546 Notes to pp. 251–254
identifications. Freud first made use of the concept in The Interpretation of
Dreams (1900), where he explains that the energy which in waking life
would be discharged in action is compelled by the inhibitions operative in
sleep to ‘regress’ to the sense-organs, provoking hallucinations.
44 See Lucia Sziborsky, Adornos Musikphilosophie, chs 5 and 6, p. 113ff.;
Max Paddison, Adorno’s Aesthetics of Music, p. 184ff.
45 Adorno, ‘On the Fetish-Character in Music and the Regression of Listen-
ing’, in Essays on Music, p. 293.
46 Ibid., p. 292.
47 Ibid., p. 307.
48 A year after the essay was published, Adorno confessed to Benjamin that,
if it had a weakness, it ‘consists, to put it crudely, in the tendency to
indulge in Jeremiads and polemics’ (Benjamin and Adorno, The Complete
Correspondence 1928–1940, p. 305).
49 Adorno, ‘Scientific Experiences of a European Scholar in America’, in
Critical Models, p. 224.
50 Ibid., p. 219.
51 Ibid., p. 221.
52 See David Morrison, ‘Kultur and Culture: The Case of Theodor W. Adorno
and Paul F. Lazarsfeld’, p. 343ff.
53 Adorno, ‘Scientific Experiences of a European Scholar in America’, in
Critical Models, p. 223.
54 See Paul Lazarsfeld, ‘Eine Episode in der Geschichte der empirischen
Sozialforschung’, p. 203. Lazarsfeld subsequently reproached himself for
not having tried harder to integrate Adorno’s theoretical and methodo-
logical innovations into the empirical research process.
55 Horkheimer, Briefwechsel, GS, vol. 16, p. 534f.
56 Paul Lazarsfeld, ‘Eine Episode in der Geschichte der empirischen
Sozialforschung’, p. 202.
57 Lazarsfeld to Marshall, 9 June 1941, Rockefeller Archives.
58 Theodor W. Adorno Archive, Frankfurt am Main, Ts 49863.
59 Ibid., Ts 50500.
60 The English-language explanation of ‘right listening’ was as follows: ‘Right
listening means above all the overcoming of the current false listening. This
current false listening may be roughly defined as atomistic or gustatory list-
ening: as the dwelling on individual “tunes” out of which a piece is built or as
the tasting of individual harmonic or instrumental stimuli’ (ibid., Ts 50429).
61 Ibid., Ts 50102; cf. Adorno, ‘Theory of Pseudo-Culture’, p. 31ff.; see also
Adorno, Zu einer Theorie der musikalischen Reproduktion, NaS, vol. 2.
62 See Adorno, ‘Über die musikalische Verwendung des Radios’, GS, vol. 15,
p. 369ff. Two decades later, he judged his study as follows: ‘Indeed one of
the central ideas proved to be obsolete: my thesis that the radio symphony
was not a symphony any more, which I derived from the technological
transformations of sound quality due to the recording tape still prevalent
in radio at the time and which has since largely been overcome by the
techniques of high fidelity and stereophonics. Yet I believe that this
affects neither the theory of atomistic listening nor that of the particular
“image character” of music on the radio, which has survived the earlier
distortion of sound’ (Adorno, ‘Scientific Experiences of a European Scholar
in America’, in Critical Models, p. 227).