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References
1.
1. Philosophie der neuen Musik translated as Philosophy of Modern Music, trans. Anne G. Mitchell and Wesley V. Blomster (London: Sheed & Ward, 1973); Dialectic of Enlightenment, trans. John Cumming (New York: Herder & Herder, 1972); Composing for the Films (New York: Oxford University Press, 1947).
2.
2. New York: Harper and Brothers, 1950.
3.
3. Trans. E. B. Ashton (New York: Seabury Press, 1976).
4.
4. A situation which was not lost on Adomo himself: "A writer will find that the more precisely, conscientiously, appropriately he expresses himself, the more obscure the literary result is thought," Minima Moralia: Reflections from Damaged Life, trans. E. F. N. Jephcott (London: N.L.B., 1974), p. 101.
5.
5. Some of the blame lies with the centrality of the German language to Adorno's writing style: see Samuel M. Weber on "Translating the Untranslatable" the translator's introduction to Adorno's Prisms (London: Neville Spearman, 1967).
6.
6. See Arnold Schoenberg's 1911 Theory of Harmony (trans. R. Carter, Faber & Faber, 1978) and Style and Idea: Selected Writings of Arnold Schoenberg (ed. L. Stein, trans. L. Black, Faber & Faber, 1975), pp. 216-17.
7.
7. See Paddison Adorno, Modernism and Mass Culture: Essays on Critical Theory and Music, London: Kahn & Averill, 1996, p. 61.
8.
8. "Commodity art" such as that which Adorno defined as popular music accepts its function within the dominant relations of production of society, and evokes an uncritical and standardised response from its public. Avant-garde art resists its commodity-character by taking a critical position towards handed-down artistic material within its own structure, and demands a critical, intepretative and self-reflective mode of reception. However, in so doing it relegates itself to the margins of society.
9.
9. Quoting Martin Jay's The Dialectical Imagination (London: Heinemann, 1973, p. 223), Paddison (p. 288) cites a letter sent from Lazarsfeld to Adorno in 1939: "Your disrepect for possibilities alternative to your own ideas becomes even more disquieting when your text leads to the suspicion that you don't even know how an empirical check upon an hypothetical assumption is to be made."
10.
10. Adorno 1976, p. 1.
11.
11. "On Popular Music" (with the assistance of George Simpson), Studies in Philosophy and Social Sciences, 9 (1941), pp. 17-48.