Artykuły w czasopismach: „Music criticism”

1

Lanier, Brian N. "Music criticism". Music Educators Journal 75, nr 7 (marzec 1989): 51. http://dx.doi.org/10.2307/3400314.

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Atlas, Gordon D., Terry Taggart i Debra J. Goodell. "The effects of sensitivity to criticism on motivation and performance in music students". British Journal of Music Education 21, nr 1 (marzec 2004): 81–87. http://dx.doi.org/10.1017/s0265051703005540.

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Music education inherently relies on a process of providing and receiving critical feedback. Students who are very sensitive to criticism, however, may present a unique challenge for the music educator. This study investigated the ways in which sensitivity to criticism affects the educational experience of music students. Nineteen students were assessed for sensitivity to criticism, self-reported motivation, and perceived quality of performance early and late in the semester. High scores on the Sensitivity to Criticism Scale (Atlas, 1994) were associated with decreases in ratings of importance of the activity and mildly connected with decreases in enjoyment and confidence levels. Highly sensitive students were more hurt by their instructors’ criticisms, felt they improved less in response to criticism, and found it more difficult to communicate with the instructor following criticism. These results suggest that being sensitive to criticism can have an impact on music students’ motivation and performance – and that instructors should be particularly careful in considering the effects that critical feedback may have on highly sensitive students.

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kang, sun ha. "The Problems an Improvement Direction of High School Music Appreciation and Criticism Textbook". Korean Association For Learner-Centered Curriculum And Instruction 23, nr 17 (15.09.2023): 1–15. http://dx.doi.org/10.22251/jlcci.2023.23.17.1.

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Objectives This study examines the problems in the contents of high school textbook Music Appreciation and Criticism, and proposes improvement directions accordingly. Methods For this purpose, the 2015 revised textbook Music Appreciation and Criticism's unit composition, organization, and Gugak contents were analyzed. Results The problems of high school music appreciation and criticism education are, first, that Gugak is not universally covered in music. Second, the majority of music pieces overlapped with general Music textbooks, and third, the fact that the description of Gugak was remarkably lacking compared to Western music history, and fourth, there was no concept and critical awareness of Gugak criticism. Since music appreciation and criticism education is a special subject for students majored in music, it should have more advanced content than general Music textbooks, but there was room to instill musical prejudice. Conclusions The improvement direction for these problems is, first, to understand Korean traditional music universally. Second, a critical mind about the criticism of Gugak will be preceded. Third, future-oriented education with the context of the times was to be pursued. Fourth, appreciation music was to be presented in a more diverse way and learning contents were to be converged. When these suggestions for improvement are fully considered and improved, the appreciation and criticism of Gugak can also develop in a creative direction.

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Conner, Thomas, i Steve Jones. "Art to Commerce: The Trajectory of Popular Music Criticism". IASPM Journal 4, nr 2 (31.12.2014): 7–23. http://dx.doi.org/10.5429/ij.v4i2.671.

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This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts.

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Gooley, Dana. "Hanslick and the Institution of Criticism". Journal of Musicology 28, nr 3 (2011): 289–324. http://dx.doi.org/10.1525/jm.2011.28.3.289.

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This article surveys Hanslick’s statements about the purpose and practice of criticism to argue that he viewed music criticism as a medium with the potential to effect political and social change, and not as a practical application of aesthetic principles. Hanslick took up the Enlightenment model of criticism—–which stressed the critic’s role in fostering the public’s independence of judgment through the exercise of reason—–and adapted it to the historical circumstances of post-1848 Vienna. The Enlightenment model had originated from an impetus to emancipate a civil public from top-down, absolute forms of authority. It resonated powerfully with Hanslick because he believed that artistic, social, and political life in Vienna after 1848 was gradually liberating itself from the paralyzing, passive, and repressive ethos of Vormärz, and that the critic could contribute to this historical emancipation. Hanslick thus broke his earlier identification with the Left Hegelian “philosophical” model of criticism, which did not share the Enlightenment’s optimistic conception of the public sphere. His commitment to the critic's public mission manifested as an effort to position his voice as the “silent” inner conscience of the average educated listener. His self-consciousness about aligning his voice with that of the public came to the surface in reviews where his opinion did not match the audience response. Many of Hanslick’s criteria for musical judgment were aimed at defending the listener’s freedom from the interference of external critical authorities as well as from composers and whose musical ideas were turgid or unclear. In service to these freedoms he was willing to criticize composers such as Beethoven, Schumann, and Brahms, as well as conservative classicists and music historians.

