For the work of listening can be understood as a collaboration with the musical work itself, and in this sense for Adorno listening, as will be discussed below, is an activity of co-composing or reconstituting the music. Certainly Adorno’s dialectical philosophical approach is at great variance with the 'empirical musicology'2 through which contemporary music studies explores these topics, but its contemporary relevance is all the greater in that it puts Adorno’s contributions in the larger context of critical social theory and its commitment to sustaining the human capacity for a vision of emancipation. It is not my intention here to enter into a detailed consideration of the relationship between Adorno’s perspective and the work of contemporary musicologists and music theorists. Rather, my aim is to elaborate Adorno’s conception of the work of listening in some detail, in the context of his thinking about what he calls ›the new music‹ and its place in the history of Western art music.