In the Name of the Law: Schoenberg and his Critics (notice n° 539571)
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| fixed length control field | 01336cam a2200157 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250121111341.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Buch, Esteban |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | In the Name of the Law: Schoenberg and his Critics |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2004.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 59 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Throughout his career, Arnold Schoenberg was a regular target for music critics, who were fond of linking technical issues to a political vocabulary and to images of bodily and psychic deviance. This discursive shift between music and society was current usage by the times of the first atonal works, and was mainly grounded on concepts having an established meaning, litteral or metaphorical, in both fields. The notion of law ( Gesetz), anchored in the scientific idea of natural law, was particularly instrumental in viewing the abandonment of tonality as a political or a moral fault. This paper deals with the concept of musical lawfulness, focusing on both the rhetorical impact and the logical relevance of the analogy between the tonal system, as described by treatises on harmony, and a “legal system”, as defined by the theory of law. |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Raisons politiques | o 14 | 2 | 2004-05-01 | p. 21-40 | 1291-1941 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-raisons-politiques-2004-2-page-21?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-raisons-politiques-2004-2-page-21?lang=en&redirect-ssocas=7080</a> |
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