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Kivy, Peter. "A New Music Criticism?" Monist 73, nr 2 (1990): 247–68. http://dx.doi.org/10.5840/monist199073223.

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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI". Nasledje Kragujevac XX, nr 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.

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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.

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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*". Renaissance Quarterly 41, nr 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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Julich-Warpakowski, Nina. "Motion Expressions in Music Criticism". arbeitstitel | Forum für Leipziger Promovierende 8, nr 1 (2.04.2020): 34. http://dx.doi.org/10.36258/arbeitstitel.v8i1.3310.

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Music is commonly and conventionally described in terms of motion: melodies fall and rise, and motifs may follow a harmonic path. The thesis explores the motivation of musical motion expressions in terms of conceptual metaphors (Lakoff & Johnson 1999). Specifically, it analyses whether musical motion expressions are based on the time is motion metaphor (Johnson & Larson 2003, Cox 2016). Furthermore, the thesis investigates whether musical motion expressions are perceived as low in metaphoricity because of their conventionality in music criticism, and because of a more general association of music with motion, given that people often literally move when they make music and when they listen to music.

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Anderson, Robert, i Stewart Hylton Edwards. "Faded Criticism". Musical Times 126, nr 1711 (wrzesień 1985): 538. http://dx.doi.org/10.2307/964465.

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Jones, Steve. "Popular Music, Criticism, Advertising and the Music Industry". Journal of Popular Music Studies 5, nr 1 (marzec 1993): 79–91. http://dx.doi.org/10.1111/j.1533-1598.1993.tb00084.x.

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Swanwick, Keith. "Musical Criticism and Music Education". Revista Música 2, nr 2 (1.11.1991): 134. http://dx.doi.org/10.11606/rm.v2i2.55030.

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I am concerned here with the concept of musical analysis and its role in school and college education. My starting point is simply that musical analysis is the most important branch of musical criticism. By criticism I mean any discourse about music involving judgement or appraisal at any level. Critical statements that have analytical force must by definition say something about how a particular piece of music functions. All analysis is musical criticism but not all criticism is analysis. Analysis cannot be simply an expression of preference or a statement about the social or historical context of a piece of music. Critical statements that are simple expressions of preference or statements about context are not particularly helpful to the process of music education. For this reason I shall confine myself to the branch of criticism we call analysis. Analysis is essentially discourse concerned with the internal functioning of a specific musical object. It is about the integrity of a particular work. To be more accurate, analysis is discourse about our perceptions of a musical object. From an educational perspective it is not helpful to conduct musical analysis as though a work existed independently of individual perceptions of it and in classrooms we have to conduct musical analysis in a way that involves students engaging with music in his or her own way.

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Herzog, Patricia. "Music Criticism and Musical Meaning". Journal of Aesthetics and Art Criticism 53, nr 3 (1995): 299. http://dx.doi.org/10.2307/431355.

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Méndez-Rubio, Antonio. "Popular music as cultural criticism". Journal of Spanish Cultural Studies 2, nr 1 (marzec 2001): 119–26. http://dx.doi.org/10.1080/14636200120037267.

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HERZOG, PATRICIA. "Music Criticism and Musical Meaning". Journal of Aesthetics and Art Criticism 53, nr 3 (1.06.1995): 299–312. http://dx.doi.org/10.1111/1540_6245.jaac53.3.0299.

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Kartika Novita Rohmah, Dicky Ahmad Fahrizi, Rheihan Alvizar i Jason Marcelino Nugroho. "Musik Hardcore Sebagai Media Kritik Terhadap Pemerintah". JOURNAL SAINS STUDENT RESEARCH 1, nr 2 (1.12.2023): 754–61. http://dx.doi.org/10.61722/jssr.v1i2.285.

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This research aims to analyze the role of hardcore music as a form of criticism of a government system that is considered dilapidated. Hardcore musicians and bands often use their music as a means to express their dissatisfaction with inadequate social and political conditions. This research uses a qualitative approach to collect data through interviews with hardcore band members, analysis of song lyrics, and a review of related literature. The findings of this research indicate that hardcore music functions as a powerful medium of expression to criticize the government system which is considered corrupt and unfavorable to the people. Song lyrics and stage performances in hardcore music reflect anger, disappointment, and resistance to the injustices that exist in the government system. This research provides a deeper understanding of how hardcore music can influence individual perceptions and actions in carrying out criticism of a dilapidated government system.

