A difficult but especially beneficial reading.

This is hard to read who would not a minimum inquired about the thought of Adorno. As this remains of philosophy, even if it is a book on music written by a composer-philosopher. To fully appreciate the reading of this book, it would take and advises Dominique Jameux back cover, resume regularly, put it down, the ruminate at length. I would add that we must also get rid of its a priori and do not be daunted by the apparent simplicity of the parallel between "Schoenberg or progress" (first part of the book) and "Stravinsky or restoration" (Part 2). These are just a philosophical model. Take the time to read the preface and understand what it is like to immerse themselves in the singularity of a work to clear the truth content. Playful attacks against the Neoclassical aesthetic and some Russian or English composers, but especially not take offense. Ditto for neurotic labels which is decked Stravinsky's music. Adorno love this music, he analyzed and felt, and understands better than anyone. This is reflected again at the turn of these pages become legendary, brilliant pages, the reading course requires the use of a good dictionary and a good knowledge of the works in question. Therefore provide headphones and CD players, CDs replenish his stock, possibly partitions.