Music journalism

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Music journalists (from left to right) Robert Christgau and Ann Powers and musicology professor Charles Kronengold at the 2007 Pop Conference at Seattle's Experience Music Project Christgau et al 01A.jpg
Music journalists (from left to right) Robert Christgau and Ann Powers and musicology professor Charles Kronengold at the 2007 Pop Conference at Seattle's Experience Music Project

Music journalism (or "music criticism") is media criticism and reporting about music topics, including popular music, classical music and traditional music. Journalists began writing about music in the eighteenth century, providing commentary on what is now regarded as classical music. In the 1960s, music journalism began more prominently covering popular music like rock and pop after the breakthrough of The Beatles. With the rise of the internet in the 2000s, music criticism developed an increasingly large online presence with music bloggers, aspiring music critics, and established critics supplementing print media online. Music journalism today includes reviews of songs, albums and live concerts, profiles of recording artists, and reporting of artist news and music events.

Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training. It stands in contrast to both art music and traditional or "folk" music. Art music was historically disseminated through the performances of written music, although since the beginning of the recording industry, it is also disseminated through recordings. Traditional music forms such as early blues songs or hymns were passed along orally, or to smaller, local audiences.

Classical music broad tradition of Western art music

Classical music is art music produced or rooted in the traditions of Western culture, including both liturgical (religious) and secular music. While a more precise term is also used to refer to the period from 1750 to 1820, this article is about the broad span of time from before the 6th century AD to the present day, which includes the Classical period and various other periods. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period.

Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, and developed into a range of different styles in the 1960s and later, particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew heavily on the genres of blues, rhythm and blues, and from country music. Rock music also drew strongly on a number of other genres such as electric blues and folk, and incorporated influences from jazz, classical and other musical styles. Musically, rock has centered on the electric guitar, usually as part of a rock group with electric bass, drums, and one or more singers. Usually, rock is song-based music usually with a 4/4 time signature using a verse–chorus form, but the genre has become extremely diverse. Like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political.


Origins in classical music criticism

Hector Berlioz, active as a music journalist in Paris in the 1830s and 1840s 151 Franck Hector Berlioz.JPG
Hector Berlioz, active as a music journalist in Paris in the 1830s and 1840s

Music journalism has its roots in classical music criticism, which has traditionally comprised the study, discussion, evaluation, and interpretation of music that has been composed and notated in a score and the evaluation of the performance of classical songs and pieces, such as symphonies and concertos .

Music criticism

The Oxford Companion to Music defines music criticism as 'the intellectual activity of formulating judgements on the value and degree of excellence of individual works of music, or whole groups or genres'. In this sense, it is a branch of musical aesthetics. With the concurrent expansion of interest in music and information media over the past century, the term has come to acquire the conventional meaning of journalistic reporting on musical performances.

Sheet music is a handwritten or printed form of music notation that uses modern musical symbols to indicate the pitches (melodies), rhythms or chords of a song or instrumental musical piece. Like its analogs – printed books or pamphlets in English, Arabic or other languages – the medium of sheet music typically is paper, although the access to musical notation since the 1980s has included the presentation of musical notation on computer screens and the development of scorewriter computer programs that can notate a song or piece electronically, and, in some cases, "play back" the notated music using a synthesizer or virtual instruments.

Symphony extended musical composition

A symphony is an extended musical composition in Western classical music, most often written by composers for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section, brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts.

Before about the 1840s, reporting on music was either done by musical journals, such as the Allgemeine musikalische Zeitung (founded by Johann Friedrich Rochlitz in 1798) and the Neue Zeitschrift für Musik (founded by Robert Schumann in 1834), and in London journals such as The Musical Times (founded in 1844 as The Musical Times and Singing-class Circular); or else by reporters at general newspapers where music did not form part of the central objectives of the publication. An influential English 19th-century music critic, for example, was James William Davison of The Times. The composer Hector Berlioz also wrote reviews and criticisms for the Paris press of the 1830s and 1840s. [1]

<i>Allgemeine musikalische Zeitung</i> periodical literature

The Allgemeine musikalische Zeitung was a German-language periodical published in the 19th century. Comini (2008) has called it "the foremost German-language musical periodical of its time". It reviewed musical events taking place in many countries, focusing on the German-speaking nations, but also covering France, Italy, Russia, Britain, and even occasionally America.