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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II". Muzyka 63, nr 4 (31.12.2018): 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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Burnham, Scott. "The Criticism of Analysis and the Analysis of Criticism". 19th-Century Music 16, nr 1 (1992): 70–76. http://dx.doi.org/10.2307/746621.

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Burnham, Scott. "The Criticism of Analysis and the Analysis of Criticism". 19th-Century Music 16, nr 1 (lipiec 1992): 70–76. http://dx.doi.org/10.1525/ncm.1992.16.1.02a00060.

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Tukova, Iryna, Valentina Redya i Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)". Studia Universitatis Babeş-Bolyai Musica 67, nr 2 (20.12.2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "

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Lamb, Roberta. "The Possibilities of/for Feminist Music Criticism in Music Education". British Journal of Music Education 10, nr 3 (listopad 1993): 169–80. http://dx.doi.org/10.1017/s0265051700001728.

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The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. For example, just as feminist musicology provides music education with the possibilities of new content, is it not likely that feminist criticism in music education could assist musicology in coming to terms with making musical sense, collectively, through cultural institutions? In beginning to work with such a question of criticism, it is suggested that institutional issues of power, as played out through who teaches and sexual harassment of student, are evident and require attention.

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Vasic, Aleksandar. "Serbian music criticism in the first half of the twentieth century: Its canon, its method and its educational role". Muzikologija, nr 8 (2008): 185–202. http://dx.doi.org/10.2298/muz0808185v.

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Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its readers. The music culture of the Serbian public was only recently developed. The public needed an introduction into the most important features of the European music, as well as developing its own taste in music. This paper deals with two aspects of the music criticism in the SLM, in view of its educational role: the problem of virtuosity and the method used by music critics in this magazine. The aesthetic canon of the SLM was marked by decisively negative attitude towards the virtuosity. Mainly concerned by educating the Serbian music public in the spirit of the highest music achievements in Europe, the music writers of the SLM criticized both domestic and foreign performers who favoured virtuosity over the 'essence' of music. Therefore, Niccol? Paganini, Franz Liszt, and even Peter Tchaikowsky with his Violin concerto became the subject of the magazine's criticism. However their attitude towards the interpreters with both musicality and virtuoso technique was always positive. That was evident in the writings on Jan Kubel?k. This educational mission also had its effect on the structure of critique writings in the SLM. In their wish to inform the Serbian public on the European music (which they did very professionally), the critics gave much more information on biographies, bibliographies and style of the European composers, than they valued the interpretation itself. That was by far the weakest aspect of music criticism in the SLM. Although the music criticism in the SLM was professional and analytic one, it often used the literary style and sometimes even profane expressions in describing the artistic value and performance, more than it was necessary for the genre of music criticism. The music critics of the SLM set high aesthetic standards before the Serbian music public, and therefore the virtuosity was rejected by them. At the same time, these highly professional critics did not possess a certain level of introspection that would allow them to abstain from using sometimes empty and unconvincing phrases instead of exact formulations suitable for the professional music criticism. In that respect, music critics in the SLM did not match the standards they themselves set before both the performers and the public in Serbia.

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Sibbald, Mary Jo. "Aesthetic Criticism in the MUSIC Classroom". Music Educators Journal 80, nr 2 (wrzesień 1993): 30–33. http://dx.doi.org/10.2307/3398690.

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McClary, Susan. "Towards a Feminist Criticism of Music". Canadian University Music Review 10, nr 2 (1990): 9. http://dx.doi.org/10.7202/1014882ar.

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McManus, Laurie. "Feminist Revolutionary Music Criticism and Wagner Reception". 19th-Century Music 37, nr 3 (2014): 161–87. http://dx.doi.org/10.1525/ncm.2014.37.3.161.

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Abstract Histories of progressive musical politics in mid-nineteenth-century Germany often center on the writings of Richard Wagner and Franz Brendel, relegating contributors such as the feminist and author Louise Otto (1819–95) to the periphery. However, Otto's lifelong engagement with music, including her two librettos, two essay collections on the arts, and numerous articles and feuilletons, demonstrates how one contemporary woman considered the progressive movements in music and in women's rights to be interrelated. A staunch advocate of Wagner, Otto contributed to numerous music journals, as well as her own women's journal, advising her female readers to engage with the music of the New German School. In the context of the middle-class women's movement, she saw music as a space for female advancement through both performance and the portrayals of women onstage. Her writings offer us a glimpse into the complex network of Wagner proponents who also supported women's rights, at the same time providing evidence for what some contemporary conservative critics saw as a concomitant social threat from both Wagnerian musical radicalism and the emancipated woman.

