不知从何时起,欧洲音乐历史的连续统一体变得四分五裂,令人无从把握了。即便在二十世纪的末尾,我们要想寻找一个坚实明确的概念,仍不得不摸回到贝多芬那里。也许由于这个原因,阿多尔诺把音乐称为“资产阶级最有特色的艺术媒介”。 I do not know since then, the continuous unity of European music history has become fragmented, it is impossible to grasp. Even at the end of the twentieth century, if we were to find a firm and definite concept, we would still have to get back to Beethoven. Perhaps for this reason, Adorno refers to music as “the most distinctive art medium for the bourgeoisie.”