Marxist Music and Law


On the intellectual battlefield there is a dark enemy on the Left known as Critical Theory.  It’s a school of thought promoted by cultural Marxists of the “Frankfurt School” in Germany.  It’s still taught at universities by egghead academicians.  It’s wrong and dangerous to all that is good and just in America.

Critical Theory insists that there is nothing, no moral value, custom or institution that is beyond criticizing and destroying.  Michael Walsh calls it a license to vandalize. The Devil’s Pleasure Palace: The Cult of Critical Theory and the Subversion of the West (2015).  Critical Legal Theory asserts that our centuries old legal system is just the result of unfair power relationships in society, so it must be dismantled or ignored.  Well, I’m happy to report to you that Critical Theory nonsense advocates are on the run thanks to some very smart thought warriors.

Here’s an illustration of how kooky it is to apply Marxists ideas to law and music (not to mention economics).  The Frankfort School’s over-the-top egalitarian worldview is embodied in the “modern music” of Arnold Schoenberg (1874-1951).  His method of composing music uses 12 tones – all notes in the chromatic scale (12 black and white piano keys next to each other).  Schoenberg’s system required all 12 notes to be sounded individually in a sequence called a “tone row” before any of them could be repeated, thereby giving all notes equal importance: Because it would be wrong to favor one musical note at the expense of the others.

That distorted worldview is symbolic of the Left’s ongoing offensive against the “dominant class”.  It also makes for horrible sounding music.  When it comes to music and law, your Estate Planning War Chest rests on a solid foundation of stable, classic notions of music, law and economics.  Marxism is the enemy on your Left.  Next week, we’ll look at the enemy on your Right – Plutocrats and Oligarchs.


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