If the review of music itself is to be included, maybe check out Slonimsky's Lexicon of Musical Invective...
Musical taste has always been up and down. But in the case of Schoenberg, was the review invective? Some might point to his use in analogy of China and Chinese. Or possibly chickens and higher dimensional speculation, No doubt it was invective, directed toward Schoenberg. The newspaper reviewer (sourced by Slonimsky) reported how the composition was essentially incomprehensible to western ears. I think that is valid. He might have been unfair to hens. Probably he was. The reviewer's reference to women was, no doubt, a subtle hint at fashion over substance, but the audience was polite albeit perplexed. In that, he was calling Schoenberg fashion music. Something you were supposed to like because you were supposed to like it, even if it didn't fit well.
Using cultural analogies is helpful, but often not accepted in a certain 'polite' society. One thing I concluded from my extended stay there... Chinese is a tonal language that is quite difficult to understand (and speak), for those brought up in western romance languages, and languages stemming from Anglo-Saxon and German, etc.. In fact, enunciation is seriously difficult, much harder than reading and understanding Chinese characters. Many homophones making understanding words out of context impossible. Phonetic reading is, of course, out of the question.
One can find the same sort of reaction in westerner's confrontation with the Chinese opera-- in my mind one of the most beautiful and aesthetically coherent art-forms ever produced by the mind of man. However, I would not be mistaken if I conclude that for most westerners it is incomprehensible, totally unlistenable as a source of musical enjoyment. Even many younger Chinese scratch their heads over it.
One thing I would question, though, is the reviewer's reference to the 'brisk morning in Chinatown'. I presume his was a reference to Philadelphia? In China, at least in the large cities, there is no 'brisk morning' hubbub. Everything is 24/7.
Anent Schoenberg. He had his own prejudices, having no compunction criticizing what he didn't understand very well, especially when he figured that his own musical and compositional 'talent' was questioned. For example [discussed in
Prophets of Decline, the Worldviews of Heinrich Schenker and Oswald Spengler], Schoenberg looked away from Spengler's culture-civilization critique of 'modern' music. Why? Because for Arnold, Spengler was simply 'not musical', and therefore had little business going about saying anything important toward the topic. A non-sequitor, inasmuch as the very
form of Spengler’s book [
Decline of the West] demonstrates both a mythic depth and an inspired poesy/prose style—one that, by analogy and in comparison, exists much higher within the aesthetic hierarchy than anything Schoenberg created using mere notes. The problem here is that Arnold took it personally. You can never take things too personally if you are a professional.
My point? Using an ethnic or cultural analogy in a meaningful context, in order to compare and contrast, is not
ipso facto something that is necessarily (or even quite possibly) a slur, idiotic or invective. A slur happens when one consciously denigrates another group, because they are a group. I don't think that was the reviewer's intent at all (I admit to not knowing his views on China and Chinese, only his views on Schoenberg's violin concerto, so I could have it wrong). I do draw the line at criticizing chickens. They can't help themselves.
Finally, in judgement, one must beware of committing an anachronism. The review was 1940.