Adorno’s musical model of nature-domination must prove portable beyond music to be useful

Evidence

If Adorno’s interpretation of modern music as a form of domination over nature, and as a way of escaping an alienated form of domination over nature, were to be accepted, the immediate question would be whether such an interpretation would produce useful approaches to the criticism and correction of non-musical forms of domination over nature. More precisely: was it possible to do without any domination over nature or cultured dealings with nature altogether, in the spirit of the subject who could break free, weeping and singing? — Rolf Wiggershaus, The Frankfurt School, 329

Categorization

• SEED: Essay angle: does Adorno’s aesthetic theory of nature-domination transfer to non-aesthetic domains like ecology or technology critique, or is it doomed to stay intramusical?
• XREF: connects to: Adorno’s music theory ultimately appeals to a cultured composing ear — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2213; Adorno’s musical method could ground an intrinsic Marxist literary criticism — Fredric Jameson, Marxism and Form, 755; Adorno’s music monographs supplied the conceptual machinery for his social theory. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 349
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno’s music theory ultimately appeals to a cultured composing ear — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2213; Adorno’s musical method could ground an intrinsic Marxist literary criticism — Fredric Jameson, Marxism and Form, 755; Adorno’s music monographs supplied the conceptual machinery for his social theory. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 349

Broader Connections

• Adorno’s music theory ultimately appeals to a cultured composing ear #complicates (0.72) — Rolf Wiggershaus, The Frankfurt School, 2213