Johann Friedrich Rochlitz German writer and historian

Johann Friedrich Rochlitz was a German playwright, musicologist and art and music critic. His most notable work is his autobiographical account Tage der Gefahr about the Battle of Leipzig in 1813 — in Kunst und Altertum, Goethe called it "one of the most wondrous productions ever to have been written". A Friedrich-Rochlitz-Preis for art criticism is named after him — it is awarded by the Leipzig Gesellschaft für Kunst und Kritik and was presented for the fourth time in 2009.

<i>Neue Zeitschrift für Musik</i> magazine

Die Neue Zeitschrift für Musik(pronounced [ˈnɔʏ̯ə ˈt͡saɪ̯tʃʁɪft fyːʁ muˈziːk]; English: New Journal of Music) is a music magazine, co-founded in Leipzig by Robert Schumann, his teacher and future father-in law Friedrich Wieck, and his close friend Ludwig Schuncke. Its first issue appeared on 3 April 1834.

Modern art music journalism is often informed by music theory consideration of the many diverse elements of a musical piece or performance, including (as regards a musical composition) its form and style, and for performance, standards of technique and expression. These standards were expressed, for example, in journals such as Neue Zeitschrift für Musik founded by Robert Schumann, and are continued today in the columns of serious newspapers and journals such as The Musical Times . [1]

Art music serious music, as opposed to popular or folk music

Art music is music that implies advanced structural and theoretical considerations or a written musical tradition. The terms "serious" or "cultivated" are frequently used in relation to music in order to present a contrast with ordinary, everyday music. At the beginning of the 20th century art music was divided into "serious music" and "light music".

Music theory considers the practices and possibilities of music

Music theory is the study of the practices and possibilities of music. The Oxford Companion to Music describes three interrelated uses of the term "music theory":

The first is what is otherwise called 'rudiments', currently taught as the elements of notation, of key signatures, of time signatures, of rhythmic notation, and so on. [...] The second is the study of writings about music from ancient times onwards. [...] The third is an area of current musicological study that seeks to define processes and general principles in music — a sphere of research that can be distinguished from analysis in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built.

Musical composition aesthetic ordering and disposing of musical information

Musical composition, or simply composition, can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece, or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other instrumental musicians or singers. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration is typically done by the composer, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop or traditional songwriter may not use written notation at all, and instead compose the song in their mind and then play, sing and/or record it from memory. In jazz and popular music, notable sound recordings by influential performers are given the weight that written or printed scores play in classical music.

Several factorsincluding growth of education, the influence of the Romantic movement generally and in music, popularization (including the 'star-status' of many performers such as Liszt and Paganini), among othersled to an increasing interest in music among non-specialist journals, and an increase in the number of critics by profession of varying degrees of competence and integrity. The 1840s could be considered a turning point, in that music critics after the 1840s generally were not also practicing musicians. [1] However, counterexamples include Alfred Brendel, Charles Rosen, Paul Hindemith, and Ernst Krenek; all of whom were modern practitioners of the classical music tradition who also write (or wrote) on music.

Romanticism period of artistic, literary, and intellectual movement that started in 18th century Europe

Romanticism was an artistic, literary, musical and intellectual movement that originated in Europe toward the end of the 18th century, and in most areas was at its peak in the approximate period from 1800 to 1850. Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was partly a reaction to the Industrial Revolution, the aristocratic social and political norms of the Age of Enlightenment, and the scientific rationalization of nature—all components of modernity. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education, the social sciences, and the natural sciences. It had a significant and complex effect on politics, with romantic thinkers influencing liberalism, radicalism, conservatism and nationalism.

