Critic Past Critic Present
Identifieur interne : 002369 ( Istex/Corpus ); précédent : 002368; suivant : 002370Critic Past Critic Present
Auteurs : Allan ShieldsSource :
- Music educators journal [ 0027-4321 ] ; 1971-12.
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DOI: 10.2307/3393881
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Shields</surname><given-names>Allan</given-names></name><aff>Formerly Dean of the College of Humanities and Fine Arts, University of Northern Iowa, is now Professor of Philosophy at San Diego State College, California.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>12</month><year>1971</year></pub-date><volume>58</volume><issue>4</issue><fpage>27</fpage><lpage>75</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Critic Past Critic Present Allan Shields The working critic is a term used to distinguish the critic who communicates his opinions in the media from the ordinary critical member of an audience. He is a recently arrived functionary in human culture, dating from around 1850 when Eduard Hanslick wrote in Vienna. In those days the critic performed a number of tasks. He was a publicist and performers “agent”; he was an educator of the musical public, substituting for “appreciation” and history courses; he was a consultant to publishers of music, a musicologist, an historian, and a taste-maker. Often composers, including The author, formerly Dean of the College of Humanities and Fine Arts, University of Northern Iowa, is now Professor of Philosophy at San Diego State College, California, Wagner, Berlioz, and Debussy, doubled in these same roles. For decades, the daily press gave a sizable portion of its space to learned articles offering serious discussions of music. More recently, George Bernard Shaw, one of the most illustrious of modern critics, enjoyed the same space advantage- and a readership that could read- and added the dimension of artful writing. He showed that music criticism could be of literary interest. In the mid-twentieth century, however, there are unmistakable signs that the conditions of music criticism are changing, that there are new roles for the critic to fill. The major limiting factor is space in publications. Ironically, in the age of space, we are less willing to devote ample lines to intellectual matters in the daily press. This restriction places a formidable obstacle in the way of the critic. Still, in our day, the working critic remains a publicist (unfortunately even more of a lackey to vested interests than ever before); a reporter; a cheerleader and a jeer-leader, with or without followers; and as always, a writer. Less and less is he able to amplify his ideas, to argue his judgments, to explicate his meanings. Almost gone are the searching historical analyses, the philosophic debate, the musicologi-cal studies of earlier times. Technical and professional journals have become the sponges soaking up that intellectual life-water. Despite such changes, certain perennial conditions continue to be imposed upon the critic. Outstanding among them are the limitations of his knowledge (we are all selectively ignorant); his direct, personal experience with the music reviewed, especially new music; the space he is allotted for printed articles; the continuity of his own sensitivity (even the critic suffers ennui); and perhaps most important, the sole means he possesses to respond- the verbal means. It is his use of words that distinguishes the working critic from others. Basically, every man is a critic of some sort. It has long impressed me how, during an intermission, people consistently approach me with “I thought the Delius tedious,” or “The Strauss rambled,” or “Isn't Vladimirzubi-nino Horenstokovitnikovovitch the most exciting conductor?” I am also impressed by how rarely they ask, “What did you think of that?” This last question is the basic response to a work or performance, the kind of verbal response to which the critic is limited. There are, of course, ways other than verbalizing by which major criticisms can be leveled. Initially, the composer himself has subjected his work to doubts, delights, and despairs during the labor of creation. Surely his offering of a piece of music for public consumption carries with it the presupposition of approvals and reservations. Secondly, the performer necessarily adds the dimension of interpretation, approving this, altering that. The mere selection of the work for extensive and intensive study is dic- mej/dec 71 27 tated by choice and critical intent. Thirdly, a conductor, who is a kind of performer on his orchestral instrument, is involved in the transaction and constellation of criticism. Frequently, he is in a favorable position to advance or exclude a composer or work. Participation in these critical activities, however, does not necessarily mean that musicians are good public critics. Performers, for instance, may not be able to write. If they are able, perhaps they cannot take the time, or do not want to write, or are too involved to be “objective.” Further, they may lack the technical and historical knowledge, including the aesthetic equipment to write good criticism. Composers and conductors are generally ruled out of the task for similar reasons. Thus, it is left to the audience and its selected members to be critical. We are all more and less than adequate critics; some of us parade our judgments and reasons in print, hoping to help another, and on occasion, seeking assistance in the intricate skills of intelligent listening. There are no “credentials” required of a music critic, any more than there is a college teacher “credential.” This lack of formal standards by which to distinguish critics who offer quality judgments from those who produce sheer volume can be a profound obstacle to the formation of a proper conception of music criticism. Anyone may and will criticize. Among working critics, however, what does it mean to criticize well? Since it appears that there are better and worse, more and less adequate criticisms, 28 mej/dec 71 we need a critical standard for assessing the worth of the critic himself. Shaw once discussed the substantial question of a critic's requirements and found the following to be necessary but not sufficient conditions: Besides general good sense and a knowledge of the world, the critic should have a cultivated taste for music, be a skilled writer, and be practiced in his craft. Any