Adorno founded a philosophy-of-history approach to music aesthetics centered on Schoenberg’s school

Evidence

Critical Theory in Contention Adorno as an Independent Interdisciplinary ResearcherTowards a Musique Informelle and Corresponding Approaches in Other Fields With his Philosophy of Modern Music, Adorno founded a tradition in the aesthetics of music that was oriented towards the philosophy of history. Most of the books he published during the first decade of the Federal Republic dealt with music: Philosophy of Modern Music (1949), In Search of Wagner (1952), Dissonances (1956) and Tone Figures (1959). … His Theses on Musical Education' first presented as a lecture in Darmstadt in 1952, upset the supporters of the Young Music’, who as early as the 1950s were already invoking a revived `new national community’. As a veteran defender and supreme connoisseur of the Schoenberg school, Adorno became an important participant in discussions held at the Darmstadt International Vacation Courses on New Music, where the musical avant-garde met. — Rolf Wiggershaus, The Frankfurt School, 535

Categorization

• XREF: The reader’s earlier Frankfurt School material already tracks Adorno’s Schoenberg writings; this dates and sequences the music books. — connects to: Adorno synthesized Lukacs, Kracauer, and Benjamin to justify Schoenberg’s twelve-tone revolution; Adorno’s dialectical account of musical progress risked dressing up one school’s rise as necessity — Rolf Wiggershaus, The Frankfurt School: Its History,…, 328; Adorno’s Vienna years fixed Schoenberg’s music as central to his aesthetics — Rolf Wiggershaus, The Frankfurt School: Its History,…, 326 (+11 more)
• DEFINE: Establishes what ‘the aesthetics of music oriented toward the philosophy of history’ meant as a scholarly program.
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno synthesized Lukacs, Kracauer, and Benjamin to justify Schoenberg’s twelve-tone revolution; Adorno’s dialectical account of musical progress risked dressing up one school’s rise as necessity — Rolf Wiggershaus, The Frankfurt School: Its History,…, 328; Adorno’s Vienna years fixed Schoenberg’s music as central to his aesthetics — Rolf Wiggershaus, The Frankfurt School: Its History,…, 326 (+11 more)