Franz Liszt Hungarian composer and pianist

Franz Liszt was a Hungarian composer, virtuoso pianist, conductor, music teacher, arranger and organist of the Romantic era. He was also a writer, a philanthropist, a Hungarian nationalist and a Franciscan tertiary.

Niccolò Paganini Italian violinist, violist, guitarist, composer

NiccolòPaganini was an Italian violinist, violist, guitarist, and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions, and have served as an inspiration for many prominent composers.


In the early 1980s, a decline in the quantity of classical criticism began occurring "when classical-music criticism visibly started to disappear" from the media. At that time, magazines such as Time and Vanity Fair employed classical music critics, but by the early 1990s, classical critics were dropped in many magazines, in part due to "a decline of interest in classical music, especially among younger people". [2]

Also of concern in classical music journalism was how American reviewers can write about ethnic and folk music from cultures other than their own, such as Indian ragas and traditional Japanese works. [3] :viii,173 In 1990, the World Music Institute interviewed four New York Times music critics who came up with the following criteria on how to approach ethnic music:

  1. A review should relate the music to other kinds of music that readers know, to help them understand better what the program was about.
  2. "The performers [should] be treated as human beings and their music [should] be treated as human activity rather than a mystical or mysterious phenomenon."
  3. The review should show an understanding of the music's cultural backgrounds and intentions. [3] :173–74

A key finding in a 2005 study of arts journalism in America was that the profile of the "average classical music critic is a white, 52-year old male, with a graduate degree". [4] :10 Demographics indicated that the group was 74% male, 92% white, and 64% had earned a graduate degree. [4] :15 One critic of the study pointed out that because all newspapers were included, including low-circulation regional papers, the female representation of 26% misrepresented the actual scarcity, in that the "large US papers, which are the ones that influence public opinion, have virtually no women classical music critics", with the notable exceptions of Anne Midgette in the New York Times and Wynne Delacoma in the Chicago Sun-Times. [5]

In 2007, The New York Times wrote that classical music criticism, which it characterized as "a high-minded endeavor that has been around at least as long as newspapers", had undergone "a series of hits in recent months" with the elimination, downgrading, or redefinition of critics' jobs at newspapers in Atlanta, Minneapolis, and elsewhere, citing New York magazine's Peter G. Davis, "one of the most respected voices of the craft, [who] said he had been forced out after 26 years". [6] Viewing "robust analysis, commentary and reportage as vital to the health of the art form", The New York Times stated in 2007 that it continued to maintain "a staff of three full-time classical music critics and three freelancers", noting also that classical music criticism had become increasingly available on blogs, and that a number of other major newspapers "still have full-time classical music critics", including (in 2007) the Los Angeles Times , The Washington Post , The Baltimore Sun , The Philadelphia Inquirer , and The Boston Globe . [6]

20th century rock criticism

Music writers only started "treating pop and rock music seriously" in 1964 "after the breakthrough of the Beatles". [7] :45[ attribution needed ] In their book Rock Criticism from the Beginning, Ulf Lindberg and his co-writers say that rock criticism appears to have been "slower to develop in the U.S. than in England". [8] One of the early British music magazines, Melody Maker , complained in 1967 about how "newspapers and magazines are continually hammering [i.e., attacking] pop music". [7] :116 From 1964, Melody Maker led its rival publications in terms of approaching music and musicians as a subject for serious study rather than merely entertainment. Staff reporters such as Chris Welch and Ray Coleman applied a perspective previously reserved for jazz artists to the rise of American-influenced local rock and pop groups, anticipating the advent of rock critics. [9] Among Britain's broadsheet newspapers, pop music gained exposure in the arts section of The Times when William Mann, the paper's classical music critic, wrote an appreciation of the Beatles in December 1963. [10] [11] In early 1965, The Observer , the country's highbrow Sunday newspaper, signalled a reversal of the establishment's cultural snobbery towards pop music by appointing George Melly as its "critic of pop culture". [12] Following Tony Palmer's arrival at The Observer, [13] the first daily newspaper to employ a dedicated rock critic was The Guardian , with the appointment of Geoffrey Cannon in 1968. [14]

