“Popular music must simultaneously meet two demands. One is for stimuli that provoke the listener’s attention. The other is for the material to fall within the category of what the musically untrained listener would call ‘natural’ music: that is, the sum total of all the conventions and material formulas in music to which he is accustomed and which he regards as the inherent, simple language of music itself, no matter how late the development might be which produced this natural language. This natural language for the American listener stems from his earliest musical experiences, the nursery rhymes, the hymns he sings in Sunday school, the little tunes he whistles on his way home from school. All these are vastly more important in the formation of musical language than his ability to distinguish the beginning of Brahms’s Third Symphony from that of his Second. Official musical culture is, to a large extent, a mere superstructure of this underlying musical language, namely, the major and minor tonalities and all the tonal relationships they imply. But these tonal relationships of the primitive musical language set barriers to whatever does not conform to them. Extravagances are tolerated only insofar as they can be recast into this so-called natural language.” – Theodor W. Adorno, “On Popular Music”

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