Staff profile

• Adorno and Critical Theory
• Aesthetics and sociology of music
• Concepts of the avant-garde, modernism and postmodernism
• Contemporary music
• Interdisciplinary interests in philosophy, cultural studies, popular music studies, film music, music and theatre (especially Brecht)
• Marxism and music
• Nineteenth- and twentieth-century music
• Theories of musical performance and reproduction

Authored book

• Adorno, Modernism and Mass Culture: Essays on Critical Theory and Music.
  
  Paddison, M. (1996). Adorno, Modernism and Mass Culture: Essays on Critical Theory and Music. Kahn & Averill.
• Adorno's Aesthetics of Music.
  
  Paddison, M. (1993). Adorno’s Aesthetics of Music. Cambridge University Press.

Chapter in book

• Art and the Ideology of Nature: Sibelius, Hamsun, Adorno
  
  Paddison, M. (2011). Art and the Ideology of Nature: Sibelius, Hamsun, Adorno. In D. M. Grimley (Ed.), Jean Sibelius and his World. (pp. 173-185). Princeton: Princeton University Press.
• Adorno and Exile: Some Thoughts on Displacement and What it Means to be German
  
  Paddison, M. (2010). Adorno and Exile: Some Thoughts on Displacement and What it Means to be German. In E. Levi & F. Scheding (Eds.), Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond. (pp. 135-153). Scarecrow Press.
• Reading History in the Ruins of Nature: Images of Truth, Mortality and Reconciliation in Adorno's Schubert Interpretation
  
  Paddison, M. (2009). Reading History in the Ruins of Nature: Images of Truth, Mortality and Reconciliation in Adorno’s Schubert Interpretation. In M. V. de Carvalho, R. Duarte, M. Paddison, O. Kolleritsch, S. Dierks, P. Boleo, J. J. Lopes, A. P. Vargas, J.-P. Olive, P. Riberiro, T. Wesche, P. F. de Castro, A. Martingo, & H.-K. Robert (Eds.), Expression, truth and authenticity : on Adorno’s theory of music and musical performance. (pp. 41-58). Calibri.
• Centres and Margins: Shifting Grounds in the Conceptualization of Modernism
  
  Paddison, M. (2008). Centres and Margins: Shifting Grounds in the Conceptualization of Modernism. In D. Despic & M. Milin (Eds.), Rethinking Musical Modernism. (pp. 65-81). Serbian Academy of Sciences and Arts (SANU).
• ‘Die vermittelte Unmittelbarkeit der Musik: Zum Vermittlungsbegriff in der Adornoschen Musikästhetik’.
  
  Paddison, M. (2007). ‘Die vermittelte Unmittelbarkeit der Musik: Zum Vermittlungsbegriff in der Adornoschen Musikästhetik’. In A. Becker & M. Vogel (Eds.), Musikalischer Sinn: Beiträge zu einer Philosophie der Musik. (pp. 175-236). Suhrkamp.
• 'Performance, Analysis, and the Silent Work: The Problem of Critical Self-Reflexion in Adorno's Theory of Musical Reproduction'.
  
  Paddison, M. (2007). ’Performance, Analysis, and the Silent Work: The Problem of Critical Self-Reflexion in Adorno’s Theory of Musical Reproduction’. In A. Nowak & M. Fahlbusch (Eds.), Musikalische Analyse und Kritische Theorie: Zu Adornos Philosophie der Musik. (pp. 221-245). Verlag Schneider.
• 'Authenticity and Failure in Adorno's Aesthetics of Music'
  
  Paddison, M. (2004). ’Authenticity and Failure in Adorno’s Aesthetics of Music’. In T. Huhn (Ed.), The Cambridge companion to Adorno. (pp. 198-221). Cambridge University Press. https://doi.org/10.2277/0521772893
• ‘Nature and the Sublime: The Politics of Order and Disorder in Twentieth-Century Music’.
  