Melody Maker's writers advocated the new forms of pop music of the late 1960s. "By 1999, the 'quality' press was regularly carrying reviews of popular music gigs and albums", which had a "key role in keeping pop" in the public eye. As more pop music critics began writing, this had the effect of "legitimating pop as an art form"; as a result, "newspaper coverage shifted towards pop as music rather than pop as social phenomenon". [7] :129[ attribution needed ]

In the world of pop music criticism, there has tended to be a quick turnover. The "pop music industry" expects that any particular rock critic will likely disappear from popular view within five years; in contrast, according to author Mark Fenster, the "stars" of rock criticism are more likely to have long careers with "book contracts, featured columns, and editorial and staff positions at magazines and newspapers". [15]

Richard Goldstein (pictured at the 2015 EMP Pop Conference) was the first American music critic to focus on rock music. Richard Goldstein - Pop Conference 2015 - 02 (17182432526).jpg
Richard Goldstein (pictured at the 2015 EMP Pop Conference) was the first American music critic to focus on rock music.

Author Bernard Gendron writes that in the United States "the emergence of a 'serious' rock press and the rock critic" began in 1966, presaged by Robert Shelton, the folk music critic for The New York Times , writing articles praising the Beatles and Bob Dylan, the last of whom had just embraced rock 'n' roll by performing with electric backing at the 1965 Newport Folk Festival. [16] Paul Williams, an eighteen-year-old student, launched the pop journal Crawdaddy! in February 1966; in June, Richard Goldstein, a recent graduate and New Journalism writer, debuted his "Pop Eye" column in The Village Voice , which Gendron describes as "the first regular column on rock 'n' roll ... to appear in an established cultural publication". [17] Rock journalist Clinton Heylin, in his role as editor of The Penguin Book of Rock & Roll Writing, cites "the true genesis of rock criticism" to the emergence of Crawdaddy! [18] Lindberg et al. say that, while Williams is widely considered to be the first American rock critic, he "nevertheless looked to England for material". [19]

According to Gendron, Goldstein's most significant early pieces were a "manifesto" on rock 'n' roll and "pop aestheticism", and a laudatory assessment of the Beatles' Revolver album. Published in late August, the latter article provided "the first substantial rock review devoted to one album to appear in any nonrock magazine with accreditory power". [20] Whereas Williams could be sure of a sympathetic readership, given the nature of his publication, Goldstein's task was to win over a more highbrow readership to the artistic merits of contemporary pop music. [20] At this time, both Goldstein and Williams gained considerable renown in the cultural mainstream [21] and were the subject of profile articles in Newsweek . [22]

The emergence of rock journalism coincided with an attempt to position rock music, particularly the Beatles' work, in the American cultural landscape. [23] [24] The critical discourse was further heightened by the respectful coverage afforded the genre in mainstream publications such as Newsweek, Time and Life in the months leading up to and following the release of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album in June 1967. [25] [26] Within this discourse, Richard Meltzer, in an essay for Crawdaddy! in March, challenged the highbrow aesthetic of rock proposed by Goldstein. The latter's mixed review of Sgt. Pepper in The New York Times was similarly the subject of journalistic debate, and invited reprisals from musicologists, composers and cultural commentators. [24]

Among other young American writers who became pop columnists following Goldstein's appointment were Robert Christgau (at Esquire , from June 1967), Ellen Willis ( The New Yorker , March 1968) and Ellen Sander ( Saturday Review , October 1968). [21] Christgau was the "originator of the 'consumer guide' approach to pop music reviews", an approach that was designed to help readers decide whether to buy a new album. [7] :4[ attribution needed ]

