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University of Minnesota Press
summary
Music, even at its formal level, says Rose Rosengard Subotnik, is to be understood as an embodiment of specific cultural and social values, as defined within the interpreter’s own context. In Developing Variations, Subotnik critically employs the insights of Adorno, Kant, Hegel, and Marx to analyze the works of Mozart, Beethoven, Chopin, and Schoenberg.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright
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  1. Contents
  2. p. v
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  1. Dedication
  2. p. vii
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  1. Preface
  2. pp. ix-x
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  1. Acknowledgments
  2. pp. xi-xiv
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  1. Introduction
  2. p. xv
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  1. Part I. Ideological Criticism
  1. 1. The Role of Ideology in the Study of Western Music
  2. pp. 3-14
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  1. 2. Adorno's Diagnosis of Beethoven's Late Style: Early Symptom of a Fatal Condition
  2. pp. 15-41
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  1. 3. Why is Adorno's Music Criticism the Way It Is? Some Reflections on Twentieth-Century Criticism of Nineteenth-Century Music
  2. pp. 42-56
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  1. 4. Kant, Adorno, and the Self-Critique of Reason: Toward a Model for Music Criticism
  2. pp. 57-84
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  1. Part II. Stylistic Criticism
  1. 5. Musicology and Criticism
  2. pp. 87-97
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  1. 6. Evidence of a Critical Worldview in Mozart's Last Three Symphonies
  2. pp. 98-111
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  1. 7. Romantic Music as Post-Kantian Critique: Classicism, Romanticism, and the Concept of the Semiotic Universe
  2. pp. 112-140
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  1. 8. On Grounding Chopin
  2. pp. 141-166
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  1. Part III. Perspectives on Western Musical History
  1. 9. The Cultural Message of Musical Semiology: Some Thoughts on Music, Language, and Criticism since the Enlightenment
  2. pp. 169-194
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  1. 10. Tonality, Autonomy, and Competence in Postclassical Music
  2. pp. 195-205
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  1. 11. The Historical Structure: Adorno's "French" Model for the Criticism of Nineteenth-Century Music
  2. pp. 206-238
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  1. 12. Individualism in Western Art Music and Its Cultural Costs
  2. pp. 239-264
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  1. 13. The Challenge of Contemporary Music
  2. pp. 265-294
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  1. Notes
  2. pp. 295-360
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  1. Index
  2. pp. 361-372
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  1. About the Author
  2. p. 373
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