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19th-Century Music (2014) 38 (1): 53–78.
Published: 01 July 2014
...Dragana Jeremić Molnar; Aleksandar Molnar In Aesthetic Theory Adorno refers to Schubert as “the mimic par excellence.” The connection between Adorno's conception of mimesis and his notion of Schubert has remained unexplored. In his essays “Schubert” and “Franz Schubert: Grand Rondo in A Major for...
19th-Century Music (2009) 33 (2): 151–172.
Published: 01 November 2009
... impulse toward a fully transcendent work of art, the realization of the ““invisible theater”” for which Wagner himself supposedly yearned. Indeed, Parsifal (even more than Wagner's other works) was recorded primarily as a symphonic work, divested of what Adorno so tellingly called the ““phony hoopla”” of...
19th-Century Music (2007) 31 (1): 053–095.
Published: 01 July 2007
... ending in failure. Yet few studies have looked beneath the work's bombastic rhetorical-expressive surface to explore how its negativity might be reflected in its tonal, formal, and thematic processes. This study sets out to link that negative expressivity to a breakdown of what Adorno called the...