Journal articles: 'Funk (Music) – History and criticism'

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Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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Bielefeldt, Christian. "Beyond Postmodernism? Prince and Some New Aesthetic Strategies." Musicological Annual 42, no. 1 (December 1, 2006): 89–101. http://dx.doi.org/10.4312/mz.42.1.89-101.

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Former postmodernist Prince’s album Musicology (2004) re-occupies authorship and history, evoking a »real«, non-technological kind of music in the line of funk and hip-hop. The article is reading that as a strategy of »reflexive modernism«, an aesthetic challenging the postmodern denial of ontology with interim ontologies marked as such.

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Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.

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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (April 1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.

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Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (November 1, 2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.

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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.

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Loydell, Rupert. "Shake the Foundations: Militant Funk & the Post-Punk Dancefloor 1978‐1984, 3CD Box Set, Various Artists." Punk & Post Punk 10, no. 2 (June 1, 2021): 341–42. http://dx.doi.org/10.1386/punk_00100_5.

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Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.

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Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.

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Dickinson, Peter. "Review: Maestros of the Pen: A History of Classical Music Criticism in America." Music and Letters 83, no. 4 (November 1, 2002): 631–34. http://dx.doi.org/10.1093/ml/83.4.631.

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Heller, George N., and Mark N. Grant. "Maestros of the Pen: A History of Classical Music Criticism in America." History of Education Quarterly 39, no. 2 (1999): 212. http://dx.doi.org/10.2307/370046.

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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.

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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.

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Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (February 2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.

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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.

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Branscombe, P. "E. T. A. Hoffmann's Musical Writings: 'Kreisleriana', 'The Poet and the Composer', Music Criticism." German History 10, no. 2 (January 1, 1992): 248–50. http://dx.doi.org/10.1093/gh/10.2.248.

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Zuk, Patrick. "Words for music perhaps? Irishness, criticism and the art tradition." Irish Studies Review 12, no. 1 (April 2004): 11–29. http://dx.doi.org/10.1080/0967088042000192086.

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Brown, Howard Mayer. "Recent Research in the Renaissance: Criticism and Patronage*." Renaissance Quarterly 40, no. 1 (1987): 1–10. http://dx.doi.org/10.2307/2861832.

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The book that everyone in musicology is talking about this year—not just those of us working in the fifteenth and sixteenth centuries—is Joseph Kerman's Contemplating Music (Cambridge, Mass.: Harvard University Press, 1985; called simply Musicology in the English edition). In it, Kerman argues against what he calls positivism, which he defines as a rigid and non-judgmental pursuit of dry facts, and in favor of the higher criticism, by which he seems to mean analysis—or at least some penetrating discussion of the way individual pieces work and what makes them great—informed by a sense of history and written in a humanistic style, with a personal commitment on the part of the author to the quality of the music with which he is concerned.

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Vasic, Aleksandar. "The magazine “Slavenska muzika” (1939–1941) in the history of Serbian music periodicals." Muzikologija, no. 29 (2020): 121–47. http://dx.doi.org/10.2298/muz2029121v.

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From November 1939 to March 1941, the monthly magazine ?Slavenska muzika?, a journal of the Association of Friends of Slavic Music, was published in Belgrade. The magazine did not differ from other Serbian magazines of the interwar period in its sections. ?Slavic music? also published essays on music, music criticism, reviews of books and music editions, notes, news, obituaries, and in one case, polemics. However, differentia specifica of this review is the exclusive focus on the music of the Slavic nations. The study provides a review and analysis of the texts in this journal. It was noticed that in ?Slavic music? were crossed the Slavophile idea, which has a long tradition among Serbs, and Marxism, at that time strongly represented by one part of Belgrade musicians. The study also contains an integral bibliography of ?Slavic music?, which has not been published so far.

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COLE, ROSS. "“Fun, Yes, but Music?” Steve Reich and the San Francisco Bay Area's Cultural Nexus, 1962–65." Journal of the Society for American Music 6, no. 3 (August 2012): 315–48. http://dx.doi.org/10.1017/s175219631200020x.

