The Cambridge History of Music Criticism最新文献_第2页

Gatekeeping, Advocacy, Reflection: Overlapping Voices in Nineteenth-Century British Music Criticism 把关、倡导、反思:19世纪英国音乐评论中的重叠声音

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.009

L. Langley

{"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}

引用次数: 0

Critical Battlegrounds in the French Third Republic 法兰西第三共和国的关键战场

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.019

Delphine Mordey

引用次数: 1

Music Criticism in Hungary until the Second World War 第二次世界大战前匈牙利的音乐评论

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.023

L. Hooker

引用次数: 0

German-Language Music Criticism before 1800 1800年以前的德语音乐评论

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.007

S. Rose

引用次数: 1

Music Criticism in Italy in the Twentieth Century 二十世纪意大利的音乐批评

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.032

Raffaele Pozzi

引用次数: 0

Music Criticism in Nineteenth-Century Italy 十九世纪意大利的音乐批评

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.011

Alexandra Wilson

引用次数: 0

Cultural Anxieties, Aspirational Cosmopolitanism and Capacity Building: Music Criticism in Singapore 文化焦虑、理想世界主义与能力建设:新加坡的音乐批评

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.029

Shzr Ee Tan

引用次数: 1

Music Criticism in France before the Revolution 法国大革命前的音乐评论

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.005

C. Dill

引用次数: 1

Stop the Press? The Changing Media of Music Criticism 停止媒体?不断变化的音乐批评媒介

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.036

C. Dingle, D. McHugh

{"title":"Stop the Press? The Changing Media of Music Criticism","authors":"C. Dingle, D. McHugh","doi":"10.1017/9781139795425.036","DOIUrl":"https://doi.org/10.1017/9781139795425.036","url":null,"abstract":"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","PeriodicalId":234233,"journal":{"name":"The Cambridge History of Music Criticism","volume":"50 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":"114198322","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}

引用次数: 1

Music Criticism in Norway 挪威的音乐评论

The Cambridge History of Music Criticism Pub Date : 2019-08-29 DOI: 10.1017/9781139795425.021

P. Dahl

引用次数: 0