“For the Record: Adorno on Music in the Age of its Technological Reproducibility,” October 55 (Winter 1990): 23-47.
Prehistory of phonograph; Chladni’s experiments; connects Adorno’s ideas of gramphonoic inscription to other modernist notions concerning utopian forms of writing or expression, such as cinema as ‘universal language.’

http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=6446369&site=ehost-live

Stephen Hinton, Beethoven Forum 1996.  addresses characteristic confounding of narrative and visual responses to musical experience.

"For a perceptive and illuminating commentary on the Rheingold prelude as illusion of
“nature,” see Richard Leppert, “Paradise, Nature, and Reconciliation, or, a Tentative Conversa-
tion with Wagner, Puccini, Adorno, and the Ronettes,” Echo: A Music-Centered Journal4, no. 1
(2002)." from
SHERRY D. LEE

Eisler/Adorno example. Swellling military music accompanies swelling feelings of collectivity and willingness to fight onscreen, revealing music's intoxicating, harmfully irrational function.  The music doesn't intoxicate audience because instrumentation overshrill and tonality threatens to go wild. (23-4)

benjamin and afterlife of mimesis (CULTSTUD-L)

last chapter - Benjamin's notion of 'nonsensuous similarity' (CULTSTUD-L)

From book description:
Whereas the concept of semblance, or illusion, points to Adorno's links with Marx, Nietzsche, and Freud, the concept of subjectivity recalls his lifelong struggle with a philosophy of consciousness stemming from Kant, Hegel, and Lukacs.  Art, despite the taint of illusion that it has carried since Plato's Republic, turns out in Adorno's account of modernism to have a sophisticated capacity to critique illusion, including its own.

Detailed and systematic typology of listeners pp. 14-34, 1962 ed.
cited by mark evan bonds

cited by mark evan bonds