Abstract

T. W. Adorno's philosophy of music aims to show that music is a source of important insights into the nature of modern society. This position leads, though, to a series of methodological difficulties, some of which can be alleviated by using resources from Heidegger's hermeneutics. The essay takes the key notion of `judgementless synthesis' from Adorno's unfinished book on Beethoven and connects it to Heidegger's account of pre-propositional under-standing and to Kant's notion of schematism. This connection is shown to have consequences for how we conceive of both the meaning of music and meaning in more general terms, especially with regard to analytical philosophy. The essay argues that, despite its many important insights, Adorno's account of the meaning of music in modernity depends too much on his analogy between Hegel's claim to achieve the final philosophy and Beethoven's establishment of new forms of integration for musical material