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AbstractThis article traces Steve Reich through the Bay Area's cultural nexus during the period 1962–65, exploring intersections with Luciano Berio, Phil Lesh, Terry Riley, Robert Nelson, the San Francisco Mime Troupe, and the San Francisco Tape Music Center. The aim is to present a revised history of this era by drawing on personal interviews with Tom Constanten, R. G. Davis, Jon Gibson, Saul Landau, Pauline Oliveros, and Ramon Sender. In addition, previously unused source materials and contemporaneous newspaper reception are employed to provide a more nuanced contextual framework. Reich's heterogeneous activities—ranging from “third stream” music and multimedia happenings to incidental scores and tape collage—deserve investigation on their own terms, rather than from within narratives concerned with the stylistic development of “minimalism.” More appropriate and viable aesthetic parallels are drawn between Reich's work for tape and Californian Funk art.

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Watt, Paul, and Sarah Collins. "Critical Networks." Nineteenth-Century Music Review 14, no. 1 (April 2017): 3–8. http://dx.doi.org/10.1017/s1479409816000252.

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This article examines the idea of ‘Critical Networks’ as a way of studying the relational structures that shaped music criticism in the long nineteenth century. We argue that the personal, institutional and international networks that supported the dissemination of critical ideas about music are worthy of study in themselves, as they can yield insights beyond prevailing methodologies that centre on individual cases.Focusing on the institutional culture of music criticism means looking beyond the work of individual critics and the content or influence of their views, towards the structures that determined the authoritativeness of those views and the impact of these structures in shaping the operation of critical discourse on music at the time. Examining these networks and how they operated around particular periodicals, tracing transnational exchanges of both ideas and critics, and uncovering the various ideological alliances that were forged or contested within critical networks, can not only provide a thicker context for our understanding of historical ideas about music, but it can also challenge current views about the history of our discipline and the kinds of structures that condition our own ideas about music and music history.

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Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.

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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesthetic education, I have chosen in this article to examine Dwight's literary interest in Johann Christoph Friedrich Schiller's poem ‘An die Freude’ and in Thomas Carlyle's biography of Schiller, to document his knowledge of commentary on the symphony by the German critic Adolf Bernhard Marx, and to describe Dwight's response to the initial American performance of the Ninth Symphony.

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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.

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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.

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Powers, Devon. "Bruce Springsteen, Rock Criticism, and the Music Business: Towards a Theory and History of Hype." Popular Music and Society 34, no. 2 (May 2011): 203–19. http://dx.doi.org/10.1080/03007761003726472.

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Fry, Katherine. "Nietzsche's Critique of Musical Decadence: The Case of Wagner in Historical Perspective." Journal of the Royal Musical Association 142, no. 1 (2017): 137–72. http://dx.doi.org/10.1080/02690403.2017.1286130.

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ABSTRACTAlthough philosophical and biographical accounts of Nietzsche and Wagner abound, the musical issues at stake in the late text Der Fall Wagner (The Case of Wagner, 1888) have rarely been addressed within their wider cultural context. This article explores the nineteenth-century concepts of decadence and degeneration as relevant for understanding the ambivalence of Nietzsche's late critique of Wagner. Emphasizing his affinity with contemporary French criticism, it argues that his late texts advance a theory of decadence pertinent to current music history and criticism. It locates The Case of Wagner within the larger discourse of degeneration, probing similarities to and differences from the work of surrounding critics of Wagnerism. Nietzsche's critique combines a condemnation of Wagner's music with a more positive appreciation of the composer's historical relevance. Yet his writings also reveal a fundamental conflict between his personal involvement with Wagner's music and his philosophical quest to analyse this music as expressive of modernity.

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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.

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Souza, Alberto Carlos de. "The language of the art of music: an overview of its history in Brazil." Humanum Sciences 3, no. 1 (August 5, 2021): 32–40. http://dx.doi.org/10.6008/cbpc2674-6654.2021.001.0004.

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This study sought to re-visit the two conceptions of Art – pedagogical and reflective - forged throughout history and its relationship with the Brazilian aesthetic thought of resistance. From the 60's, such thinking has given a pedagogical purpose to art, charged with the task of social criticism and political engagement human emancipatory: in this scenario mainly determined by the Theater of the Oppressed, the new movies and the protest song by Milton Nascimento, , Caetano Veloso, Chico Buarque, Gilberto Gil, among many others.