According to popular music academic Roy Shuker in 1994, music reference books such as The Rolling Stone Record Guide and Christgau's Record Guide played a role in the rise of rock critics as tastemakers in the music industry, "constructing their own version of the traditional high/low culture split, usually around notions of artistic integrity, authenticity, and the nature of commercialism". These review collections, Shuker continues, "became bibles in the field, establishing orthodoxies as to the relative value of various styles or genres and pantheons of artists. Record collectors and enthusiasts, and specialisation and secondhand record shops, inevitably have well-thumbed copies of these and similar volumes close at hand." [27]

In the realm of rock music, as in that of classical music, [28] critics have not always been respected by their subjects. Frank Zappa declared that "Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read." In the Guns N' Roses song "Get in the Ring", Axl Rose verbally attacked critics who gave the band negative reviews because of their actions on stage; such critics as Andy Secher, Mick Wall and Bob Guccione Jr. were mentioned by name.


In the 2000s, online music bloggers began to supplement, and to some degree displace, music journalists in print media. [29] In 2006, Martin Edlund of the New York Sun criticized the trend, arguing that while the "Internet has democratized music criticism, it seems it's also spread its penchant for uncritical hype". [29]

Carl Wilson described "an upsurge in pro-pop sentiment among critics" during the early 2000s, writing that a "new generation [of music critics] moved into positions of critical influence" and then "mounted a wholesale critique against the syndrome of measuring all popular music by the norms of rock culture". [30]

Slate magazine writer Jody Rosen discussed the 2000s-era trends in pop music criticism in his article "The Perils of Poptimism". Rosen noted that much of the debate is centered on a perception that rock critics regard rock as "normative ... the standard state of popular music ... to which everything else is compared". [31] At a 2006 pop critic conference, attendees discussed their "guilty pop pleasures, reconsidering musicians (Tiny Tim, Dan Fogelberg, Phil Collins) and genres (blue-eyed soul, Muzak)" which rock critics have long dismissed as lightweight, commercial music. Rosen stated that "this new critical paradigm" is called "popism" – or, more evocatively (and goofily), "poptimism". The poptimism approach states: "Pop (and, especially, hip-hop) producers are as important as rock auteurs, Beyoncé is as worthy of serious consideration as Bruce Springsteen, and ascribing shame to pop pleasure is itself a shameful act." [31]

American pop music critic Ann Powers Ann Powers 01A.jpg
American pop music critic Ann Powers

In 2008, Ann Powers of the Los Angeles Times argued that pop music critics "have always been contrarians", because "pop music [criticism] rose up as a challenge to taste hierarchies, and has remained a pugilistic, exhibitionist business throughout pop's own evolution". [32] Powers claimed that "[i]nsults, rejections of others' authority, bratty assertions of superior knowledge and even threats of physical violence are the stuff of which pop criticism is made", while at the same time, the "best [pop criticism] also offers loving appreciation and profound insights about how music creates and collides with our everyday realities". [32] She stated that pop criticism developed as a "slap at the establishment, at publications such as the hippie homestead Rolling Stone and the rawker outpost Creem ", adding that the "1980s generation" of post-punk indie rockers had in the mid-2000s "been taken down by younger 'poptimists,' who argue that lovers of underground rock are elitists for not embracing the more multicultural mainstream". [32] Powers likened the poptimist critics' debates about bands and styles to a "scrum in rugby", in that "[e]verybody pushes against everybody else, and we move forward in a huge blob of vehement opinion and mutual judgment". [32]


