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Theodor Adorno is one of this century's most influential thinkers in the areas of social theory, philosophy, aesthetics, and music. Throughout the essays in this book, all of which concern musical matters, he displays an astonishing range of cultural reference, demonstrating that music is invariably social, political, even ethical. Adorno's insistence on the social character of aesthetic works will come as no surprise to those familiar with his writings, although many may be surprised by the volume's somewhat colloquial tone. This colloquialism, in dialogue with Adorno's unceasing rigor, stems from the occasional sources of many of the essays, mainly public lectures and radio addresses. As such, this volume represents an important and, for English-language readers, largely unfamiliar side to Adorno. His arguments move more quickly than in his more formal and extended musicological works, and the writing is much more accessible and generous than his usually dense and frequently opaque prose. This volume includes essays on prominent figures in music (Alban Berg, Anton von Webern, Arturo Toscanini), compositional technique (the prehistory of the twelve-tone row, the function of counte

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