Adorno's writings are often the starting point for the teaching of
popular music studies, usually passing swiftly on, after concluding
that 'he didn't listen to the right jazz' or 'he was a snob'. In
this book, using Adorno's aesthetic theory more generally, a viable
philosophical approach to the study of idiomatic, non- standard
music is constructed. The links between Adorno's work and its
Kantian roots are explored, and a more general and inclusive
aesthetic constructed, using the utopian and implicitly political
elements in each. This book will be of interest to critical
theorists and musicologists wishing to build a more engaged
practice without the pitfalls of a by now outdated 'postmodern'
turn.
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