Music critic and indie pop musician Scott Miller, in his 2010 book Music: What Happened? , suggested, "Part of the problem is that a lot of vital pop music is made by 22-year-olds who enjoy shock value, and it's pathetic when their elders are cornered into unalloyed reverence". Miller suggested that critics could navigate this problem by being prepared "to give young artists credit for terrific music without being intimidated into a frame of mind where dark subject matter always gets a passing grade", stating that a critic should be able to call a young artist "a musical genius" while "in the same breath declaring that his or her lyrics are morally objectionable." [33] :14 Reacting to the state of pop music criticism, Miller identified a major issue as critics' failure to "credit an artist with getting a feeling across", specifically pointing out critic Lester Bangs as "a ball of emotion at all times", who nonetheless "never really related to his favorite artists as people who develop a skill of conveying feelings. You don't feel that he comfortably acknowledged being moved as a result of their honest work. Artists in his writing were vaguely ridiculous, fascinating primitives, embodying an archetype by accident of nature." [33]

Jezebel 's Tracy Moore, in 2014, suggested that one of the virtues of writing about how music made one feel, in contrast with linking it to the sounds of other artists, was to avoid excluding readers who may not have musical knowledge as broad as that of the writer. [34] In contrast, Miller believed that analytical readers would appreciate "more music talk in music criticism", suggesting that "sensitively modest doses" of musical analysis would provide helpful support for a conclusion "that great melody writing occurred or it didn't". For example, Miller noted that critics rarely "identify catchy melodies as specific passages within a song", in the way that working musicians might discuss "the A-minor in the second measure of the chorus".

Stevie Chick, a writer who teaches music journalism at City University London, said, "I think more than any other journalism, music journalism has got a really powerful creative writing quotient to it." [35]

Tris McCall of the Newark Star-Ledger discussed his approach to music criticism in a 2010 interview, stating, "Most of us [critics] begin writing about music because we love it so much. We can't wait to tell our friends and neighbors about what we're hearing." [36] According to McCall, even over the course of a long professional career, the enthusiastic impulse to share "never fades". [36] McCall expressed his interest in "examining why people respond to what they respond to. I hazard guesses. Sometimes I'm wrong, but I hope I'm always provocative." [36]

According to Vice magazine's Larry Fiztmaurice in 2016, Twitter is "perhaps the last public space for unfettered music criticism in an increasingly anti-critical landscape". [37]

Gender and race theory

Applying critical theory (e.g., critical gender studies and critical race theory) to music journalism, some academic writers suggest that mutual disrespect between critics and artists is one of many negative effects of rockism. In 2004, critic Kelefa Sanneh defined "rockism" as "idolizing the authentic old legend (or underground hero) while mocking the latest pop star". [38] :57 Music journalism "infected" with rockism has become, according to Yale professor Daphne Brooks, [39] a challenge "for those of us concerned with historical memory and popular music performance". [38] :57–58

Simon Frith said that pop and rock music "are closely associated with gender; that is, with conventions of male and female behaviour". [40] According to Holly Kruse, both popular music articles and academic articles about pop music are usually written from "masculine subject positions". [7] :134 Kembrew McLeod analyzed terms used by critics to differentiate between pop music and rock, finding a gendered dichotomy in descriptions of "'serious,' 'raw,' and 'sincere' rock music as distinguished from 'trivial', 'fluffy,' and 'formulaic' pop music". [41] McLeod found that a likely cause of this dichotomy was the lack of women writing in music journalism: "By 1999, the number of female editors or senior writers at Rolling Stone hovered around a whopping 15%, [while] at Spin and Raygun , [it was] roughly 20%." [42] Criticism associated with gender was graphically discussed in a 2014 Jezebel article about the struggles of women in music journalism, written by music critic Tracy Moore, previously an editor at the Nashville Scene . [34] Moore described how another female music blogger, an "admitted outsider" who threatened no stereotypes, was greeted with enthusiasm by men, in contrast with Moore's own experiences as a self-described "insider" who was nevertheless expected to "prove" or "earn" her way into a male-dominated journalism scene. [34]