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Natambu, Kofi. "Whose Music is it, Anyway?: The Oxford University Press Jazz History/Criticism Series, 1980-Present." Black Scholar 29, no. 4 (December 1999): 48–51. http://dx.doi.org/10.1080/00064246.1999.11430983.

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Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (September 13, 2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.

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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mainstream, music criticism and academia, this article argues that a universally valid popular music canon does not exist and that canon formation in popular music is based on the same criteria as in the ‘high’ arts, i.e. transcendence, historical importance and ‘greatness’, although the latter is replaced by ‘authenticity’ in the popular music context. While canons can be theorised in various ways, a model that distinguishes between canonic strata according to listeners’ relationship to music is particularly useful as it reveals the relative importance of the three canonic criteria within different strata and how they are applied.

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Garratt, J. "Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna. By Kevin C. Karnes." Music and Letters 91, no. 3 (August 1, 2010): 436–38. http://dx.doi.org/10.1093/ml/gcq028.

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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.

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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.

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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.

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Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 265–89. http://dx.doi.org/10.1163/22129758-12341323.

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Abstract Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields of eroticism and of bodily movement, with several terms indicating both figures of lovemaking and figures of dance. By performing comically revisited erotic dances or by verbally alluding to them, prostitutes would powerfully embody the conservative criticism of Old Comedy against the new trends in dance promoted by the New Music.

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Salgado, Tomas Garcia. "Comment on "Art History and the Criticism of Computer-Generated Images"." Leonardo 29, no. 1 (1996): 82. http://dx.doi.org/10.2307/1576292.

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GOSSETT, PHILIP. "Source Studies and Opera History." Cambridge Opera Journal 21, no. 2 (July 2009): 111–18. http://dx.doi.org/10.1017/s0954586710000030.

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Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.

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Fay, Brendan. "Conservative Music Criticism, the Inflation, and Concert Life in Weimar Germany, 1919–1924." Cultural History 6, no. 2 (October 2017): 141–63. http://dx.doi.org/10.3366/cult.2017.0147.

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In surveying the thirteen crisis-ridden years that Weimar democracy endured from its founding in 1919, perhaps none loom as large as the hyperinflation years spanning 1922–1923. According to many historians, the ‘Great Disorder’ not only destroyed the bonds between different social classes but also shattered Germans’ faith in and commitment to Weimar democracy. At the same time, Germany's cultural conservatives found themselves weathering a ‘cultural crisis’ brought on by the combined forces of artistic and technological innovation. In this article, I argue that our sense of Weimar's crises has been profoundly shaped by knowledge of what came later, and has tended to differ markedly from contemporaries’ sense of history and their place in it. This article examines the inflation's impact on German concert life, reassessing cultural conservatives—long held as hostile to Weimar democracy—and their attitudes toward German classical music, the nation, and society during the turbulent early years of the Weimar Republic.

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Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.

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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surrounding the coverage such as a pistol duel and a libel case, contemporary correspondence, and Herz’s publishing record indicate that the Gazette’s negative treatment of Herz was not an organic assessment of his output, but rather a revenge scheme orchestrated by the Gazette’s owner and Herz’s former publisher, Maurice Schlesinger (1798–1871). As a case study, the Gazette’s Herz campaign exposes the endemic corruption of the nineteenth-century press that has been portrayed as an unseemly rarity rather than a central component of historical criticism’s production. But taken more broadly, the Gazette’s articles on Herz highlight limitations in the history of reception. This article turns to media studies to explore the problematic relationship between propaganda and reception and shows how the Gazette, and other nineteenth-century journals, are still manipulating our cognition.

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Brown, C. "Beethoven and the violin: The Beethoven violin sonatas: history, criticism, performance, ed. Lewis Lockwood and Mark Kroll (Urbana: University of Illinois Press, 2005), 34.95." Early Music 34, no. 2 (May 1, 2006): 303–4. http://dx.doi.org/10.1093/em/cal010.

