Adorno forced all motifs into one Schoenberg interpretation as the only valid reading.

Evidence

But what Adorno in fact did was to force all the motifs together into an interpretation of the music produced by Schoenberg and his closest students, seeing this interpretation as the only one which did justice to current objective possibilities of the musical material. This was rather an exaggeration of the thesis that the universal is contained within the particular. Adorno’s text centred on the technique of twelve-tone music. — Rolf Wiggershaus, The Frankfurt School, 325

Categorization

• XREF: Connects to the reader’s earlier note on Adorno’s thesis that the universal resides in the particular — this is that thesis pushed to a distorting extreme. — connects to: Adorno overgeneralized Schoenberg’s music as the sole legitimate musical material. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 1259
• DEFINE: ‘Adorno’s text’ here is Philosophie der neuen Musik, whose central claim is that twelve-tone technique is the only historically adequate material.
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno overgeneralized Schoenberg’s music as the sole legitimate musical material. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 1259

Broader Connections

• Adorno overgeneralized Schoenberg’s music as the sole legitimate musical material. #corroborates (0.95) — Rolf Wiggershaus, The Frankfurt School, 1259