Pub Date : 2019-08-29DOI: 10.1017/9781139795425.008
M. A. Pottinger
{"title":"French Music Criticism in the Nineteenth Century, 1789–1870","authors":"M. A. Pottinger","doi":"10.1017/9781139795425.008","DOIUrl":"https://doi.org/10.1017/9781139795425.008","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"12 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":"130693194","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: 10.1017/9781139795425.033
C. Dingle
{"title":"Wider Still and Wider: British Music Criticism since the Second World War","authors":"C. Dingle","doi":"10.1017/9781139795425.033","DOIUrl":"https://doi.org/10.1017/9781139795425.033","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"547 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":"123069790","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 : 2019-08-01DOI: 10.1017/9781139795425.013
Laura Hamer
Music critics wield great power. Their writing influences public opinion and contributes to how audiences receive works. They focus attention upon specific works and musicians, thus justifying these as most worthy of public recognition and debate. They help works to achieve repeat performances, and thereby to establish their places within the performing canon. In the age of recorded sound, they influence sales and affect charts. Although some claim that with the recent rise of ubiquitous digital critical commentary (much of it amateur) professional critics have lost their traditional authority, online criticism continues to exercise considerable sway. In a very real way, critics have been – and continue to be – the gatekeepers of the canon. As Roy Shuker has observed, ‘popular music critics … function as significant gatekeepers and as arbiters of taste’.
{"title":"Critiquing the Canon: The Role of Criticism in Canon Formation","authors":"Laura Hamer","doi":"10.1017/9781139795425.013","DOIUrl":"https://doi.org/10.1017/9781139795425.013","url":null,"abstract":"Music critics wield great power. Their writing influences public opinion and contributes to how audiences receive works. They focus attention upon specific works and musicians, thus justifying these as most worthy of public recognition and debate. They help works to achieve repeat performances, and thereby to establish their places within the performing canon. In the age of recorded sound, they influence sales and affect charts. Although some claim that with the recent rise of ubiquitous digital critical commentary (much of it amateur) professional critics have lost their traditional authority, online criticism continues to exercise considerable sway. In a very real way, critics have been – and continue to be – the gatekeepers of the canon. As Roy Shuker has observed, ‘popular music critics … function as significant gatekeepers and as arbiters of taste’.","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127888686","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 : 2019-08-01DOI: 10.1017/9781139795425.015
Laura Hamer
In May 2014 a storm erupted in the British classical music world when five established male critics fat-shamed Irish mezzo-soprano Tara Erraught, who was performing Octavian in Der Rosenkavalier at Covent Garden. Instead of focusing upon Erraught’s technique or interpretation, the critics ridiculed her physique. Writing in the Financial Times Andrew Clark referred to Erraught as ‘a chubby bundle of puppy-fat’; Michael Church in The Independent and Rupert Christiansen in The Telegraph both described her as ‘dumpy’; Andrew Clements in The Guardian called her ‘stocky’; and Richard Morrison in The Times characterised her as ‘unbelievable, unsightly and unappealing’. Although these sexist comments drew widespread condemnation, they are symptomatic of a centuries-old tendency for empowered male critics to fail to produce objective assessments of female musicians.
{"title":"The Gender Paradox: Criticism of Women and Women as Critics","authors":"Laura Hamer","doi":"10.1017/9781139795425.015","DOIUrl":"https://doi.org/10.1017/9781139795425.015","url":null,"abstract":"In May 2014 a storm erupted in the British classical music world when five established male critics fat-shamed Irish mezzo-soprano Tara Erraught, who was performing Octavian in Der Rosenkavalier at Covent Garden. Instead of focusing upon Erraught’s technique or interpretation, the critics ridiculed her physique. Writing in the Financial Times Andrew Clark referred to Erraught as ‘a chubby bundle of puppy-fat’; Michael Church in The Independent and Rupert Christiansen in The Telegraph both described her as ‘dumpy’; Andrew Clements in The Guardian called her ‘stocky’; and Richard Morrison in The Times characterised her as ‘unbelievable, unsightly and unappealing’. Although these sexist comments drew widespread condemnation, they are symptomatic of a centuries-old tendency for empowered male critics to fail to produce objective assessments of female musicians.","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115902071","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 : 2018-10-22DOI: 10.1017/9781139795425.014
C. Dingle
This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edison’s Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice.
{"title":"Comparing Notes: Recording and Criticism","authors":"C. Dingle","doi":"10.1017/9781139795425.014","DOIUrl":"https://doi.org/10.1017/9781139795425.014","url":null,"abstract":"This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edison’s Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice.","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122665902","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 : 1900-01-01DOI: 10.1017/9781139795425.034
C. Murray, C. Dingle
{"title":"Music Criticism in France since the Second World War","authors":"C. Murray, C. Dingle","doi":"10.1017/9781139795425.034","DOIUrl":"https://doi.org/10.1017/9781139795425.034","url":null,"abstract":"","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114305444","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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