Adorno’s music theory ultimately appeals to a cultured composing ear

Evidence

His theoretical efforts thus concluded, as in Philosophy of Modern Music, in an appeal to the existence of an element of cultured nature. This appeal to the `composing ear’ was also a variation by Adorno on the time-honoured topos of the sculptor who chisels free the figure that had lain concealed within the stone. — Rolf Wiggershaus, The Frankfurt School, 2213

Categorization

• XREF: The sculptor-unveiling-figure topos echoes earlier claims about Adorno’s appeal to an element of cultured nature, and resonates with the Kracauer/Adorno motif of rescuing concealed ideas. — connects to: Adorno’s appeal to a cultivated listening ear undercut his own critique of alienated domination — Rolf Wiggershaus, The Frankfurt School: Its History,…, 1279; Adorno’s critique of culture is inseparable from its technical particulars across disciplines — Fredric Jameson, Marxism and Form, 31
• corroborated: 2 independent passages support this claim — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2213

Broader Connections

• Adorno’s appeal to a cultivated listening ear undercut his own critique of alienated domination #complicates (0.95) — Rolf Wiggershaus, The Frankfurt School, 1279
• Adorno’s critique of culture is inseparable from its technical particulars across disciplines #expands (0.80) — Fredric Jameson, Marxism and Form, 31