The posthumous publication of Theodor W. Adorno’s works on music continues to reveal the special relationship between music and philosophy in his thinking. These important works have not, however, received as much scholarly attention as they deserve. Contributors to this issue seek to provide insight into some of the key themes raised in these works, including the sociology of musical genre, the historical transformation of music from the "heroic" or high-bourgeois era to late modernity, the meaning of both performance and listening in the era of mass communication, and the specific challenges or deformations of the radio on musical form, a theme that implicates many of the digital practices of our own age. There is much left to discover in these new publications, and they pose again, with renewed vigor, the question of Adorno’s Aktualität—his polyvalent, untranslatable term for, among other things, the intellectual relationship between the present and the past.

Contributors
Daniel K. L. Chua, Lydia Goehr, Peter E. Gordon, Martin Jay, Brian Kane, Max Paddison, Alexander Rehding, Fred Rush, Martin Scherzinger

Peter E. Gordon is Amabel B. James Professor of History at Harvard University and the author of Continental Divide: Heidegger, Cassirer, Davos. Alexander Rehding is Fanny Peabody Professor of Music at Harvard University and the author of Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany.