This essay subjects Adorno's historical dialectic of musical material, as it pertains to instrumentation, to Bataille's economic reading of dialectics (and latterly, to Derrida's reading of Bataille). There is a certain excess, an accumulation of waste, that cannot be jettisoned in Adorno's musicology; the problems that arise pertain directly to a musical work's ontological status as transcendental âthing in itselfâ, score, and/or performance. The implications of this reading point to a radical discontinuity between score and performance that cannot easily be reconciled by recourse to some fictive notion of the âworkâ itself.View full textDownload full textKeywordsAdorno, Derrida, Score, Performance, Ideal, TimbreRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/07494467.2010.587313
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