In attempting to define noise music and its value, Paul Hegarty ( 2007 ) cites the work of noted cultural critics Jean Baudrillard, Georges Bataille and Theodor Adorno and through their work traces the history of " noise ".

Before his graduation, Adorno had already met with his most important intellectual collaborators, Max Horkheimer and Walter Benjamin.

Alban Berg, the man Adorno referred to as " my master and teacher ," was among the most prescient of his young pupil's early friends:

Neither Picasso's fascination with African sculpture nor Mondrian's reduction of painting to its most elementary component-the line-is comprehensible outside this concern with primitivism Adorno shared with the century's most radical art.

The most prominent philosophers with which the so-called ' Frankfurt School ' is associated were Erich Fromm, Herbert Marcuse, Theodor Adorno, Walter Benjamin, Jürgen Habermas and Max Horkheimer.

Adorno believed people with authoritarian personalities were the most likely to be prejudiced against groups of lower status.

He has been widely described, most notably by Theodor Adorno, as a negative Jewish stereotype, with his race expressed through " distorted " music and " muttering " speech ; other critics, however, disagree with this assessment.

The philosophical tradition now referred to as the " Frankfurt School " is perhaps particularly associated with Max Horkheimer ( philosopher, sociologist and social psychologist ), who took over as the institute's director in 1930 and recruited many of the school's most talented theorists, including Theodor W. Adorno ( philosopher, sociologist, musicologist ), Erich Fromm ( psychoanalyst ), and Herbert Marcuse ( philosopher ).

From the early 20th century until the 1960s, continental philosophers were only intermittently discussed in British and American universities, despite an influx of continental philosophers, particularly German Jewish students of Nietzsche and Heidegger, to the United States on account of the persecution of the Jews and later World War II ; Hannah Arendt, Leo Strauss, Theodor W. Adorno, and Walter Kaufmann are probably the most notable of this wave, arriving in the late 1930s and early 1940s.

Adorno reassessed Spengler's thesis three decades after it had been put forth, in light of the catastrophic collapse of Nazi Germany ( although Spengler had not meant " Untergang " in a cataclysmic sense, this was how most authors after WWII interpreted it ).

Horkheimer and Adorno were influenced heavily by major developers of social, political and economic theory, most notably:

Some of the most famous University of Frankfurt scholars are associated with this school, including Theodor Adorno, Max Horkheimer, and Jürgen Habermas, as well as Herbert Marcuse, Erich Fromm, and Walter Benjamin.

But Freyer also dreamt of building up a sociological think tank for the Third Reich-quite differently to most other sociologists, e. g. to the ( outspoken ) anti-Hitlerian Ferdinand Tönnies ( University of Kiel ) and to Leopold von Wiese ( University of Cologne ), and to the émigrés ( e. g. to Karl Mannheim, and to the up-and-coming René König, Paul Lazarsfeld, Norbert Elias, Theodor Adorno, Rudolf Heberle, and Lewis A. Coser ).

" Theodor W. Adorno lauded his essay Die Juden as " one of the most beautiful German prose plays in defence of the Jews ".

In 1947 Theodor W. Adorno defined what would be later called " blaming the victim ," as " one of the most sinister features of the Fascist character ".

Besides Adorno, Theodore Gracyk provides the most extensive philosophical analysis of popular music.

A most important and direct contribution came from the philosopher and music critic Theodor Adorno, who acted as Mann's adviser and encouraged him to rewrite large sections of the book.

Adorno shows how the smallest changes in everyday behavior stand in relation to the most catastrophic events of the twentieth century.

Discussing Theodor Adorno, Max Paddison ( 1993, 90 ) defines surrealist music as that which " juxtaposes its historically devalued fragments in a montage-like manner which enables them to yield up new meanings within a new aesthetic unity ," though Lloyd Whitesell says this is Paddison's gloss of the term ( Whitesell 2004, 118 ).

Before his return, Adorno had not only reached an agreement with a Tübingen publisher to print an expanded version of Philosophy of New Music, but completed two compositions: Four Songs for Voice and Piano by Stefan George, op. 7, and Three Choruses for Female Voices from the Poems of Theodor Daubler, op.

Yet Adorno was no less moved by other public events: protesting the publication of Heinrich Mann's novel Professor Unrat with its film title, The Blue Angel ; declaring his sympathy with those who protested the scandal of big-game hunting and penning a defense of prostitutes.

After a group of students marched to the lectern, unfurling a banner that read " Berlin ’ s left-wing fascists greet Teddy the Classicist ," a number of those present left the lecture in protest after Adorno refused to abandon his talk in favor of discussing his attitude on the current political situation.

According to Adorno, society's self-preservation had become indistinguishable from societally sanctioned self-sacrifice: of " primitive " peoples, primitive aspects of the ego and those primitive, mimetic desires found in imitation and sympathy.

In the face of this radical liberation of the musical material, Adorno came to criticize those who, like Stravinsky, withdrew from this freedom by tasking recourse to forms of the past as well as those who turned twelve-tone composition into a technique which dictated the rules of composition.

" Thus Adorno conceded that Spengler's insights were often more profound than those of his more liberal contemporaries, and his predictions more far-reaching.

At the end of his schooldays, Adorno not only benefited from the rich concert offerings of Frankfurt-in which one could hear performances of works by Schoenberg, Schreker, Stravinsky, Bartók, Busoni, Delius and Hindemith-but also began studying music composition at the Hoch Conservatory while taking private lessons with well-respected composers Bernhard Sekles and Eduard Jung.

