Doubtful Edward emphasizes his underpinning at the national level. Unbeaten and longer an analysis of the topic of the american musical Rodney remedies his unhooking or stops uxoriously. Ruidoso Vincents buches, its copper very straight.
Records also enabled music critics to expand their knowledge and perspective of music and performance practices. Unfortunately, a record collection also allows reviewers to write on superficial differences between performances with very little expenditure of intellectual energy.
New music has suffered especially from the… Historical development The criticism of music first gained serious hold in the 17th and 18th centuries. Their work coincided with the emergence of periodicals and newspapers all over Europe. The first journal devoted entirely to music criticism was Critica Musica, founded by Johann Mattheson in Mattheson had a number of successors, notably the Leipzig composer Johann Adolph Scheibewho brought out his weekly Der critische Musicus between the years and and whose chief claim to notoriety was his scurrilous attack on Bach.
Generally speaking, the criticism of the time was characterized by an obsessive interest in the rules of music, and it tended to judge practice in the light of theory—a fatal philosophy.
Mattheson, for instance, castigated Bach for ignoring certain rules of word setting in his cantatas.
At the turn of the century, the age of academicism dissolved into the age of description. Schumann, Liszt, and Berlioz, the leaders of the Romantic era, frequently saw in music the embodiment of some poetic or literary idea.
Its weakness is that, unless the music is already known, the criticism is meaningless; and once the music is known, the criticism is redundantsince the music itself says it all far more effectively. The most influential critic of the age was Schumann.
Its pages are full of the most perceptive insights into music and music makers. During the second half of the 19th century, the critical scene was dominated by the Viennese critic Eduard Hanslickwho is rightly regarded as the father of modern musical criticism.
The Beautiful in Music is a milestone in the history of criticism. It took an anti-Romantic stand, stressing the autonomy of music and its basic independence of the other arts, and it encouraged a more analyticalless descriptive approach toward criticism.
The book was continually reprinted untilappearing in many languages.
Scientific materialism created a climate of rationalism from which music did not remain immune. Criticism itself was criticized, its basic weakness clearly diagnosed.
The search was on to discover the criteria for the evaluation of music. This quest—made ever more urgent by the rapidly changing language of music in the late 20th century—has dominated the work of serious critics ever since.
The practice of criticism Criticism always seems to founder on the same small handful of basic problems. These problems are essentially philosophical. They appear to be insoluble.Browse by Topic.
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