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Kramer, Lawrence. "Criticizing Criticism, Analyzing Analysis". 19th-Century Music 16, nr 1 (1992): 76–79. http://dx.doi.org/10.2307/746622.

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Kramer, Lawrence. "Criticizing Criticism, Analyzing Analysis". 19th-Century Music 16, nr 1 (lipiec 1992): 76–79. http://dx.doi.org/10.1525/ncm.1992.16.1.02a00070.

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Botstein, Leon. "On Criticism and History". Musical Quarterly 79, nr 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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Ardoin, John, Robert D. Schick, Harry Haskell, Katharine Ellis i Sandra McColl. "Classical Music Criticism: With a Chapter on Reviewing Ethnic Music". Notes 54, nr 2 (grudzień 1997): 441. http://dx.doi.org/10.2307/899520.

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Kim, Won-Myoung. "The Recent State of Music Criticism Culture of Busan - Quantitative Analysis of Music Criticisms in 3 Journals -". HANGDO BUSAN 36 (30.08.2018): 275–313. http://dx.doi.org/10.19169/hd.2018.8.36.275.

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Mahardika, Moch Dimas Galuh. "Socio-Political Issues In The Songs Of “Kapital” Group Band Released In 2014-2015". Jurnal Seni Musik 10, nr 2 (31.12.2021): 136–43. http://dx.doi.org/10.15294/jsm.v10i2.48896.

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Music is an unlimited medium as a place to convey a message. Literally music is an arrangement of sounds that echo the rhythm and harmony produced from the instruments that can produce sounds. In other words music is a representation of the soul of someone who plays it. Kapital is a band from Tenggarong that performs metalcore music. The breadth of freedom of expression in music, Kapital band used music as a place to make criticisms of socio-political conditions. Kapital deliberately uses music as a medium of criticism because they realize that music lovers who listen to their work will be able to maximum capture the message if the message contained in their songs is a relevant problem with social conditions. This article, written using historical methods and the literature review approach, tried to briefly review socio-political issues in several songs released by Kapital band songs.

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Rully, Rully, Andi Mirza Ronda i Mikhael Dua. "ANALYSIS OF POWER RELATION AND MUSIC IN THE EXISTENCE OF ‘SLANK’ (FOUCAULT’S CRITICAL DISCOURSE)". International Journal of Social Science 3, nr 2 (3.08.2023): 173–94. http://dx.doi.org/10.53625/ijss.v3i2.6301.

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Slank is a phenomenal Indonesian band that exists today. Its existence in the music industry for more than three decades has given its style to Indonesian music, consistent with the criticisms that represent the voices of some people who are dominant at the bottom or are intimidated. The neatly fragmented social dynamics in each Slank album are like historiography in the form of music. With the postmodernism paradigm and the Poststructuralist approach a la Foucault, this article will examine the relations of power and music in the existence of Slank. Thus finding that 'criticism' is a form of Slank's continuation with its 'exotic' style representing Indonesia which has a lot of cultural blends that always appear arbitrary as a Slank identity to become an aesthetic existence a la Slank, which is a slice of meeting social issues with music that stretches wide

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Teparić, Srđan. "Analytical Listening and Aesthetic Experience in Music Criticism". Arts 13, nr 1 (14.02.2024): 34. http://dx.doi.org/10.3390/arts13010034.

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In this article, I discuss the methodological and contextual aspects of writing music criticism, drawing cues from applied musicology and autoethnography. The challenge for any music critic is the question of the relationship between objective and subjective approaches. I analyze the relationship between analytical listening and aesthetic experience, using the examples of two music reviews of Ivo Pogorelić’s piano recitals that I wrote. The interpretations of this pianist are suitable for the analysis precisely because he is commonly seen as an unconventional, even controversial pianist, and his interpretations of romantic music are often regarded as examples of anti-academicism and even deconstruction of pianistic canons accumulated during the 20th century. Against that term, I will talk about liberation, which is perhaps a more suitable label for Pogorelić’s modernist approach to performance.

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Swanwick, Keith. "Musical Criticism and Musical Development". British Journal of Music Education 8, nr 2 (lipiec 1991): 139–48. http://dx.doi.org/10.1017/s026505170000824x.

