Book Review: Theodor W. Adorno, *Philosophy of New Music*
THE NEW TRANSLATION AND REPUBLICATION of Theodor Adorno’s Philosophy of New Music1 is a further clarification of modernism, necessitated by the latest discontents with postmodernism’s vulgarization, which keeps it at a fictitious distance. Perhaps as his remedy for the most fragmented part of the whole of the arts, namely music, translator Robert Hullot-Kentor has in recent years been steadily reintroducing Adorno’s aesthetic philosophy to English readers.2 The republication of Philosophy of New Music continues this process, further introducing readers to Adorno’s complex aesthetic theory, also elaborated recently in Current of Music, which embodies Adorno’s aesthetic hopes for the early emergence of radio transmission.
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