Adorno, Theodor, Aesthetic Theory, trans. C. Lenhardt (New York: Routledge & Kegan Paul, 1984), pp. 17–18Google Scholar

Witkin, Robert, Adorno on Popular Culture (London: Routledge, 2003), pp. 179–80Google Scholar

Stravinsky, Igor, Themes and Conclusions (Berkeley: University of California Press, 1982), p. 147Google Scholar

Albright, Daniel, Stravinsky: The Music Box and the Nightingale (New York: Gordon and Breach, 1989), p. 4Google Scholar

Appel, Jr Alfred., Jazz Modernism: From Ellington and Armstrong to Matisse and Joyce (New York: Knopf, 2002), p. 13Google Scholar

Campbell, , The Romantic Ethic and the Spirit of Modern Consumerism (London: Alcuin Academics, 2005), p. 26Google Scholar

Foucault, Michel, “What Is an Author?”, trans. Josué Harari, in Robert Con Davis and Ronald Schleifer (eds.), Contemporary Literary Criticism: Literary and Cultural Studies (White Plains: Longman, 1994), pp. 342–53Google Scholar

Jameson, Fredric, Late Marxism: Adorno, or, The Persistence of the Dialectic [London: Verso, 1990], p. 161Google Scholar

Hamm, Charles, Putting Popular Music in Its Place (Cambridge University Press, 1995), p. 320CrossRefGoogle Scholar

Gracyk, Theodore, “Adorno, Jazz, and the Aesthetics of Popular Music,” The Musical Quarterly, 76 (1992), 526–42CrossRefGoogle Scholar

Negus, Keith, Popular Music in Theory: An Introduction (Hanover, NH: Wesleyan University Press, 1996)Google Scholar

Middleton, Richard, Studying Popular Music (Philadelphia: Open University Press, 1990)Google Scholar

Marx, Karl and Engels, Friedrich, The Communist Manifesto, in Marx and Engels: Basic Writings on Politics and Philosophy, ed. Lewis Feuer (New York: Anchor Books, 1959), p. 12Google Scholar

Schleifer, Ronald, Modernism and Time: The Logic of Abundance in Literature, Science, and Culture 1880–1930 (Cambridge University Press, 2000)CrossRefGoogle Scholar

Latour, Bruno, We Have Never Been Modern, trans. Catherine Porter (Cambridge, MA: Harvard University Press, 1993)Google Scholar

Poovey, Mary, A History of the Modern Fact: Problems of Knowledge in the Sciences of Wealth and Society (Chicago University Press, 1998), pp. 3–4CrossRefGoogle Scholar

Schleifer, Ronald, Intangible Materialism: The Body, Scientific Knowledge, and the Power of Language (Minneapolis: University of Minnesota Press, 2009)Google Scholar

Steiner's, essay “On Difficulty,” in On Difficulty and Other Essays (New York: Oxford University Press, 1980), pp. 18–47Google Scholar

Bradbury, Malcolm and McFarlane, James, “The Name and Nature of Modernism,” in Modernism: 1890–1930, ed. Bradbury and McFarlane [Harmondsworth: Penguin Books, 1976], p. 48)Google Scholar

Schleifer, , Rhetoric and Death: The Language of Modernism and Postmodern Discourse Theory [Urbana: University of Illinois Press, 1990])Google Scholar

Lyotard, Jean-François, “Note on the Meaning of ‘Post-,’” in his The Postmodern Explained: Correspondence 1982–1985 (Minneapolis: University of Minnesota Press, 1992), pp. 64–68Google Scholar

“Answering the Question”; Jobling, David, Pippin, Tina, and Schleifer, Ronald (eds.), A Postmodern Bible Reader (Oxford: Blackwell Publishers, 2001)

Highbrow/Lowbrow [Cambridge, MA: Harvard University Press, 1988], p. 146)

Revolver and The Transformation of Rock & Roll. (Hants, GB: Ashgate Publishers, 2002), pp. 222–33

Gagnier, notes, for instance, that in the marginal economists “the idea of needs – which were finite and the focus of political economy – was displaced by the idea of tastes, which were theoretically infinite” (The Insatiability of Human Wants: Economics and Aesthetics in Market Society [University of Chicago Press, 2000], p. 94)Google Scholar

Keynesian, “‘revolution’…carried much further the valuing and channeling of desire, developing macroeconomic strategies for stimulating and even creating consumer demand on a mass scale” (Deficits and Desires: Economics and Sexuality in Twentieth-Century Literature [Stanford University Press, 2001], p. 3)Google Scholar

Gould, Stephen Jay has done important work in examining the systematic method of retrospective analysis in the theory of evolution – see especially his Wonderful Life: The Burgess Shale and the Nature of History (New York: Norton, 1989)Google Scholar

The Structure of Evolutionary Theory (Cambridge, MA: Harvard University Press, 2002)

Wilder, Alec notes that jazz musicians are attracted to song in which “the melody should be spare, containing a minimal number of notes, and the harmony should be similarly uncluttered…However, the principal jazz interest in any song lies in its ‘changes’: its harmony” (American Popular Song [New York: Oxford University Press, 1972], p. 128)Google Scholar

Ross, Alex gives a nice account of twelve-tone music: “in the mad year of hyperinflation, Schoenberg offered a kind of stabilization – the conversion of a chaotic musical marketplace to a planned economy. There was a nationalistic thrust, too, to Schoenberg's return to order; at a time when Russian, French, and American composers were seizing headlines with their Jazz Age antics, Schoenberg was reasserting the primacy of Austro-German composition, its ancient arts of counterpoint and thematic development” (The Rest Is Noise: Listening to the Twentieth Century [New York: Farrar, Straus and Giroux, 2007], p. 197)Google Scholar

Schleifer, Ronald, A. J. Greimas and the Nature of Meaning (Lincoln: University of Nebraska Press, 1987), pp. 50–55Google Scholar

Interpreting Popular Music 16, 24). In his superb chapter comparing the recorded performances (in 1944)

Jolas, Eugene, “The Revolution of Language and James Joyce,” transition, 11 (1928) 109Google Scholar