Adorno preemptively answered critics of Philosophy of Modern Music in its foreword.

Evidence

Adorno used this notion, in the foreword to Philosophy of Modern Music, written in Los Angeles in the summer of 1948, to disarm in advance those criticisms of his book that seemed to him to be the most obvious and important ones: first, that after everything that had happened in Europe, and everything that was still threatening to happen, it was cynical to spend time and intellectual energy on puzzling out the esoteric questions of modern compositional technique; secondly, that it was a mere provocation when the book’s abstruse arguments about art often claimed to have immediate relevance to a reality which was not interested in them in the slightest. — Rolf Wiggershaus, The Frankfurt School, 538

Categorization

• XREF: connects to: Adorno let a preface dispute block the Neumann essay collection. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 495; Adorno admitted the critique’s standpoint versus criticized standpoint was theoretically unclear; Adorno’s inaugural lecture met universal criticism including from his allies — Rolf Wiggershaus, The Frankfurt School: Its History,…, 384 (+2 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno let a preface dispute block the Neumann essay collection. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 495; Adorno admitted the critique’s standpoint versus criticized standpoint was theoretically unclear; Adorno’s inaugural lecture met universal criticism including from his allies — Rolf Wiggershaus, The Frankfurt School: Its History,…, 384 (+2 more)

Broader Connections

• Adorno’s inaugural lecture met universal criticism including from his allies #complicates (0.72) — Rolf Wiggershaus, The Frankfurt School, 384