Abstract
Prispevek obravnava eno ključnih spoznanj o dosedanjem pojmovanju glasbene zgodovine in modernizma v glasbi 20. stoletja kot nacionalno in ideološko pogojenem konstruktu s strani zagovornikov samooklicanega mainstreama novodunajske šole, ki je v najsodobnejši muzikološki literaturi deležen vse pogostejše kritike. Poimenovali smo ga »adornovska zmota«. Žrtev le-te smo bili tudi slovenski muzikologi, kar samo potrjuje široko medkulturno razširjenost omenjenega fenomena.
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