 Theodor W. Adorno (1903–1969) is the foremost example of this approach, and one of the most significant philosophers of music in the Western tradition. A philosopher and sociologist, in 1958 he became director of the Frankfurt Institute for Social Research. His dense writing is made more difficult by his frequent and highly technical musicological observations—he was a trained musician and an active composer, having studied with Arnold Schoenberg’s pupil Alban Berg (Paddison 1993 and Witkin 1998 are book-length studies of Adorno’s philosophy of music; for a shorter overview, see Hamilton 2007: chapter 6).