Abstract

“Each and every important work of art leaves traces behind in its material and technique,” Theodor W. Adorno postulates in Aesthetic Theory, as he describes the way a composition is both a result of its own time and reacts critically to the time it belongs to. This quote demonstrates a reversal: rather than merely an expression or an outcome of an artist’s idea, art itself is regarded as a source for change. The work may come to affect its own tools and materials and the social space around it. The primary question of this article is: what is it in musical composition that leaves the traces? This article attempts to move the focus away from discussion of finished works, and instead, depict how composition as a discipline engages in dialogue with its handcraft, historicity, and surrounding social world. I call this aspect of composition that possesses critical potential a lingering reflection. Slow and heteronomous in its nature, it presents a counterpoint to ideas that seem solid, are easily accessible and unquestioned.