阿多诺生命最后十年与西尔伯曼在音乐社会学乃至文艺社会学议题上的争论，与影响德国战后思想界的“实证主义之争”紧密相关。与西尔伯曼从音乐经验及其社会效应出发系统构建的音乐社会学原理不同，阿多诺从批评理论出发，强调音乐作品对社会本质的反映及其能动性，思考了实证主义音乐社会学可能存在的反理性本质。两人在音乐社会学研究对象及方法上的观点冲突也关涉从社会学角度研究美学问题，以及音乐社会学的学科目标。反思这场半世纪前的争论对厘清当下音乐社会学研究的难题及出路具有启示作用。

The debates between Theodor W.Adorno and Alphons Silbermann over the sociology of music and, more broadly, the sociology of art in the last decade of Adorno's life are closely linked to the “Der Positivismusstre- it”that significantly influenced post-war German intellectual thought.Unlike Silbermann,who systematically constructed the principles of music sociology based on musical experience and its social effects, Adorno approached the subject from the perspective of critical theory,emphasizing the reflection of the essence of society within musical works and their agency, contemplating the potentially irrational nature of positivist music sociology.Their conflicting views on the research objects and methods in music sociology also pertain to issues of the so-called sociological aesthetics and the disciplinary goals of music sociology.Reflecting on this debate from half a century ago offers valuable insights for addressing current challenges in music sociology research.