| Description |
1 online resource (281 pages) |
| Contents |
Cover; Half Title; Title Page; Copyright Page; Table of Contents; Preface; Sources of Information; Some Difficulties in Studying Music Criticism; Acknowledgments; I: The Background; 1. Some Basic Issues; Carmen; 2. The Function of Music Criticism; The Audience for Criticism; Criticism and New Music; The Critic as Educator and Teacher; Reviewing Music Independent of Performance; Essays; Critics as Chroniclers, Historians, and Seers; Critics as Supporters and Advocates; The Influence of Critics; 3. The Qualifications and Training of a Critic; 4. Music Criticism and Journalism |
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The Types of Jobs and Who FillsthemPressures on Critics; Fights betweenCritics; Critics with Sharp Tongues; Libel SuitsAgainst Critics; Critics or Reviewers; The Myth of theOmniscient Critic; Decline in Number of Reviews; Public Relations and Reporting; Informants, and Conflicts of Interest; Bribery and Free Tickets and Records; Bad Headlines, Altered and Cut Reviews; Deadlines; ChoosingWhat to Review; Allocating Space and Assigning Critics; The Cult of Personality; Some Ominous Signs; 5. The Principles behind Value Judgments; The Possibility of Objective Criticism; Impressionist Criticism |
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The Instrumentalist Theory and the Aesthetic ExperienceThe Logic Behind Aesthetic Judgments; Style; Some Complicating Factors; Taste; Relativism; Applying Standards; Norms and Deviants; Originality; II: The Criticism; 6. The Concert and Opera Review; Fairytale about Music; 7. Writing the Concert and Opera Review; The Work Habits of Critics; Visual Interest of Performers; Memory Slips; Audience Response; The Staging of Operas; Performance Practices; What Critics Expect of Performers; The Personality of a Critic; Postscript; A Summary ofWhat Critics Consider; The Performer; The Performance |
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ProgrammingExtra-Musical Factors; The Audience; The Auditorium; 8. Intentions, Program Music, and the Expression Theory; Program Music and the Expression Theory; 9. Reviewing Recordings; What a Record Review Should Include; The Sound of Recordings; How Record Critics Work; Recordings and Concerts: The Aesthetic Differences; The Record Business; Pirated Recordings; Historic Recordings; Remastered Recordings; 10. Reviewing Ethnic Concerts and Recordings; Descriptive Versus Judgmental Reviews; Entertainment Versus Authenticity; Ethnic Recordings; Programs Mixing New and Older Works |
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What CriticsSay about Reviewing Ethnic MusicWho Should Criticize Ethnic Music; 11. Radio and Television Criticism; Broadcast Criticism; Criticizing the Music Heard Over Radio and Television; Epilogue: Coping with the 1990s: The Public and the Press in a Time of Change; Appendix; Questionnaire to Critics; Questionnaire; Analysis of the Responses; Section One; Section Two; Notes; Bibliography; About the Author; Index |
| Summary |
The first new survey of the field in more than 60 years, this study concentrates on the basics of music criticism. Because it focuses on core issues and proven principles, the book is likely to become the standard work on the subject. It is written for the audience that reads music criticism in newspapers and popular journals: professional and amateur musicians, scholars, teachers, researchers, librarians, students, music lovers, journalists, and critics. The topics are covered in depth and observations are thoroughly documented, yet the material is enjoyable to read because the writing is eas |
| Notes |
Print version record |
| Subject |
Musical criticism.
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MUSIC -- Instruction & Study -- Theory.
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Musical criticism
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| Form |
Electronic book
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| ISBN |
9781135586188 |
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1135586187 |
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