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.