I read this comment as avoiding a comparison for cautionary reasons. Rest assured, I do not disdain comparisons with Adorno but openly welcome them on most occasions. Adorno's musical commentaries are unparalleled in many respects, his power of synthesis even more so (in regard to his working through the tradition and beyond it both musically and philosophically). For looking into the recent past for achievement's in philosophy of art and aesthetics, all I see is Adorno, his monument casting a long shadow, his work requiring direct engagement and comprehension. Even in his weaknesses are insights (and there is something rather endearing about his polemical charges, precisely where he is accused of elitism. Adorno's incisive criticism is refreshing as it is troubling). I came to his work by topical interest, but feverishly worked through it because in many of his pages I see pieces of myself starting back at me, especially concerning music's relationship to language.
-Brian -----Original Message----- From: Allan Sutherland [mailto:[EMAIL PROTECTED] Sent: Wednesday, April 16, 2008 5:17 AM To: [email protected] Subject: Re: Music and all that jazz -correction In the above paragraph I can see parallels with the arguments of Adorno, as I did in your earlier email. This is not meaning to say that you are agreeing with Adorno, simply drawing comparison. Thank you, Toodle-pip Allan.