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Musical criticism lies at the heart of music education. It is argued that there are five fundamental dimensions of musical criticism: control of sonorities; expressive characterisation; structural relationships; personal evaluation; historical and technical context. The first four of these – those directly concerned with response to a musical object or event – are the essential modes of criticism and these can be seen unfolding in the musical development of children. Following the publication in 1986 by Swanwick and Tillman of a musical development model, further research in Cyprus gives supportive results; showing strong agreement between judges on the use of critical criteria for assessing children's compositions and articulating the same sequential order of development. A random selection of children's compositions drawn from over 600 items collected in Cyprus is assessed by independent judges. There are correlations between assigned critical criteria and the age of the children. Thus the pattern of musical development can be seen to parallel a critical hierarchy. From these data we can also assume that, although the sequential order of development may be confirmed, the compositions of the UK children in our sample appear generally to be more advanced than those of their Cyprus peers. The quality and consistency of music education provision seems therefore to have a positive role in the development of critical powers. There are implications for music curriculum development, for assessment procedures and for further work on musical development, and on the relationship of composing to performing and of both to audience listening.

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KAWASE, Akihiro, Hajime MURAI i Akifumi TOKOSUMI. "Conceptual Transitions in Papers of Music Criticism:". Joho Chishiki Gakkaishi 19, nr 2 (2009): 138–43. http://dx.doi.org/10.2964/jsik.19-138.

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Kouvaras, Linda. "Operatic snuff? Gender matters in music criticism". Australian Feminist Studies 9, nr 20 (grudzień 1994): 119–29. http://dx.doi.org/10.1080/08164649.1994.9994747.

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Biron, Dean. "Towards a Popular Music Criticism of Replenishment". Popular Music and Society 34, nr 5 (grudzień 2011): 661–82. http://dx.doi.org/10.1080/03007766.2011.557282.

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Ravasio. "Appearance Emotionalism in Music: Analysis and Criticism". Journal of Aesthetic Education 53, nr 3 (2019): 93. http://dx.doi.org/10.5406/jaesteduc.53.3.0093.

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del Val, Fernán. "‘Sing as you talk’: Politics, popular music and rock criticism in Spain (1975–1986)". Journalism 20, nr 9 (4.08.2017): 1203–22. http://dx.doi.org/10.1177/1464884917719586.

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The field of popular music in Spain underwent an important transformation in the years of the country’s political transition from 1975 to 1986, producing a great confluence of two music scenes: the so-called ‘Movida’ scene and the hard-rock scene. This article analyses a variety of music magazines and personal interviews with rock critics to trace how the process of legitimation in rock criticism deepened during those years. From a theoretical standpoint, this article applies ideas from the sociology of art criticism to popular music studies, Motti Regev’s work on the non-Anglophone music press and Shyon Baumann’s work on the legitimation process.

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Hagel, Stefan. "Re-Stringing the Daphnē Harp?" Greek and Roman Musical Studies 10, nr 1 (7.03.2022): 99–113. http://dx.doi.org/10.1163/22129758-bja10041.

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Abstract D. Najock has criticised a tentatively proposed diatonic-chromatic tuning for the triangular frame harp found at Daphnē and suggested a different enharmonic-diatonic stringing. While his criticism may well be justified, it is argued that his alternative proposal is physically problematic and historically implausible. A possible compromise is discussed.

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Atene Mendelyte. "The Still, Sad Music of Humanity in Doom Metal's Romanticizing Machine". Criticism 59, nr 3 (2017): 469. http://dx.doi.org/10.13110/criticism.59.3.0469.

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Duchesneau, Michel. "French Music Criticism and Musicology at the Turn of the Twentieth Century: New Journals, New Networks". Nineteenth-Century Music Review 14, nr 1 (7.02.2017): 9–32. http://dx.doi.org/10.1017/s1479409816000264.

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This article examines the efforts of French musicologists to create a specialized journal at the turn of the twentieth century that would clearly associate music criticism and musicology. Using as case study a set of music journals, from La Revue d’histoire et de critique musicales to the Mercure musical and the Revue S.I.M. that followed, I establish the connections that brought together the nascent musicological milieu, the musical press and the artistic affinities among the principal actors in their attempt to create a new network of music critics guided by musicological exigencies. Jules Combarieu, Romain Rolland, Louis Laloy, Jean Marnold, Émile Vuillermoz and Jules Écorcheville are some of the musicologists engaged in this project between 1900 and 1914. But historical contingencies make this project a relative utopia, and requirements of the young musicology hardly meet that of a music criticism divided between disciplinary tradition and the necessity to support contemporary music. After the war, with the founding of a new Revue musicale, René Prunières, prudently, would not hire musicologists to develop a music criticism. Instead, he took up the characteristically Republican project of promoting musical culture, and thus responding to the interests of both the cultivated bourgeoisie and the musical, literary and artistic milieus through diffusion of music knowledge.