According to Anwen Crawford, music critic for Australia's The Monthly , the "problem for women [popular music critics] is that our role in popular music was codified long ago"; as a result, "most famous rock-music critics – Robert Christgau, Greil Marcus, Lester Bangs, Nick Kent – are all male". [43] Crawford points to "[t]he record store, the guitar shop, and now social media: when it comes to popular music, these places become stages for the display of male prowess", and adds, "Female expertise, when it appears, is repeatedly dismissed as fraudulent. Every woman who has ever ventured an opinion on popular music could give you some variation [of this experience] ...and becoming a recognized 'expert' (a musician, a critic) will not save [women] from accusations of fakery." [43]

Daphne Brooks, in her 2008 article "The Write to Rock: Racial Mythologies, Feminist Theory, and the Pleasures of Rock Music Criticism", wrote that in order to restructure music criticism, one must "focus on multiple counternarratives" to break away from racial and gender biases as embodied in "contemporary cultural fetishizations of white male performative virtuosity and latent black male innovations". [38] :55 Brooks focused on "the ways that rock music criticism has shaped and continues to shape our understandings of racialized music encounters, and what are the alternative stories that we might tell". [38] :55–56 Brooks pointed to Christgau's statement that, after the Beatles' arrival in America, "rock criticism embraced a dream or metaphor of perpetual revolution. Worthwhile bands were supposed to change people's lives, preferably for the better. If they failed to do so, that meant they didn't matter." [44] Unsurprisingly, according to Brooks, "the history of women who've been sustaining a tradition of writing about rock since the 60's" has been "largely hidden in American culture". [45]

Brooks theorized that perceptions of female artists of color might be different if there were more women of color writing about them, and praised Ellen Willis as a significant feminist critic of rock's classic era. [38] :58–59 Willis, who was a columnist for the New Yorker from 1968 to 1975, believed society could be enlightened by the "ecstatic experience" of visions expressed through music's rhythm and noise and that such joy would lead people to different ways of sharing. [46] Brooks wrote that "the confluence of cultural studies, rock studies, and third wave feminist critical studies makes it possible now more than ever to continue to critique and reinterrogate the form and content of popular music histories". [38] :58 In Brooks' view, "By bravely breaking open dense equations of gender, class, power, and subcultural music scenes", music journalists, activists and critics such as Ellen Willis have been "able to brilliantly, like no one before [them], challenge the intellectual and political activism and agency" of the entire music industry. [38] :58

See also

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Ellen Jane Willis was an American left-wing political essayist, journalist, activist, feminist, and pop music critic. She received the National Book Critics Circle Award (Criticism).

Baroque pop music genre

Baroque pop is a fusion genre that combines rock music with particular elements of classical music. It emerged in the mid 1960s as artists pursued a majestic, orchestral sound and is identifiable for its appropriation of Baroque compositional styles and dramatic or melancholic gestures. Harpsichords figure prominently, while oboes, French horns, and string quartets are also common.

<i>Trouser Press</i> American music magazine

Trouser Press was a rock and roll magazine started in New York in 1974 as a mimeographed fanzine by editor/publisher Ira Robbins, fellow Who fan Dave Schulps and Karen Rose under the name "Trans-Oceanic Trouser Press". Publication of the magazine ceased in 1984; the unexpired portion of mail subscriptions was completed by Rolling Stone sister publication Record, which itself folded in 1985. Trouser Press has continued to exist in various formats.

A jukebox musical is a musical film or stage presentation featuring the songs of popular music acts. The term is used to describe films starring famous popular music acts showcasing their own recorded songs, not necessarily as part of a traditional musical score, though they are sometimes augmented with scored background music. Use of the term has also grown to encompass musical films and theatrical presentations that celebrate past or present music acts or personalities, usually played by professional actors singing new renditions of the real artists' previously-recorded songs and other material, done in a manner more akin to a typical Broadway musical, where songs are incorporated into a formal musical score and accompanied by choreography. The songs in jukebox musicals are often contextualized into a dramatic plot, and particularly in the case of the later kind, a biographical story about the featured performer(s). In some instances plots do not revolve around the musical act(s) making appearances.

