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Notes
1Theodor W. Adorno, ‘On the Fetish Character in Music and the Regression of Listening’, idem, The Culture Industry: Selected Essays on Mass Culture, ed. Jay M. Bernstein (London, 1991), 29–60 (p. 44).
2Roland Barthes, ‘The Grain of the Voice’, idem, Image – Music – Text, trans. Stephen Heath (London, 1977), 179–89 (p. 188).
3Barthes, ‘The Grain of the Voice’, 185.
4Actually, not exactly ‘certain’: the Gábor Uncertainty Principle – an exact analogue of Heisenberg uncertainty – tells us that we cannot determine both the frequency and the temporal dimensions of a spectrum with increasing accuracy. A more accurate measure of the temporal aspect of a partial entails a less accurate measurement of its frequency, and vice versa.
5Grisey at Darmstadt, 1978, quoted in François Rose, ‘Introduction to the Pitch Organization of French Spectral Music’, Perspectives of New Music, 34 (1996), 6–39 (p. 8).
6Helmut Lachenmann, ‘Philosophy of Composition: Is There Such a Thing?’, Identity and Difference: Essays on Music, Language and Time, ed. Peter Dejans et al. (Leuven, 2004), 55–69 (p. 66).