This paper aims to analyze the important role of the reception of music in Marcel Proust's novel À la recherche du temps perdu. This analysis is founded on a theoretical framework inspired by critical theory and theory of critical ideology, where important theorists are Theodor W. Adorno, Fredric Jameson, and Slavoj Zizek. By drawing on these theorists, the firsts two analytical parts of this study shows how the reception of music in the novel creates supplements that reinforce hegemonic ideological consciousness, and how the reception of music also has a thematic role in revealing how these different ideological consciousnesses permeate social relations to both music and other people. In the final analytical part of the work, the study can further conclude that the Bildung of the novel, which constitutes the basic thematic structure of the whole novel, is based on breaking away from these two ideological consciousnesses, and freeing the music from the supplements that permeate the reception of the music in the novel, by making a sovereign gesture of liberation by exposing this process, so as to be able to take a critical approach to those ideological consciousnesses whose ideological theatricality prevents music, and in the long run involuntary memory, from mediating a true philosophical discovery of the nature of subjectivity