13–42. Trans. Cornelius Cardew. Die Reihe (Eng. edn) 3 (1959), 10–40.Google Scholar
Stockhausen, Karlheinz. ‘Musik und Sprache’. Die Reihe 6 (1958), 36–58. Trans. Ruth Koenig. Die Reihe (Eng. edn) 6 (1964), 40–64.Google Scholar
Taylor, Ronald, and others, eds. Aesthetics and Politics: the Key Texts of the Classic Debate within German Marxism, with an afterword by Fredric Jameson. London: New Left Books, 1977.Google Scholar
Toop, Richard. ‘Messiaen / Goeyvaerts, Fano / Stockhausen, Boulez’. Perspectives of New Music 13/1 (1974), 141–69.Google Scholar
Wagner, Andreas. ‘Nono und der musikalische Fortschritt: Heinz-Klaus Metzger und Rainer Riehn im Gespräch’, in Luigi Nono: Dokumente, Materialien, ed. Wagner, Andreas. Saarbrucken: PFAU, 2003. 139–48.Google Scholar
Williams, Alastair. ‘New Music, Late Style: Adorno's “Form in the New Music”’. Music Analysis 27/2–3 (2008), 193–9.Google Scholar
Wörner, Karl H.Stockhausen: Life and Work, trans. Hopkins, Bill. London: Faber, 1973.Google Scholar
Zagorski, Marcus. ‘“Nach dem Weltuntergang”: Adorno's Engagement with Postwar Music’. Journal of Musicology 22/4 (2005), 680–701.Google Scholar