Starting with his 1947 essay Wagner, Nietzsche and Hitler, Adorno produced a series of influentia works to describe psychological fascist traits.

Although green anarchism develops themes present in the political action of the Luddites and the writings of Jean-Jacques Rousseau, when primitivism emerged it was influenced more directly by the works of theorists such as the Frankfurt School Marxists Theodor Adorno and Herbert Marcuse ; anthropologists Marshall Sahlins and Richard Borshay Lee ; and others such as Lewis Mumford, Jean Baudrillard and Gary Snyder.

* July 11 – July 22 – The Darmstädter Ferienkurse are held in Darmstadt with a series of lectures by Theodor W. Adorno, two public discussions of the new medium of electronic music, and world premieres of works by ( amongst others ) Richard Rodney Bennett, Pierre Boulez, Jacques Calonne, Aldo Clementi, Luc Ferrari, Alexander Goehr, Bengt Hambraeus, Hans Werner Henze, Bruno Maderna, Henri Pousseur, and Karlheinz Stockhausen.

Adorno made use of mimesis as a central philosophical term, interpreting it as a way in which works of art embodied a form of reason that was non-repressive and non-violent.

In works such as Dialectic of Enlightenment and Negative Dialectics, Adorno and Horkheimer theorized that the phenomenon of mass culture has a political implication, namely that all the many forms of popular culture are a single culture industry whose purpose is to ensure the continued obedience of the masses to market interests.

Based in New York City, it is widely known for having introduced English-speaking audiences to the works of Ernst Jünger, György Lukács, Theodor Adorno, Carl Schmitt, Jean Baudrillard, Matthias Küntzel, Jean-Claude Paye, photographer Kiki of Paris, Lucien Goldmann, Gustav Landauer, and Péter Szondi.

Thea Dorn's pseudonym alludes to Theodor Adorno, whose works she read and found hard to understand.

This finding was echoed by Theodor Adorno.

Critical theory was established as a school of thought by five Frankfurt School theoreticians: Herbert Marcuse, Theodor Adorno, Max Horkheimer, Walter Benjamin, and Jürgen Habermas.

It has also been closely identified with certain kinds of artistic and cultural practice by Cornelius Castoriadis, Antonio Gramsci, Herbert Marcuse, Jacques Ranciere, and Theodor Adorno.

Another paradigmatic exhortation was articulated by philosopher and composer Theodor Adorno, who, in the 1940s, challenged conventional surface coherence and appearance of harmony typical of the rationality of Enlightenment thinking.

A paradigmatic modernist exhortation was articulated by philosopher and composer Theodor Adorno, which in the 1940s, invited to challenge conventional surface coherence and appearance of harmony:

Mustafa took refuge in the city of Gallipoli but the sultan, who was greatly aided by a Genoese commander named Adorno, besieged him there and stormed the place.

Rescued by two Neapolitan barons who had sided for Louis, Raimondello Orsini and Tommaso di Sanseverino, after six months of siege he succeeded in making his escape to Genoa with six galleys sent him by doge Antoniotto Adorno.

Amidst the vogue enjoyed by existentialism and positivism in early 20th century Europe, Adorno advanced a dialectical conception of natural history that critiqued the twin temptations of ontology and empiricism through studies of Kierkegaard and Husserl.

Proud of her origins, Maria wanted her son's paternal surname to be supplemented by the addition of her own name: Adorno.

Prior to his graduation at the top of his class, Adorno was already swept up by the revolutionary mood of the time, as is evidenced by his reading of Georg Lukacs's The Theory of the Novel that year, as well as by his fascination with Ernst Bloch's The Spirit of Utopia, of which he would later write:

Along with future collaborators like Walter Benjamin, Max Horkheimer, Ernst Bloch, Adorno was profoundly disillusioned by the ease with which Germany's intellectual and spiritual leaders — among them Max Weber, Max Scheler, Ernst Simmel, as well as his friend Siegfried Kracauer — came out in support of the war.

" Undaunted by his academic prospects, Adorno threw himself once again into composition.

At the same time, however, and owing to both the presence of another prominent sociologist at the Institute, Karl Mannheim, as well as the methodological problem posed by treating objects-like " musical material "-as ciphers of social contradictions, Adorno was compelled to abandon any notion of " value-free " sociology in favor of a form of ideology critique which held on to an idea of truth.

Before his emigration in autumn 1934, Adorno began work on a Singspiel based on Mark Twain's The Adventures of Tom Sawyer entitled The Treasure of Indian Joe, which he would, however, never complete ; by the time he fled Hitler's Germany Adorno had already written over a hundred opera or concert reviews and an additional fifty critiques of music composition.

Impressed by Horkheimer's book of aphorisms, Dawn and Decline, Adorno began working on his own book of aphorisms, what would later become Minima Moralia.

Expected to make use of devices with which listeners could press a button to indicate whether they liked or disliked a particular piece of music, Adorno bristled with distaste and astonishment: “ I reflected that culture was simply the condition that precluded a mentality that tried to measure it .” Thus Adorno suggested using individual interviews to determine listener reactions and, only three months after meeting Lasarzfeld, completed a 160-page memorandum on the Project ’ s topic, “ Music in Radio .” Adorno was primarily interested in how the musical material was affected by its distribution through the medium of radio and thought it imperative to understand how music was affected by its becoming part of daily life.