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Essays on Music

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Theodor W. Adorno (1903-1969), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and—more than any other subject—music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual reading Theodor W. Adorno (1903-1969), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and—more than any other subject—music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual readings of musical works, gives him broad claim as a continuing force in the study of music. This long-awaited collection of twenty-seven essays represents the full range of Adorno's music writing. Nearly half of the essays appear in English for the first time; all of the essays are fully annotated; and the previously translated essays have been corrected and missing text restored, making this volume the definitive resource on Adorno's musical thought.


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Theodor W. Adorno (1903-1969), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and—more than any other subject—music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual reading Theodor W. Adorno (1903-1969), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and—more than any other subject—music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual readings of musical works, gives him broad claim as a continuing force in the study of music. This long-awaited collection of twenty-seven essays represents the full range of Adorno's music writing. Nearly half of the essays appear in English for the first time; all of the essays are fully annotated; and the previously translated essays have been corrected and missing text restored, making this volume the definitive resource on Adorno's musical thought.

30 review for Essays on Music

  1. 5 out of 5

    Michelle

    This guy. His book lacks any evidence to back up its claims. And besides that, it's incredibly insulting. And on many occasions, just wrong. This guy. Let's let the book speak for itself: "The listener of normal musical intelligence who hears the Kundry motif of Parsifal for the first time is likely to recognize it when it is played again because it is unmistakable and not exchangeable for anything else. If the same listener were confronted with an average song-hit, he would not be able to distin This guy. His book lacks any evidence to back up its claims. And besides that, it's incredibly insulting. And on many occasions, just wrong. This guy. Let's let the book speak for itself: "The listener of normal musical intelligence who hears the Kundry motif of Parsifal for the first time is likely to recognize it when it is played again because it is unmistakable and not exchangeable for anything else. If the same listener were confronted with an average song-hit, he would not be able to distinguish it from any other unless it were repeated so often that he would be forced to remember it." (447) Um, wrong. The person of "normal musical intelligence" would probably state that all classical music sounds the same to them, and would find more differences between a Katy Perry song and a Rhianna song. You can pick out more differences between things you are familiar with. Just because this guy dislikes a genre, he is basically projecting his own thoughts and feelings onto the rest of the general population. When he's not doing that, he's insulting us and comparing us to children.

  2. 5 out of 5

    Jawad

    Adorno's musical theory is part and parcel of the unrelentless efforts in the destruction of sense and reason and heart in music, the great music of the western tradition, and the praise of so called 'atonal' music of his fellow academicians like Webern, Schoenberg, and so forth, that is, destroying, denigrating, undermining, and trashing everything great in westren tradition.

  3. 4 out of 5

    Lindsay Bernhagen

    Love it. Re-reading again if only for the sheer of joy of seeing what a sympathetic and patient reading of Adorno by Leppert can do for one's sense of possibility.

  4. 5 out of 5

    Diamond

    A wonderful set of essays. I particularly like when he talks about military music and the beat. The essays in this book are one of the first attempts to understand musical aesthetics within modernity.

  5. 4 out of 5

    Richard Anderson

    Strong on the Second Viennese School, ridiculous on jazz and popular music.

  6. 4 out of 5

    Robert

    great

  7. 5 out of 5

    Jeff

  8. 4 out of 5

    Bojana

  9. 5 out of 5

    Burcu Sarar

  10. 5 out of 5

    John

  11. 5 out of 5

    Emma

  12. 5 out of 5

    Brian Jenkins

  13. 5 out of 5

    Madeleine

  14. 5 out of 5

    Paula Tlr

  15. 4 out of 5

    Kostas

  16. 5 out of 5

    Dania

  17. 5 out of 5

    Andy

  18. 5 out of 5

    Thusspokejeremy

  19. 4 out of 5

    Kristen Case

  20. 5 out of 5

    Alexandra

  21. 5 out of 5

    Nour Tohme

  22. 5 out of 5

    Robert

  23. 5 out of 5

    Skopofil

  24. 5 out of 5

    Bob

  25. 5 out of 5

    André

  26. 4 out of 5

    Christopher Gontar

  27. 4 out of 5

    Aubrey

  28. 5 out of 5

    Frankles23

  29. 4 out of 5

    Bonnie

  30. 5 out of 5

    nasrin

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