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Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.

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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.

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McLEOD, KEMBREW. "‘*1/2’ a critique of rock criticism in North America." Popular Music 20, no. 1 (January 2001): 47–60. http://dx.doi.org/10.1017/s0261143001001301.

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As a particular type of gatekeeper, rock critics play a significant role in shaping the representations of artists for an admittedly small, but influential, population, as well as establishing an artist's place in music history. In Sound Effects, Simon Frith (1983) maintains that rock critics are ‘opinion leaders’ and are the ‘ideological gatekeepers’ of the community for which they write. Additionally, I argue that rock critics function as Gramscian ‘organic intellectuals’ who articulate the ideas held by the population of which they are a part (Gramsci 1971, pp. 5-14). The community that rock critics represent and speak for is made up of an overlapping network that comprises those connected with college radio, record collectors, local music scene participants, musicians and various record company employees, among others. Frith (1996, p. 18) argues in Performing Rites that if ‘social relations are constituted in cultural practice, then our sense of identity and difference is established in the process of discrimination’. By understanding the ways in which evaluations are made within the communities that rock critics are a part of, we can gain a better understanding of the communities themselves. Because there are no sustained scholarly writings that examine rock criticism in North America from a historical, sociological or communicative perspective, it is important to begin examining the profession of the rock critic, as well as the discourse generated by rock criticism.

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Severn, John R. "Salieri’s Falstaff, ossia Le tre burle and The Merry Wives of Windsor: Operatic Adaptation and/as Shakespeare Criticism." Cambridge Opera Journal 26, no. 1 (February 19, 2014): 83–112. http://dx.doi.org/10.1017/s0954586713000323.

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AbstractShakespeare’s The Merry Wives of Windsor contains several features that make it unusual within his dramatic output and that thus render problematic the idea of a unified ‘Shakespearean’ canon. Until very recently, literary criticism has either largely ignored or denigrated the play, with a sustained interest in its portrayal of female agency, family life and the natural world only consolidating in the early twenty-first century. However, earlier operatic adaptations, such as Salieri and Defranceschi’s Falstaff, ossia Le tre burle, demonstrate an engagement with those issues which literary criticism has only lately addressed. While approaches to adaptations of The Merry Wives often focus primarily on the character of Falstaff, Salieri and Defranceschi’s opera’s engagement with the play’s issues beyond Falstaff suggests it might give added weight to a growing awareness of a positive alternative reception history of the play beyond literary criticism. At the same time, a consideration of the opera’s engagement with the play’s themes of female agency, family life and the natural world might shed light on Falstaff, ossia Le tre burle beyond the shadow cast by Verdi’s central character.

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Devine, Kyle. "Imperfect sound forever: loudness wars, listening formations and the history of sound reproduction." Popular Music 32, no. 2 (May 2013): 159–76. http://dx.doi.org/10.1017/s0261143013000032.

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AbstractThe purpose of this paper is to provide some historical perspective on the so-called loudness war. Critics of the loudness war maintain that the average volume level of popular music recordings has increased dramatically since the proliferation of digital technology in the 1980s, and that this increase has had detrimental effects on sound quality and the listening experience. My point is not to weigh in on this debate, but to suggest that the issue of loudness in sound recording and playback can be traced back much earlier than the 1980s. In fact, loudness has been a source of pleasure, a target of criticism, and an engine of technological change since the very earliest days of commercial sound reproduction. Looking at the period between the turn-of-the-century format feud and the arrival of electrical amplification in the 1920s, I situate the loudness war within a longer historical trajectory, and demonstrate a variety of ways in which loudness and volume have been controversial issues in – and constitutive elements of – the history of sound reproduction. I suggest that the loudness war can be understood in relation to a broader cultural history of volume.

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BOARO, ERIC. "EVIDENCE OF THE PRACTICAL APPLICATION OF SOLFEGGIO PATTERNS IN THE MANUSCRIPT FOR THE 1707 NEAPOLITAN PERFORMANCE OF LA FEDE TRADITA E VENDICATA BY GASPARINI AND VIGNOLA." Eighteenth Century Music 18, no. 1 (February 5, 2021): 171–84. http://dx.doi.org/10.1017/s1478570620000421.

