Adorno’s music monographs supplied the conceptual machinery for his social theory.

Evidence

Adorno’s project involved examining the configurations of myth and modernism, nature and history, old and new, immutability and difference, decay and recovery, and proving that the ideas presented in his two monographs on the dialectic of musical progress, Fragments on Wagner' (ZfS, 1937) and the Schoenberg essay On the Philosophy of Modern Music’ (1940-1), 155 were of relevance to social theory and the philosophy of history. — Rolf Wiggershaus, The Frankfurt School, 349

Categorization

• XREF: Connects the Wagner and Schoenberg studies to the social-theoretical framework of Dialectic of Enlightenment — a link worth chasing across the book’s music chapters. — connects to: Adorno grounded his twelve-tone analysis in a romantic-Marxist theory of species history. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 325; Adorno read modernist music’s technical conflicts as symptoms of social disorder; Adorno read esoteric musical technicalities as indices of total social disorder — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2181 (+7 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno grounded his twelve-tone analysis in a romantic-Marxist theory of species history. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 325; Adorno read modernist music’s technical conflicts as symptoms of social disorder; Adorno read esoteric musical technicalities as indices of total social disorder — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2181 (+7 more)