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Apologetic music is defined as the highly produced and promoted music of the "pop music" industry: music that is composed of variable parts and interchanged to create several different songs. "The social and psychological functions of popular music [are that it] acts like a social cement" [ 88 ] "to keep people obedient and subservient to the ...
Aesthetic Theory was edited by Gretel Adorno (the philosopher's widow) and Rolf Tiedemann from Adorno's working drafts. [4] It was assembled from unfinished manuscripts Adorno had composed between May 4, 1961, and July 16, 1969, mainly between October 25, 1966, and January 24, 1968.
Aesthetics of music is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. [1] In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization.
Edited by Rolf Tiedemann, with Gretel Adorno, Susan Buck-Morss and Klaus Schultz, the twenty volume edition of Adorno's writings were published from 1970 to 1986. Additionally, his Nachgelassene Schriften [NaS], edited by the Theodor W. Adorno Archive, includes his lecture courses, as well as incomplete works.
Philosophy of music is the study of "fundamental questions about the nature and value of music and our experience of it". [1] The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics .
The philosopher Charles Taylor has described his work on music as "excellent and densely argued". [4] He has translated the works of Friedrich Wilhelm Joseph Schelling [5] and Friedrich Schleiermacher. [6] His recent work has focused on music and philosophy, [7] and Adorno on the nature of philosophy.
In contrast, Adorno and Horkheimer saw the rise of the culture industry as promoting homogeneity of thought and entrenching existing authorities. [26] For instance, Adorno (a trained classical pianist) polemicized against popular music because it had become part of the culture industry of advanced capitalist society and the false consciousness ...
Adorno's work has had a large impact on cultural criticism, particularly through Adorno's analysis of popular culture and the culture industry. [10] Adorno's account of dialectics has influenced Joel Kovel, [11] the sociologist and philosopher John Holloway, the anarcho-primitivist philosopher John Zerzan, [12] the sociologist Boike Rehbein, [13] and the Austrian musicologist Sebastian Wedler.