  Paddison, M. (2004). ‘Nature and the Sublime: The Politics of Order and Disorder in Twentieth-Century Music’. In Order and Disorder: Music-Theoretical Strategies in Twentieth-Century Music (pp. 107-136). Leuven University Press.
• Nature and the Sublime: the Politics of Order and Disorder in Twentieth-Century Music.
  
  Paddison, M. (2004). Nature and the Sublime: the Politics of Order and Disorder in Twentieth-Century Music. In J. Dunsby, J. N. Straus, Y. Knockaert, M. Paddison, & K. Boehmer (Eds.), Order and Disorder: Music-Theoretical Strategies in Twentieth-Century Music. (pp. 107-136). Leuven University Press.
• 'Stravinsky as devil: Adorno's three critiques'
  
  Paddison, M. (2003). ’Stravinsky as devil: Adorno’s three critiques’. In J. Cross (Ed.), The Cambridge companion to Stravinsky. (pp. 192-202). Cambridge University Press.
• 'Music as Ideal: the Aesthetics of Autonomy'
  
  Paddison, M. (2002). ’Music as Ideal: the Aesthetics of Autonomy’. In J. Samson (Ed.), The Cambridge history of nineteenth-century music. (pp. 318-342). Cambridge University Press. https://doi.org/10.2277/0521590175
• 'The sociology of music'.
  
  Paddison, M. (2002). ’The sociology of music’. In A. Latham (Ed.), The Oxford Companion to Music. (pp. 1167-1169). Oxford University Press.
• 'Immanent Critique or Musical Stocktaking? Adorno and the Problem of Musical Analysis'
  
  Paddison, M. (2001). ’Immanent Critique or Musical Stocktaking? Adorno and the Problem of Musical Analysis’. In N. Gibson & A. Rubin (Eds.), Adorno : a critical reader. (pp. 209-233). Blackwell.
• 'Perspectives critiques sur la musique et les relations sociales: vers une theorie de la mediation'.
  
  Paddison, M. (2001). ’Perspectives critiques sur la musique et les relations sociales: vers une theorie de la mediation’. In I. Deliege & M. Paddison (Eds.), Musique contemporaine: perspectives theoriques et philosophiques. (pp. 293-301). Mardaga.
• 'Postmodernisme et la survie de l'avant-garde'.
  
  Paddison, M. (2001). ’Postmodernisme et la survie de l’avant-garde’. In I. Deliege & M. Paddison (Eds.), Musique contemporaine: perspectives theoriques et philosophiques. (pp. 249-266). Mardaga.
• 'T.W. Adorno', 'Frank Zappa', 'Lou Reed', 'The Velvet Underground', 'Expression after 1800'.
  
  Paddison, M. (2000). ’T.W. Adorno’, ’Frank Zappa’, ’Lou Reed’, ’The Velvet Underground’, ’Expression after 1800’. In S. Sadie & J. Tyrrell (Eds.), The New Grove Dictionary of Music and Musicians. Macmillan.
• 'The language-character of music: some motifs in Adorno' rev.ed.
  
  Paddison, M. (1998). ’The language-character of music: some motifs in Adorno’ rev.ed. In R. Klein & C.-S. Mahnkopf (Eds.), Mit den Ohren denken: Adornos Philosophie der Musik. (pp. 71-91). Suhrkamp.
• 'Adorno'.
  
  Paddison, M. (1992). ’Adorno’. In S. Sadie (Ed.), The New Grove Dictionary of Opera.. Macmillan.

Conference Paper

• Time, Tradition and Modernity in the Music of Ljubica Maric: A Bergsonian Interpretation.
  
  Paddison, M. (2010). Time, Tradition and Modernity in the Music of Ljubica Maric: A Bergsonian Interpretation. In D. Despic & M. Milin (Eds.), Prostori modernizma: opus Ljubice Maric u kontekstu muzike njenog vremena : zbornik radova sa naucnog skupa odrzanog od 4. do 7. novembra 2009 (pp. 51-63). Serbian Academy of Sciences and Arts (SANU).
• 'The idea of an avant-garde in the context of postmodernity: some problems of definition in contemporary music'.
  
