stylistic:style_transfer, information:extraction, quality:correction
Criticism

In the 1920s, Ernst Krenek criticized a certain unnamed brand of contemporary music (presumably Schoenberg and his disciples) as "the self-gratification of an individual who sits in his studio and invents rules according to which he then writes down his notes". Schoenberg took offense at this remark and answered that Krenek "wishes for only whores as listeners".

Allen Shawn has noted that, given Schoenberg's living circumstances, his work is usually defended rather than listened to, and that it is difficult to experience it apart from the ideology that surrounds it. Richard Taruskin asserted that Schoenberg committed what he terms a "poietic fallacy", the conviction that what matters most (or all that matters) in a work of art is the making of it, the maker's input, and that the listener's pleasure must not be the composer's primary objective. Taruskin also criticizes the ideas of measuring Schoenberg's value as a composer in terms of his influence on other artists, the overrating of technical innovation, and the restriction of criticism to matters of structure and craft while derogating other approaches as vulgarian.