雖然，當阿多爾諾在音樂與哲學間，面臨到未來人生的重大抉擇時，他選擇了哲學，並成為西方哲學史上，以馬克斯主義 (Marxismus) 思想為導向的法蘭克福學派 (Frankfurter Schule) 重要核心成員之一。但是，他還是終身創作音樂、研究音樂與音樂理論，並發表無以計數與主題廣泛的音樂評論性文章，他對現代音樂所提出的社會批評更對現代音樂史起著決定性的作用。本論文主要從阿多諾作為一個樂評家、音樂社會學家與作曲家的角度來呈現他的成長背景、思想、音樂理論性與評論性著作、與音樂創作等。無疑的，阿多爾諾是一位哲學家、社會學家。但是，對現代音樂來說，他更是一位音樂評論家、音樂社會學家與作曲家。

Adorno is one of 20th century’s most influential thinker in social theory, philosophy, aesthetics and music. Even though, he chose philosophy before music. Nevertheless throughout his life all of which concern musical matters were important. Adorno wrote essays on import figures in music, compositional technique such as the prehistory of the 12 tone system, the function of counterpoint in new music, and he is a very famous writer in philosophy of music and musical sociology. Today many essays and treatises which he wrote remain fresh relevant. The purpose of this paper is to display Adornos musicological research, music critics and compositions.