著者
上利 博規
出版者
静岡大学人文学部
雑誌
人文論集 (ISSN:02872013)
巻号頁・発行日
vol.52, no.1, pp.A17-A37, 2001-07-31

Over the last thirty years after Adorno's death(1969) the situation of music culture of the world has changed. The purpose of this study is to examine whether Adorno's popular music criticism is still valid for contemporary music culture, and moreover to contribute to the rearrangement of music culture theory. First, I briefly describe the meaning that popular music criticism has in Adorno's philosophy. Section n outlines Adorno's popular music criticism in his five treatises. Section n examines Adorno's criticism from the point of view of comparative music culture theory. We can find the limitations of Adorno's popular music criticism in that he has only one standard to criticize popular music, and we come to the conclusion that we need more fora for critical discussion to improve the quality of popular music.

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↓(PDF、全21頁)https://t.co/g7GUPqEgEu Table of Contents https://t.co/NKcl93bwOH
#理論と鑑賞 #ジャズ #フランクフルト学派 #批判理論 #上利博規 #静岡大学 【音楽文化論の組み替えのために】PDF全21頁 アドルノのポピュラー音楽批判の限界 https://t.co/g7GUPqEgEu ・「芸術音楽」対「ポピュラー音楽」という図式の偏狭さ ・批評的議論の場がもっと必要である、という結論 https://t.co/hQv1rS8JZD

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