Pub Date : 2019-08-29DOI: 10.1017/9781139795425.009
L. Langley
A basic tool for investigating nineteenth-century British journalism, including music criticism, has long been The Waterloo Directory of English Newspapers and Periodicals, 1800–1900, issued in 1976. Among the 50,000 entries of its updated series 2 (2003) are more than 200 music titles. Most of those originated in London and had brief lives. They touch every conceivable topic from church music to Wagner, madrigals to music hall, string technique to theories of history. Add the several thousand literary magazines, art and theatre papers, and daily and weekly newspapers that carried essays, review articles and other music-evaluative discussion, and the bulk of British music criticism grows exponentially. This is before one absorbs Waterloo’s prediction that its final list, series 5, is expected to reach 125,000 entries. Nineteenth-century periodical publishing took place on a prodigious scale, more than a hundred times greater than that of book production, and music was far from trivial in the content of thousands of titles: the very presence of music discussion helped to sell many of them. The old cliché about a few backward critics controlling taste in this environment is as unlikely as it is naive. The reasons are less to do with number and range of titles, however, or even the over-stressed visibility of a few critics whose identities are clear – that is, those who kept long attachments to one or two prominent journals in a largely anonymous, freelance context and who left vivid memoirs or had literary careers beyond music. That kind of celebrity has encouraged repeated secondary reference to the same few writers, often owing to ease of access and the entertainment value in their barbed judgements, maybe ‘wrong’ in
{"title":"Gatekeeping, Advocacy, Reflection: Overlapping Voices in Nineteenth-Century British Music Criticism","authors":"L. Langley","doi":"10.1017/9781139795425.009","DOIUrl":"https://doi.org/10.1017/9781139795425.009","url":null,"abstract":"A basic tool for investigating nineteenth-century British journalism, including music criticism, has long been The Waterloo Directory of English Newspapers and Periodicals, 1800–1900, issued in 1976. Among the 50,000 entries of its updated series 2 (2003) are more than 200 music titles. Most of those originated in London and had brief lives. They touch every conceivable topic from church music to Wagner, madrigals to music hall, string technique to theories of history. Add the several thousand literary magazines, art and theatre papers, and daily and weekly newspapers that carried essays, review articles and other music-evaluative discussion, and the bulk of British music criticism grows exponentially. This is before one absorbs Waterloo’s prediction that its final list, series 5, is expected to reach 125,000 entries. Nineteenth-century periodical publishing took place on a prodigious scale, more than a hundred times greater than that of book production, and music was far from trivial in the content of thousands of titles: the very presence of music discussion helped to sell many of them. The old cliché about a few backward critics controlling taste in this environment is as unlikely as it is naive. The reasons are less to do with number and range of titles, however, or even the over-stressed visibility of a few critics whose identities are clear – that is, those who kept long attachments to one or two prominent journals in a largely anonymous, freelance context and who left vivid memoirs or had literary careers beyond music. That kind of celebrity has encouraged repeated secondary reference to the same few writers, often owing to ease of access and the entertainment value in their barbed judgements, maybe ‘wrong’ in","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123820566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-29DOI: 10.1017/9781139795425.019
Delphine Mordey
{"title":"Critical Battlegrounds in the French Third Republic","authors":"Delphine Mordey","doi":"10.1017/9781139795425.019","DOIUrl":"https://doi.org/10.1017/9781139795425.019","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130167916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-29DOI: 10.1017/9781139795425.023
L. Hooker
{"title":"Music Criticism in Hungary until the Second World War","authors":"L. Hooker","doi":"10.1017/9781139795425.023","DOIUrl":"https://doi.org/10.1017/9781139795425.023","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121973088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-29DOI: 10.1017/9781139795425.007
S. Rose