  Paddison, M. (2000). ’The idea of an avant-garde in the context of postmodernity: some problems of definition in contemporary music’. In I. Deliege (Ed.), Working Papers (pp. 25-30). ESCOM Publications.

Edited book

• Contemporary Music: Theoretical and Philosophical Perspectives
  
  Paddison, M., & Deliège, I. (Eds.). (2010). Contemporary Music: Theoretical and Philosophical Perspectives. Ashgate Publishing.
• Musique contemporaine: perspectives theoriques et philosophiques.
  
  Deliege, I., & Paddison, M. (Eds.). (2001). Musique contemporaine: perspectives theoriques et philosophiques. Mardaga.

Journal Article

• La postmodernidad y la supervivencia de la vanguardia
  
  Paddison, M. (2011). La postmodernidad y la supervivencia de la vanguardia. Quodlibet, 50((May-August), 60-84.
• Mimesis and the Aesthetics of Musical Expression
  
  Paddison, M. (2010). Mimesis and the Aesthetics of Musical Expression. Music Analysis, 29(1-3), 126-148. https://doi.org/10.1111/j.1468-2249.2011.00333.x
• Performance and the silent work: mediation and critical reflexion in Adorno's theory of musical reproduction.
  
  Paddison, M. (2006). Performance and the silent work: mediation and critical reflexion in Adorno’s theory of musical reproduction. Filigrane, La société dans l’écriture musicale(3), 173-198.
• 'Il concetto di natura nell'estetica musicale di Adorno'.
  
  Paddison, M. (2005). ’Il concetto di natura nell’estetica musicale di Adorno’. Cultura Tedesca, 26 (2004)(Theodor W. Adorno (1903-2003): L’estetica, L’etica.), 197-209.
• 'Performance, Reification, and Score: the Dialectics of Spatialization and Temporality in the Experience of Music'
  
  Paddison, M. (2004). ’Performance, Reification, and Score: the Dialectics of Spatialization and Temporality in the Experience of Music’. Musicae Scientiae, Discussion Forum 3, 157-179. https://doi.org/10.1177/10298649040080s111
• 'Aspects of time in the creation of music II: reponses and new departures'.
  
  Paddison, M. (2004). ’Aspects of time in the creation of music II: reponses and new departures’. Musicae Scientiae, Discussion Forum 3.(Aspects du temps dans la creation musicale.), 89-99.
• ‘Der Komponist als Kritischer Theoretiker - Brian Ferneyhoughs Ästhetik nach Adorno’.
  
  Paddison, M. (1999). ‘Der Komponist als Kritischer Theoretiker - Brian Ferneyhoughs Ästhetik nach Adorno’. Musik & Ästhetik., 3(10), 95-100.
• 'The language-character of music: some motifs in Adorno'.
  
  Paddison, M. (1991). ’The language-character of music: some motifs in Adorno’. Journal of the Royal Musical Association, 116(2), 267-279. https://doi.org/10.1093/jrma/116.2.267
• 'Adorno's Aesthetic Theory'.
  
  Paddison, M. (1987). ’Adorno’s Aesthetic Theory’. Music Analysis, 6(3), 355-377.
• 'The critique criticised: Adorno and popular music'.
  
  Paddison, M. (1982). ’The critique criticised: Adorno and popular music’. Popular Music, 2(Theory and Method.), 201-218. https://doi.org/10.1017/s026114300000129x
• 'Introduction' and annotated translation of T.W. Adorno, 'On the problem of musical analysis'.
  
  Paddison, M. (1982). ’Introduction’ and annotated translation of T.W. Adorno, ’On the problem of musical analysis’. Music Analysis, 1(2), 169-187.