Week 8: Reading Adorno

This is a belated post for the very end of my Easter break, when I started reading Adorno's articles. The Adorno INT group could be the most challenging thing here for me. In this unit, every participant got to choose a long article according to their own preference for a presentation. I chose "On Jazz" (1936), and "Farewell to Jazz" (1932) from the Leppert fat book. To be honest, before I really got into the reading itself, I was really excited about it, and thought it would be fun, because I love jazz, and I was always fascinated by "Adorno." I was curious about how Adorno would criticize jazz as I've already 'heard' about how mean he gets on jazz. Considering the activity would definitely be a lot more enjoyable than reading "Kitsch," I started my journey. However, it turned out: I was wrong. I must admit that not until seeking the secondary sources did I had better understanding about Adorno's view, and not until I met Tom for help did I get (even several points from the secondary source) it right. I've always had  this weird assertion that it is some sort of 'cheating' reading other's understanding about 'authentic' classic piece like Adorno's, (wondering how I got this conception?) and feel very frustrated that I couldn't grab the point after reading the whole paragraphs again and again, slowly, with every word looked up from my dictionary.

I have a friend who studies sociology. She told me that, when they are approaching unfamiliar 'big names' (and especially those difficult ones) such as Bhabha, Bourdieu, their instructors encouraged them approaching it firstly through the secondary sources rather than original classics, because that's the most efficient way for students to have at least a picture or some directions to look for while reading the originals. Her sharing gave me nerve and confidence to stop struggling, and decide trying to read carefully on how other people write about the originals. I selected "Why did Adorno Hate Jazz?" written by Robert Witkin as my understanding tool to approach Adorno's writing on jazz. I tried to make sure I understand it first before I proceeded carrying on the originals. It was helpful indeed.

I jotted down some notes, questions, and thoughts while reading, and would like to share them as my reading diaries:

Why did Adorno “Hate” Jazz? (1/7)

Why did Adorno “Hate” Jazz? (2/7)

Why did Adorno “Hate” Jazz? (3/7)

Why did Adorno “Hate” Jazz? (4/7)

Why did Adorno “Hate” Jazz? (5/7)

Why did Adorno “Hate” Jazz? (6/7) (recommended)

Why did Adorno “Hate” Jazz? (7/7) (recommended)

It was my presentation today. I would say, I wasn't quite satisfied with the delivery, mainly because of the ways I phrased my points and the proficiency problem. However, I felt very rewarding that whenever Tom breaks in, he helped me clarify some ambiguous part and the points I missed, for example, the concept of 'collective' based on political situation could have bad connotation rather than merely implying  'progressive' in general sense. Also, we accidentally found that Parker and Dizzy's "Ko-Ko" recording from 1945 was an exemplary tune showing how refrain has its collective power, that when the real tune 'cherokee' came in, Parker, as individual with an 'Adornian hearing,' stopped the take in case of being violating the copyright. I wouldn't think of Parker as having an 'Adornian hearing' (as Tom would put it,) yet I did find it interesting that how one can relate and conceive this as individual making personal choices in resisting the power of its 'social constraints.' (Though pityingly not of an aesthetic but economic one?)   

Anyway, this post is just for sharing some reflection about today's presentation. Unfortunately we didn't get enough time to discuss the question I prepared to stimulate discussion for other Adornites, yet I really think Witkin's alternative perspective worth discussing!