{"title":"German-Language Music Criticism before 1800","authors":"S. Rose","doi":"10.1017/9781139795425.007","DOIUrl":"https://doi.org/10.1017/9781139795425.007","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"473 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123051185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-29DOI: 10.1017/9781139795425.032
Raffaele Pozzi
{"title":"Music Criticism in Italy in the Twentieth Century","authors":"Raffaele Pozzi","doi":"10.1017/9781139795425.032","DOIUrl":"https://doi.org/10.1017/9781139795425.032","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124195672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-29DOI: 10.1017/9781139795425.011
Alexandra Wilson
{"title":"Music Criticism in Nineteenth-Century Italy","authors":"Alexandra Wilson","doi":"10.1017/9781139795425.011","DOIUrl":"https://doi.org/10.1017/9781139795425.011","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115650033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-29DOI: 10.1017/9781139795425.029
Shzr Ee Tan
{"title":"Cultural Anxieties, Aspirational Cosmopolitanism and Capacity Building: Music Criticism in Singapore","authors":"Shzr Ee Tan","doi":"10.1017/9781139795425.029","DOIUrl":"https://doi.org/10.1017/9781139795425.029","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123077222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-29DOI: 10.1017/9781139795425.005
C. Dill
{"title":"Music Criticism in France before the Revolution","authors":"C. Dill","doi":"10.1017/9781139795425.005","DOIUrl":"https://doi.org/10.1017/9781139795425.005","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131450661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-29DOI: 10.1017/9781139795425.036
C. Dingle, D. McHugh
Writing in BBC Music Magazine in July 1999, editor Helen Wallace remarked on the rapid decline in space allocated to classical music criticism in British newspapers, notably in The Times, The Independent, The Guardian and Financial Times, all of which had previously provided extensive, important coverage. ‘Concert reports provide the very oxygen needed to keep a flourishing musical scene alive’, she noted, and ‘[if] an event is ignored, it is as if it did not exist.’ However, she perceived a ‘ray of hope’ in the internet, which ‘has no space restriction: maybe the dawn of a new era is nigh...’ Twenty years later, Wallace’s comments seem prescient. Newspapers operate regularly updated websites as a matter of course now, and many of them offer additional content that is not made available in print editions. Online content has helped to sustain the viability of newspapers in the digital age, capitalizing on the tantalising opportunity to report news – and post reviews – instantly. There has also been a proliferation of e-zines devoted to music criticism, starting with titles such as Seen and Heard and Classical Source, allowing amateur enthusiasts to fill the gap left by shrinking column inches by providing reviews of a much wider range of events, such as complete coverage of the BBC Proms by Classical Source; the success of these ventures has led to other sites such as The Arts Desk, whose reviews are written mainly by professional journalists. Yet Wallace’s prediction for the future missed one crucial and unexpected component: the advent of Facebook and, particularly, Twitter has taken criticism out of its privileged domain as a specialist activity and enabled the general public to give individual responses to performances based on personal experience rather than perceived qualification. This chapter examines this shift from the primacy of professional music critics in the twentieth century to the impact of
1999年7月，编辑海伦·华莱士在英国广播公司音乐杂志上撰文指出，英国报纸上古典音乐评论的版面迅速减少，尤其是《泰晤士报》、《独立报》、《卫报》和《金融时报》，这些报纸以前都提供了广泛而重要的报道。她指出:“音乐会报道为保持蓬勃发展的音乐现场的活力提供了必要的氧气。如果一个事件被忽视，它就好像不存在一样。”然而，她在互联网上看到了“希望之光”，它“没有空间限制:也许一个新时代的黎明即将来临……”20年后，华莱士的评论似乎很有先见之明。报纸现在理所当然地定期更新网站，其中许多报纸还提供印刷版上没有的额外内容。在线内容帮助报纸在数字时代维持生存，利用即时报道新闻和发布评论的诱人机会。致力于音乐评论的电子杂志也大量涌现，从《所见所闻》(Seen and Heard)和《古典来源》(Classical Source)这样的标题开始，让业余爱好者可以通过提供更广泛的事件评论来填补栏目缩小留下的空白，比如《古典来源》(Classical Source)对BBC逍遥音乐会(BBC Proms)的全面报道;这些项目的成功催生了其他网站，如the Arts Desk，其评论主要由专业记者撰写。然而，华莱士对未来的预测忽略了一个至关重要且意想不到的因素:Facebook的出现，尤其是Twitter的出现，已经把批评从它作为一种专业活动的特权领域中剔除，使普通公众能够根据个人经验，而不是感知到的资格，对表演做出个人反应。本章考察了这种转变，从专业音乐评论家的首要地位在二十世纪的影响
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Pub Date : 2019-08-29DOI: 10.1017/9781139795425.021
P. Dahl
{"title":"Music Criticism in Norway","authors":"P. Dahl","doi":"10.1017/9781139795425.021","DOIUrl":"https://doi.org/10.1017/9781139795425.021","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"396 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114376422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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