1. the problem of music and intelligibility: where and how does a marxist analyses of music locate the ideological function and expression of the work? 2.  the problem of base and superstructure in music analysis. Or, how do these analytical levels relate to one another: are the dynamics of class-struggle "reflected," "corresponded," etc. in the music, if so, at what location? Syntax? Form? Style? Or does the work "respond," or, "prefigure" certain class-dynamics and mutations? So on. 3. The politics of music: is music a symptom that helps us cognitively map our class situation so as to intervene more effectively? a battle on the cultural front wherein we should be involved in selecting the right or ideologically correct kinds of music over others? a commodity whose function is to resist the spread of commercialism  by securing some supposedly utopian cultural space (i.e. avant-garde)? a work intended to reach the widest audience with a class message (i.e. popular front)? Or is it impossible to determine the effects a musical work may have, such that we should sit back and enjoy our symptoms? etc.