The Cambridge History of Music Criticism
Cambridge University Press, 8/29/2019
EAN 9781107037892, ISBN10: 1107037891
Hardcover, 842 pages, 23.5 x 16 x 4.2 cm
Language: English
Music criticism has played a fundamental and influential role throughout music history, with numerous composers such as Berlioz, Schumann, and Wagner, as well as many contemporary musicians, also maintaining careers as writers and critics. The Cambridge History of Music Criticism goes beyond these better-known accounts, reaching back to medieval times, expanding the geographical reach both within and beyond Europe, and including key issues such as women and criticism of recordings, as well as the story of criticism in jazz, popular music and world music. Drawing on a blend of established and talented young scholars, this is the first substantial historical survey of music criticism and critics, bringing unprecedented scope to a rapidly expanding area of musicological research. An indispensable point of reference, The Cambridge History of Music Criticism provides a broad historical overview of the field while also addressing specific issues and events.
Part I. The Early History of Music Criticism
1. Speaking of plainsong in the Middle Ages Christopher Page
2. Music criticism in the Late-Medieval and Renaissance era Stefano Mengozzi
3. Musical discourse in Italy 1500–1800 Carrie Churnside
4. Music criticism in France before the Revolution Charles Dill
5. Music criticism in Britain up to Burney Rebecca Herissone
6. German Music criticism before 1800 Stephen Rose
Part II. The Rise of the Press
7. French music criticism in the nineteenth century, 1789–1870 Mark A. Pottinger
8. Gatekeeping, advocacy, reflection
overlapping voices in nineteenth-century British music criticism Leanne Langley
9. Constructing a musical nation
German-language criticism in the nineteenth century Laura Tunbridge
10. Music criticism in nineteenth-century Italy Alexandra Wilson
11. Music criticism in Imperial Russia Emily Frey
Part III. Critical Influence and Influences
12. Critiquing the canon
the role of criticism in canon formation Laura Hamer
13. Comparing notes
recording and criticism Christopher Dingle
14. The gender paradox
criticism of women and women as critics Laura Hamer
Part IV. Entering the Twentieth Century
15. Music criticism in the United States and Canada up to the Second World War Mark McKnight
16. Music criticism in Portugal
towards an overview Paulo F. de Castro
17. Spanish music criticism in the twentieth century
writing music history in real time Eva Moreda RodrÃÂguez
18. Critical battlegrounds in the French Third Republic Delphine Mordey
19. British music criticism, 1890–1945 Paul Watt
20. Music criticism in Norway Per Dahl
21. Aesthetic conservatism and politics in German music criticism, 1900–1945 Karen Painter
22. Music criticism in Hungary until WWII Lynn M. Hooker
23. The 'people' in Czech and Slovak music criticism Kelly St Pierre
Part V. New Areas
24. Jazz criticism in America Mark Racz
25. Catalysing Latin American identities
Alejo Carpentier's music criticism as a Cuban case study Caroline Rae
26. Writing about popular music Simon Frith
27. Working in the cool capitalism complex
the role of critics in the world music field Timothy D. Taylor
28. Cultural anxieties, aspirational cosmopolitanism and capacity building
music criticism in Singapore Shzr Ee Tan
Part VI. Developments since the Second World War
29. Music criticism in the USSR from Asafyev to Cherednichenko Peter J. Schmelz
30. The Feuilleton and beyond
criticism in the Federal Republic of Germany and Austria after the Second World War Mark Berry
31. Music criticism in Italy in the twentieth century Raffaele Pozzi
32. Wider still and wider
British music criticism since the Second World War Christopher Dingle
33. Music criticism in France since the Second World War Christopher Brent Murray
34. Old divisions and new debates
music criticism in post-war America Sophie Redfern
35. Stop the press? The changing media of criticism Christopher Dingle and Dominic McHugh.