"A manifesto on how criticism could actively participate in and clarify artistic concerns, immanently complicating solidarity between theory and practice."–Platypus Review
"A surprisingly accessible entry point into understanding Adorno the aesthete. Through a well-crafted and detailed introduction, Hullot-Kentor allows us to glimpse Adorno at the time of this writing–both enamored of and bothered by the works of Schoenberg, repulsed by American culture, not yet hardened into the diamond point of negative dialectics."–PopMatters
"With Hullot-Kentor's masterful translation, readers can now more accurately debate the place of Philosophy of New Music within today's cultural situation."–Cultural Critique