of these qualities may be found separately, but Shaw believed that the combination is indispensable to good work. Although these three selections are important ones, some embellishment and elaboration is needed for clarity. Among the critic's primary qualifications should be an ability to read music at sight and a knowledge of technique. He need not be able to demonstrate skill in using certain techniques, but he should know something about how they are used. Another necessity is a functional knowledge of music history. A critic may not see fit to parade his historical grasp, but it should be apparent in his analyses. He also needs a wide-ranging, life-long, and active experience in listening. Breadth of exposure as well as depth is a basic requirement. Without this ingredient his listening and his verbal response are both bound to be superficial. Additionally, some musicological insights, especially formal ones, are valuable, although not as important as a listening background. An intimate acquaintance with musicians and composers can be helpful. By actually doing these kinds of work in close association with other artists, the critic should be able to write about the art (skills) and music (poetry) from the depths of his internalized experience and with a more profound human grasp. His writing should also be tempered by an objective, analytic attitude and a proper conception of musical values. These traits should lead to restraint in praise, kindness in fault-finding, unhurried judgments, violent attacks when warranted, carping comment, rational argument, and instructive observations. He should have sufficient confidence in his powers of appraisal so that he can make a standard of his judgment against which composer, musician, conductor, and audience may profitably measure their own opinions. The modern critic is trapped. After all his other duties, he is asked to produce objective, professional criticism at an intellectually respectable level. It cannot be done. Beyond these criteria, he should be able to “hear” a Brahms string quartet while descending a mountain; wake in the morning to the internal sound of Strauss Metamorphoses; and watch one hundred ten musicians all at once, while keeping his eyes fixed on the conductor, his ears focused on music being performed, and his mind concentrated on comparisons and contrasts with other interpretations and compositions. Backed by these accumulated skills, a man may venture into a career of music criticism. His right to criticize will not be challenged as long as he makes positive, complimentary statements supported by selected evidence that can be checked objectively. Those who agree with him and feel it is a compliment to a critic when they can say “That's what I thought myself,” will allow him to speak candidly and freely. But as soon as he becomes negative or caustic, fur will fly and his right may be called into question. What is this right that the critic claims by his actions? Is criticism a form of unlicensed, free speech- a right to be seized and exercised? Or is it a privilege granted by those criticized or by those to whom the critic addresses himself? To answer these questions, the meaning of “privilege” and “right” must be understood. A license to drive a car is a paid permit in California. The citizen buys a conditional grant of the privilege to operate a vehicle on the public highways. He has no “right” to drive simply on his own desire and decision if he is too young, too old or infirm, drunk, or prone to repeat accidents. Moreover, he is limited to driving certain clearly defined classes of vehicles. The “right” to drive depends on skills and capacities and continued responsibility. Driving is a privilege. The parallels of driving with musical criticism are imprecise, of course, but the similarities are helpful. Since the conditions under which one may criticize are less controlled than the conditions under which one Continued on page 73 mej/dec ′71 29 Critic Past, Critic Present Continued from page 29 may drive, the right of criticism is more likely to be something seized by a person or something that is granted to him in the form of an invitation from those wishing to know his judgments. A request to someone to speak, however, does not carry with it any obligation to listen to him or to approve or applaud his statements. The critic is criticized, as he should be. It is up to his audience to determine whether he is successful or not. A private criticism in a narrow circle of friends, for example, may be howled down in public. (It is surprising what an effect publicity can have on displays of hyperbole and bravado.) Thus, although initially the critical act may be a right to be taken, it quickly becomes a privilege granted (or withheld) by the critic's audience and the subjects he criticizes, which may include composers, conductors, instrumentalists, singers, and especially fellow critics. Anyone may exercise his critical rights freely, but others are equally free to show he is wrong, inadequate, inept, incapable, myopic, confused, or in other ways not worth taking seriously in his critical capacities. Anyone is free (unconstrained) to criticize if he can be accepted in that role. At the same time, he is free to make egregious errors and fail utterly. The critic who survives in the twentieth century has new roles to play. The limitations of the popular press may bring an end to the standard set by Hanslick in his fifty years of writing for intellectual journals and newspapers in Vienna. His articles were replete with factual, technical detail. They included mu-sicological information, biographical facts, reportorial materials, and judgments backed by corroborative evidence, such as one can only allude to in writing. (By its nature, some criticism cannot be checked by someone who was not in attendance or who has not heard the music.) His major work undertook appraisal, evaluation, comparison, acceptance, and rejection. Hanslick used thousands of words ITHACA s/VoeO COLLEGE SCHOOL OF MUSIC Ithaca, New York 14850 BACHELOR OF MUSIC (Music Education, Composition, Applied Music.) MASTER OF MUSIC (Applied Music) MASTER OF SCIENCE (Music Education) Craig McHenry, Dean Walter Beeler, Assistant Dean BACHELOR OF ARTS (Major in Music) BACHELOR OF FINE ARTS (Major in Music, Minor in Arts.) MASTER OF MUSIC IN MUSIC EDUCATION (New degree-Fall 1972) AUDITIONS FOR GRADUATE AND UNDERGRADUATE ADMISSION: Ithaca, New York November 13, 1971 December 11, 1971 January 29, 1972 February 19, 1972 April 1, 1972 (Graduate only) New York City New York Hilton Hotel November 27, 28, 1971 January 22, 23, 1972 February 26, 27, 1972 Scholarships and Graduate Assistantships available. For information and particulars, write: DIRECTOR OF ADMISSIONS BERLIN MUSIC PROGRAM for American Students Year-Abroad Program, Bachelor of Music, Master of Music all offered. Majors in applied music, theory, composition, music history, and church music. International faculty headed by American composer Dr. Vincent Frohne. Instruction from solo chairs of Berlin Philharmonic, Reger String Quartet, Philharmonic Woodwind Quintet, and lead singers of Deutsche Oper Berlin. Liberal arts courses also available on campus. For information and applications: U. R. 