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The last two decades have seen the opening of several new paths in eighteenth-century musicology, and Robert O. Gjerdingen has opened one of these: schema theory. Schemata are ‘stock musical phrases employed in conventional sequences’ that function as harmonic, melodic and rhythmic frameworks for musical passages. Evidence of such schematic thinking has emerged through related studies on partimento and solfeggio. Solfeggio practice of the time manifests a schematic way of thinking about music, being mostly based on simple hexachordal patterns which, as studies progressed, could be embellished in different ways. Vasili Byros has addressed the ‘archaeology’ of hearing through reception history, and offered strong evidence that eighteenth-century ears did hear schemata. Interweaving corpus studies on music of the long eighteenth century (1720–1840), contemporary music criticism and reception history, as well as didactic documents from that era, Byros sheds new light on the ways in which schemata were perceived at the time. A recent contribution by Gilad Rabinovitch uses a live improvisation in the style of Mozart by Robert Levin to demonstrate the importance of conventional schemata for historical improvisation.

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Samson, Jim. "The Virtuoso Liszt. By Dana Gooley. pp. xvi + 280. New Perspectives in Music History and Criticism. (Cambridge University Press, Cambridge, 2004. £45. ISBN 0-521-83443-0.)." Music and Letters 86, no. 4 (November 1, 2005): 645–46. http://dx.doi.org/10.1093/ml/gci117.

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Fenlon, Iain. "Women and Music in Sixteenth-Century Ferrara. Laurie Stras. New Perspectives in Music History and Criticism. Cambridge: Cambridge University Press, 2018. xxiv + 392 pp. $99.99." Renaissance Quarterly 73, no. 3 (2020): 1096–98. http://dx.doi.org/10.1017/rqx.2020.190.

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Marie Sumner Lott. "Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late-Nineteenth-Century Vienna (review)." Notes 66, no. 1 (2009): 62–64. http://dx.doi.org/10.1353/not.0.0211.

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Gallope, Michael. "Why was this Music Desirable? On A Critical Explanation of the Avant-Garde." Journal of Musicology 31, no. 2 (2014): 199–230. http://dx.doi.org/10.1525/jm.2014.31.2.199.

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In the introduction to his Oxford History of Western Music (2005), Richard Taruskin writes that his account of music history is based in the work of individual people, their statements, and their actions, as opposed to the power of ideas, teleologies, and romantic attachments to style criticism. He also claims that a “true history” of music can overcome the survey genre by offering causal explanations of historical events. In his discussion of the Cold War avant-garde, however, Taruskin points the way toward a slightly different kind of historiography by employing what I call a critical explanation. It is based in a causal question—Why was this desirable?—but the ensuing explanation resembles the hermeneutics of suspicion typically associated with thinkers such as Marx, Nietzsche, and Freud, all of whom were skeptical of the view that individuals are agents of their actions. I argue that Taruskin’s approach to the era has a methodological upshot, enabling readers to evaluate how the Cold War avant-garde might be linked with social and intellectual history in new ways. To demonstrate this, the article begins with a theoretical discussion of causality and its complex relationship to empiricism, proceeds through a survey of Taruskin’s use of existentialism as a critical explanation of the Cold War avant-garde, and ends with an account of some historical details concerning the era’s intellectual actors that expands on a few of the issues his critical explanation presents.

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Comensoli (book editor), Viviana, Paul Stevens (book editor), and Stephen Guy-Bray (review author). "Discontinuities: New Essays on Renaissance Literature and Criticism." Renaissance and Reformation 34, no. 3 (July 1, 1998): 93–95. http://dx.doi.org/10.33137/rr.v34i3.10822.

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WISEMAN, MARY. "Fredrika H. Jacobs, Defining The Renaissance Virtuosa: Women Artists and The Language of Art History and Criticism." Journal of Aesthetics and Art Criticism 58, no. 4 (September 1, 2000): 420–24. http://dx.doi.org/10.1111/1540-6245.jaac58.4.0420.

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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.

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Journal articles on the topic 'Funk (Music) – History and criticism'

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