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U radu se prati diskurzivni put jednog od dominantnih, a opet zaboravljenih pojmova u istoriji ideja - to je pojam 'degeneracije'. Bogatstvo primene i različitih osvetljavanja datog pojma, a opet njegovo diskurzivno raspršivanje i zamagljivanje sagledava se od sredine XIX do prvih decenija XX veka. Pojam koji je bio gotovo nezaobilazan u studijama mislilaca najrazličitijih profila od sredine XIX veka, uspešno je uključen iz medicinske terminologije Francuske, Italije, Velike Britanije u diskurs o umetnosti modernih evropskih društava. Fokusiranjem na oblast muzike, dati koncept je postao trajno vezan za mišljenje o relacijama muzike i društva na nemačkom govornom području. U složenom diskurzivnom razvoju datog pojma, autorka je nužno pravila izbore te je posebna pažnja posvećena austrougarskom psihologu Maksu Nordauu koji je preneo koncept 'degeneracije' iz medicine u sferu umetnosti (i muzike). Rasprava 'degeneracije muzike' vođena je hronološki, počev od Drugog rajha u kome je delovao jedan od najkontroverznijih kompozitora, Rihard Vagner) teoretičar 'degeneracije' i njenog prevazilaženja putem 'regeneracije', a opet smatran 'degenerisanim'. Na datom primeru razotkriva se složenost sa kojom se suočavamo kad proučavamo koncept 'degeneracije muzike'. Sagledavanje se zaokružuje osvrtom na život 'degenerisanih' muzičara/muzike u vreme Vajmarske republike, odnosno, njihovog tumačenja u Trećem rajhu., The paper follows the discursive path of one of the dominant, and yet forgotten, terms in the history of ideas - that of 'degeneration.' The richness of uses and various illuminations of the term, as well as its discursive dispersion and blurring, can be seen from the mid 19th until the first decades of the 20th century. The term was almost inescapable in studies of thinkers from various fields starting in the middle of the 19th century, it was successfully adopted from French, Italian and British medical terminology into the art discourse of modern European societies. By focusing on music, the given term became permanently tied to thinking about relations of music and society in the German-speaking world. In a complex discursive development of the term, the author necessarily made certain choices, paying special attention to the Austro-Hungarian psychologists, Max Nordau who carried the concept of 'degeneration' from the medical to the art (and music) sphere. The debate regarding the 'degeneration of music,' was developed chronologically, starting from the Second Reich (being the time in which one of the most controversial composers lived, Richard Wagner). While Wagner developed a theory of 'degeneration' and its overcoming through 'regeneration,' he was still considered 'degenerated.' The given example reveals the complexity of the problem we face when we study the concept of 'degeneration of music.' The consideration is completed with a glance at the life of 'degenerated' musicians and music during the Weimar Republic, that is, their interpretation in the Third Reich.