Philosophy of New Music

This revealing translation of Philosophy of New Music showcases Adorno's profound critique of music and its cultural implications.

In 1947, Theodor W. Adorno, a pivotal European philosopher of the postwar era, made a significant return to a war-torn Europe with his groundbreaking work, Philosophy of New Music. This text, characterized by its intense polemics, sparked a wide range of reactions, from outright rejection to fervent outrage, even drawing criticism from notable figures such as Schoenberg. The controversy surrounding Philosophy of New Music only contributed to its growing reputation, ultimately establishing it as a crucial read for musicians, scholars, and social philosophers alike.

Adorno's work signifies a turning point in his musicological philosophy, where he critiques musical reproduction as an inherent aspect of composition rather than a mere reflection of performance. The book comprises two distinct essays: “Schoenberg and Progress” and “Stravinsky and Reaction.” Through these essays, Adorno explores the extremes of musical composition, framing his analysis within the broader cultural struggle of Europe—between human emancipation and barbarism, as embodied by the contrasting techniques of Schoenberg and Stravinsky.

This new translation of Philosophy of New Music, accompanied by a comprehensive introduction from esteemed translator Robert Hullot-Kentor, reveals the text as an essential component of Adorno's influential body of work. It invites readers to engage with the complexities of musical theory and its implications for society, making it a vital resource for understanding Adorno's philosophical contributions to music and culture.