Adorno’s writings are often the starting point for the teaching of popular music studies, usually passing swiftly on, after concluding that ‘he didn’t listen to the right jazz’ or ‘he was a snob’. In this book, using Adorno’s aesthetic theory more generally, a viable philosophical approach to the study of idiomatic, non- standard music is constructed. The links between Adorno’s work and its Kantian roots are explored, and a more general and inclusive aesthetic constructed, using the utopian and implicitly political elements in each.This book will be of interest to critical theorists and musicologists wishing to build a more engaged practice without the pitfalls of a by now outdated ‘postmodern’ turn.

Adorno’s writings are often the starting point for the teaching of popular music studies, usually passing swiftly on, after concluding that ‘he didn’t listen to the right jazz’ or ‘he was a snob’. In this book, using Adorno’s aesthetic theory more generally, a viable philosophical approach to the study of idiomatic, non- standard music is constructed. The links between Adorno’s work and its Kantian roots are explored, and a more general and inclusive aesthetic constructed, using the utopian and implicitly political elements in each.This book will be of interest to critical theorists and musicologists wishing to build a more engaged practice without the pitfalls of a by now outdated ‘postmodern’ turn.

Adorno’s writings are often the starting point for the teaching of popular music studies, usually passing swiftly on, after concluding that ‘he didn’t listen to the right jazz’ or ‘he was a snob’. In this book, using Adorno’s aesthetic theory more generally, a viable philosophical approach to the study of idiomatic, non- standard music is constructed. The links between Adorno’s work and its Kantian roots are explored, and a more general and inclusive aesthetic constructed, using the utopian and implicitly political elements in each.This book will be of interest to critical theorists and musicologists wishing to build a more engaged practice without the pitfalls of a by now outdated ‘postmodern’ turn.

Adorno’s writings are often the starting point for the teaching of popular music studies, usually passing swiftly on, after concluding that ‘he didn’t listen to the right jazz’ or ‘he was a snob’. In this book, using Adorno’s aesthetic theory more generally, a viable philosophical approach to the study of idiomatic, non- standard music is constructed. The links between Adorno’s work and its Kantian roots are explored, and a more general and inclusive aesthetic constructed, using the utopian and implicitly political elements in each.This book will be of interest to critical theorists and musicologists wishing to build a more engaged practice without the pitfalls of a by now outdated ‘postmodern’ turn.