Adorno was the first Marxist after Lukács to apply commodity-form analysis to music

Evidence

Adorno’s early work largely adopts Lukácsian social critique’s focus on the commodity-form. As will now be seen, this is made evident ‘by both his 1936 “On Jazz” and 1938 “On the Fetish-Character in Music and the Regression of Listening”, two works of music criticism in which Adorno becomes the first Marxist theoretician following Lukács to harness the possibilities of commodity-form analysis’. — Dirk Braunstein, Adorno’s Critique of Political Economy, 151

Categorization

• ADDENDUM: The music criticism pieces connect to the fetish-character thread relevant to the sacrifice article’s discussion of how commodities accrue value.
• XREF: connects to: Adorno’s commodity critique of music rests on homology, not mere analogy — Dirk Braunstein, Adorno’s Critique of Political Economy, 485; Lukács’s historical philosophy shaped Adorno’s music aesthetics

Broader Connections

• Adorno’s commodity critique of music rests on homology, not mere analogy #qualifies (0.85) — Dirk Braunstein, Adorno’s Critique of Political Economy, 485