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Schleifer. "Modernism as Gesture: The Experience of Music, Samuel Beckett, and Performed Bewilderment". Criticism 61, nr 1 (2019): 73. http://dx.doi.org/10.13110/criticism.61.1.0073.

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Rosand, Ellen. "Criticism and the Undoing of Opera". 19th-Century Music 14, nr 1 (1990): 75–83. http://dx.doi.org/10.2307/746678.

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Spitzer, Michael, i Scott Burnham. "Convergences: Criticism, Analysis and Beethoven Reception". Music Analysis 16, nr 3 (październik 1997): 369. http://dx.doi.org/10.2307/854404.

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BURGSTALLER, GEORG. "Schenker's Theory of Criticism, circa 1911". Music Analysis 34, nr 2 (lipiec 2015): 200–220. http://dx.doi.org/10.1111/musa.12047.

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Coombes, Timothy F. "The Nursery as Circus: Dancing the Childlike to Fauré's Dolly Suite, 1913". Journal of the Royal Musical Association 142, nr 2 (2017): 277–325. http://dx.doi.org/10.1080/02690403.2017.1361174.

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ABSTRACTIn 1913, at the Théâtre des Arts in Paris, a controversial but highly successful ballet choreographed a circus-style pantomime to the music of Fauré's Dolly Suite. With its apparently incongruent relation of dance to music, the ballet displayed, as one reviewer put it, ‘criticisms in action’. This article investigates how we might conceive the production as an act of musical and cultural criticism, by examining its close relation with contexts such as early comic film, music-hall entertainment, the children's literature market, medical and anthropological theories, and surrealist thought. The ballet implicitly challenged conventional interpretations of Fauré's music as reflecting a particular perception of childhood – one which was rather too close to the sentimental attitudes vehemently dismissed in contemporaneous literature. The production was an important manifestation of an emergent understanding of the ‘childlike’ in early twentieth-century French culture – as a condition enlightened by irrationality, with important physiological traits.

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Pecknold, Diane. "The Politics of Voice in Tween Girls’ Music Criticism". Jeunesse: Young People, Texts, Cultures 9, nr 2 (grudzień 2017): 69–90. http://dx.doi.org/10.3138/jeunesse.9.2.69.

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The tween girl music fan is often constructed as the antithesis of the normative critic; she is imagined to be naive, hysterical, or driven by repressed sexuality. This essay argues that girls employ unique forms of collaborative and embodied criticism, and that their engagement with popular music is one of the primary ways they translate their sensory perception of the world into social and political meaning. Using their aesthetic judgments about the musical voice as one example of this process shows how girls understand the politics of gender through sonic regimes and how music allows them to imagine an intimate public of girlhood

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Ban, Myung-Jin. "Music concept teaching direction of career electives subject 'Music appreciation and criticism'". Journal of Curriculum and Evaluation 23, nr 3 (sierpień 2020): 107–27. http://dx.doi.org/10.29221/jce.2020.23.3.107.

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Lalonde, Amanda. "Flowers over the Abyss: A Musical Uncanny in Nineteenth-Century Criticism". 19th-Century Music 41, nr 2 (2017): 95–120. http://dx.doi.org/10.1525/ncm.2017.41.2.95.

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The term unheimlich (uncanny) comes into usage in German music criticism in the nineteenth century and is often used to describe instrumental music, particularly sections of works featuring the ombra topic. While the idea that instrumental music can be uncanny regardless of text or program is not novel, this work differs from most existing scholarship on the musical uncanny in that it presents a possible precursor to the twentieth-century psychoanalytic uncanny. Instead, it examines Schelling's definition of the uncanny in the larger context of his ideas in order to form a basis for theorizing a version of this aesthetic category that is active in the nineteenth-century critical discourse about music. In the early nineteenth century, music becomes uncanny because it discloses what should remain hidden from finite revelation. Critics understand passages of instrumental ombra music as uncanny moments when music calls attention to itself as the sensuous manifestation of the Absolute. They remark on these passages’ effacing of boundaries and sense of becoming, residues of eighteenth-century uses of the topic in operatic supernatural scenes and as part of a chaos-to-order narrative in symphonic music. The article concludes with the reception of the opening of Beethoven's Ninth Symphony and the finale of Schubert's Octet, D. 803, using critics’ comments as a basis for extrapolating, through new analyses, as to the features that might make the particular works remarkable as examples of music's uncanny power made manifest.

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