Allan Kozinn is an American journalist, music critic, and teacher.

Women in journalism

Women in journalism are individuals who participate in journalism. As journalism became a profession, women were restricted by custom from access to journalism occupations, and faced significant discrimination within the profession. Nevertheless, women operated as editors, reporters, sports analysts and journalists even before the 1890s.

Richard Goldstein (writer born 1944) American journalist and writer

Richard Goldstein is an American journalist and writer. He wrote for The Village Voice from June 1966 until 2004, eventually becoming executive editor. He specializes in gay and lesbian issues, music, and counterculture topics.

Robert Hilburn is an American pop music critic, author, and radio host. As critic and music editor at the Los Angeles Times from 1970 to 2005, his reviews, essays and profiles appeared in publications around the world. Hilburn has since written a memoir and best-seilling biographies of Johnny Cash and Paul Simon. He was a member of the nominating committee of the Rock and Roll Hall of Fame for more than 20 years and lives in Los Angeles.

Art pop is a loosely defined style of pop music influenced by pop art's integration of high and low culture, and which emphasizes the manipulation of signs, style, and gesture over personal expression. Art pop artists may be inspired by postmodern approaches or art theories as well as other forms of art, such as fashion, fine art, cinema, and avant-garde literature. They may deviate from traditional pop audiences and rock music conventions, instead exploring ideas such as pop's status as commercial art, notions of artifice and the self, and questions of historical authenticity.

Tim Riley reviews pop and classical music for NPR, and has written for The New York Times, truthdig, the Huffington Post, the Washington Post, and He was trained as a classical pianist at Oberlin College and Eastman School of Music.

Women in music Women in music in different genres, eras, and all over the world.

Women in music describes the role of women as composers, songwriters, instrumental performers, singers, conductors, music scholars, music educators, music critics/music journalists and other musical professions. As well, it describes music movements, events and genres related to women, women's issues and feminism. In the 2010s, while women constitute a significant proportion of popular music and classical music singers, and a significant proportion of songwriters, there are few women record producers, rock critics and rock instrumentalists. Notable women artists in pop, such as Bjork and Lady Gaga have commented about sexism and gender discrimination in the music industry. Additionally, a recent study led by Dr. Smith announced that "...over the last six years, the representation of women in the music industry has been even lower". In classical music, although there have been a huge number of women composers from the Medieval period to the present day, women composers are significantly underrepresented in the commonly performed classical music repertoire, music history textbooks and music encyclopedias; for example, in the Concise Oxford History of Music, Clara Schumann is one of the only female composers who is mentioned.

Daphne Brooks

Daphne Brooks is professor of African American studies and Theater Studies at Yale University. She specializes in African American literary cultural performance studies, especially 19th century and trans-Atlantic culture. She is a rock music lover and has attributed her research interests in black performance to being a fan of rock music since a very young age.

<i>It Was Twenty Years Ago Today</i> (film) 1987 film

It Was Twenty Years Ago Today is a 1987 British-made television documentary film about the 1967 Summer of Love. It first aired on 1 June 1987, twenty years after the official release date of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album. The documentary takes the Beatles album as the central factor behind the events and scenes that led to the full emergence of the 1960s counterculture in 1967. It was directed by John Sheppard for Granada Television. In addition to archive footage, it features interviews with key figures from the period, including Derek Taylor, who also served as consultant on the production, George Harrison, Paul McCartney, Allen Ginsberg, Abbie Hoffman and Timothy Leary. The documentary was accompanied by the book It Was Twenty Years Ago Today, written by Taylor. After its initial broadcast on the ITV network in the UK, the documentary was shown by PBS in the US on 11 November.

<i>Christgaus Record Guide: The 80s</i> book by Robert Christgau

Christgau's Record Guide: The '80s is a music reference book by American music journalist and essayist Robert Christgau. It was published in October 1990 by Pantheon Books as a follow-up to Christgau's Record Guide: Rock Albums of the Seventies (1981).


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