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This activity consumed a huge number of column inches of space, which the papers gave gladly. Shaw, too, was given unlimited space and complete freedom of responsible expression. An alert, intellectual readership made both men's work valuable. They were read and reacted to by the audience. In the mid-twentieth century, the conditions of criticism have changed and are still changing. Small papers cannot afford a critic, if they can find one. Nor will they print reviews or criticism from other sources. Most of these papers cannot provide an audience for the critic commensurate with the level of the work he undertakes in the spirit of a Hanslick or Shaw. Though a few large papers still support music editors and critics, even their roles are changing. New York critics, such as Winthrop Sar-geant and Irving Kolodin, or Washington, D.C., critic Paul Hume, may attend two to four events in an evening and write one column a week in which they present a wide variety of topics, some of which are only remotely connected with the music itself. Sargeant, for instance, may, during a typical column, write about two events. The article may contain a substantial amount of fact, one part judgment, two parts taste, very little reason or evidence, some peppery opinion, and some overtones of politics. Hanslick would blush. The variety of topics that may concern the modern critic-excluding the appraisal and analyses of music itself-is almost unlimited. Typical columns may discuss concert etiquette; the physical conditions of concert halls; scenes, sets, and costumes of operas; the advantages and disadvantages of records compared to live concerts; school music programs; the cost factors of music; conducting techniques and styles; personalities of composers; commissions; and philosophical concepts such as the value of music, the characteristics of the creative artist, the transmission of artistic values, and the analysis of taste and judgment. Mass audiences do not want or need intellectual music criticism. Even elite readers are accustomed to surface writing in the papers. 74 mej/dec ′71 They want ideas to be briefly presented in uncomplicated prose with paragraphs rarely extending beyond the semi-reportorial level. The artists themselves do a considerable disservice to serious criticism by denigrating adverse comments as the mouthings of the uninformed. At the same time, however, they beam delightedly at favorable notices on the grounds that they are good “publicity.” As a result of these factors, the job of the music writer today has come to encompass the following responsibilities: First, he is expected to be a publicist. He must write copy to advertise coming events, which he must sometimes reduce to a social column listing. He must advertise culture with an endless stream of notices, announcements, and feature articles. Of course, these are not printed as advertising; they are included as “news.” Releases are often written by the performers agents and printed as received. Second, the critic must be in personal and constant touch with artists, public relations men, performers, producers, and other news media personnel in order to get his information. He becomes closely involved with these people, and they become his friends-or enemies. Finally, he may be called on to criticize, appraise, and judge. When he does so, about one half of a brief article is taken up with necessary facts, and his judgments are given only enough space to be stated without any supporting details. If other copy crowds his column, as it invariably does, the final paragraphs are cut. Thus, the modern critic is trapped. He is thought to be a reporter who should serve also as a publicist, a public relations man, and a personal acquaintance of artists. After all these duties, he is asked to produce objective, professional criticism at an intellectually respectable level. It cannot be done. The critical, analytical work is enough-it was all that Hanslick undertook. It was a full-time profession-reading, playing, writing, rewriting, talking, listening, watching -and it still is. Modern musical commentary, the more it involves noncritical work, threatens to kill serious criticism in the daily press. A new type of writer is replacing the traditional critic. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Critic Past Critic Present</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Critic Past Critic Present</title></titleInfo><name type="personal"><namePart type="given">Allan</namePart><namePart type="family">Shields</namePart><affiliation>Formerly Dean of the College of Humanities and Fine Arts, University of Northern Iowa, is now Professor of Philosophy at San Diego State College, California.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1971-12</dateIssued><copyrightDate encoding="w3cdtf">1971</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1971</date><detail type="volume"><caption>vol.</caption><number>58</number></detail><detail type="issue"><caption>no.</caption><number>4</number></detail><extent unit="pages"><start>27</start><end>75</end></extent></part></relatedItem><identifier type="istex">3A7D248CBEB714F18FCBA880DA89CC79C1EC9DEA</identifier><identifier type="ark">ark:/67375/M70-DR8H5CJC-J</identifier><identifier type="DOI">10.2307/3393881</identifier><identifier type="ArticleID">10.2307_3393881</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/3A7D248CBEB714F18FCBA880DA89CC79C1EC9DEA/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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