Edward Said, Adorno’nun ‘musiki topluma, toplum musikiye yabancı mirim’ yaklaşımını açıyor; asosyal görünen şeyin altında gayet sosyal bir sebep yatıyor:
From the time of the Baroque, music had been not only a documentation of the bourgeoisie’s reality but also one of its principal art forms, since the proletariat never formulated or was permitted to constitute itself as a musical subject. By the early twentieth century, radical modern music of the kind composed by Schoenberg and his main disciples Berg and Webern has had its social substance abstracted from it by entirely musical means. New music has become isolated and hermetic not by virtue of “asocial” but rather because of social concerns. (…) [By putting a distance from] the everyday world of listeners and perhaps even of performers, new music casts a devastatingly critical light upon the degraded and therefore meaningless world, (…).