 It is this framework that grounds Adorno’s endorsement of Schoenberg against Stravinsky, which he develops in his Philosophy of New Music (1949). Schoenberg’s atonal music is true to the society that generated it because it rejects tonality, the possibilities of which Adorno considers thoroughly explored. Musical material is thus historically “pre-formed”, in that the use of tonal structures has a fundamentally different significance today than it had when tonal music was still developing. Schoenberg’s music is progressive because it follows the laws of development intrinsic to the musical material he inherited from tradition. Stravinsky instead pulls musical structures from an irretrievable past, thereby producing music that is well-crafted, but ultimately untrue (for a detailed analysis of Adorno’s view of Schoenberg and Stravinsky, see Witkin 1998: chapters 7 and 8).