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In his Philosophie der neuen Musik, Adorno analyses Stravinsky's music, in spite of his own "work-immanent" research method, from the conviction that Stravinsky wants to recover the authenticity of music by means of stylistic procedures, which do not result from the specific structure of the composition, its internal logic and coherence, but from its external gestures (sempre marcato). This seemingly objective purpose is, however, subjectively posited by Adorno and needs to be framed within the sociological conditions of the time, i.e. between the First and the Second World War. Although alternative interpretations of Stravinsky's music are indeed possible, it will be shown that this music inspires Adorno to interesting philosophical, psychological and sociological reflections which build, to a great extent, on his and Horkheimer's ideas in their Dialektik der Aufklärung and point forward to the thoughts of many German and French philosophers, of which some will be discussed in this paper. [ABSTRACT FROM AUTHOR]