As for the plays of Anton Webern, preserving intonational elements, these elements are not united together; do not grow in the melody.
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These disparate elements are similar to the parts of the human body, in order to be healed and returned to life man needs - on folk tales - the dead water and living water.
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In Webern was not a "dead water" structural-logical relations of musical composition, was also of the "living water" that is music an open, direct statement of the humanist ideal.
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Webern refuses shaped the nature of music, from such a necessary basis for it as ethically sublime, from that required for its quality as excellent. As a result, Webern had to abandon the melody of the main bearer of beauty in music, here in the same tangle of interwoven patterns of public art, and specifically about the music.
Literary works, limited to displaying "evil", do not break with the art, as illustrated by classic and contemporary literature. In this respect, literature has a much larger "safety margin" than the music; in solving this problem the latter is more "fragile" than many other kinds of art. Even limiting the pathos of the music alone denying playback of "evil" undermines the vital sources of musical creativity.