ABSTRACT. The key contribution of this paper is to articulate and give expression to Adorno’s use of spatial conceptions and metaphors in his discussion of music, the objectification of subjectivity in music, the development of musical forces of production, and Adorno’s references to dialectic in relation to musical form. There has been a flurry of pronouncements over recent years about Adorno’s treatment of “new music,” the development of musical semblance, Adorno’s stance on musical temporality, and the developmental and progressive in music. pp. 185–190

Keywords: Adorno, music, production, Beethoven, criticism, practice