Tijdschrift voor Muziektheorie / Dutch Journal of Music Theory vol:14 issue:1 pages:42-50
In his Theory of Musical Reproduction, Adorno identifies two conflicting types of idealization with respect to musical performance. On the one hand, the ideal performance often necessitates modifications of the composition in order to save the coherence of its realization. On the other hand, the ideal composition does not necessarily have to comply with the requirements of a coherent performance; consequently, any modification can lead to the destruction of its immanent truth. In order to save the possibility of performance, Adorno sets up a dialectic between the three levels at which composition and performance interact: 'das mensurale', 'das idiomatische', and finally 'das neumische', where the two earlier levels reappear in a higher form as analysis and mimesis, respectively.