The Cambridge History of Music Criticism
- Submitting institution
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Birmingham City University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33Z_OP_B0017
- Type
- B - Edited book
- DOI
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- Publisher
- Cambridge University Press
- ISBN
- 978-1-107-03789-2
- Open access status
- Out of scope for open access requirements
- Month of publication
- -
- Year of publication
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- Yes
- Double-weighted statement
- The Cambridge History of Music Criticism is a substantial 842-page volume, conceived and edited by Christopher Dingle, comprising 35 chapters by 33 authors from nine countries, supplemented by an extensive bibliography and index. Dingle contributed two chapters each of which could be submitted individually; ‘Comparing Notes: Recording and Criticism’ (10,000 words) and ‘Wider Still and Wider: British Music Criticism since the Second World War’ (8,500 words). However, it makes sense to consider them within the context of the intellectual project as a whole, alongside Dingle’s co-authored chapter, ‘Stop the Press?’, and his Introduction, which frames the book’s exploratory approach.
- Reserve for an output with double weighting
- No
- Additional information
- The Cambridge History of Music Criticism_ provides the first substantial historical survey of music criticism and critics. Conceived and edited by Christopher Dingle, the 35 chapters collectively enlarge the scope of this emergent area of musicological enquiry, reaching back to medieval times, expanding the geographical reach both within and beyond Europe and including key issues such as women and criticism, recordings and the role of criticism in jazz, popular music and world music. Dingle is sole author of the Introduction and two substantial chapters, ‘Comparing Notes: Recording and Criticism’ and ‘Wider Still and Wider: British Music Criticism since the Second World War’. He also co-authored ‘Stop the Press? The Changing Media of Music Criticism’.
Dingle’s chapters challenge existing anecdotal accounts with robust evidence drawn from substantial primary sources as well as writings by key figures in the field. His chapter on Recording and Criticism not only charts the history from the advent of Edison’s Phonograph to the present day, but also examines issues arising from the new technology and the consequent transformation of critical thought and practice. Dingle’s chapter on post-war British Music Criticism scrutinizes primary sources both qualitatively and quantitatively. The findings are presented in two broad sweeps, a conventional history charting the personalities and newspapers/magazines in which they wrote and an analysis using quantitative data (number of reviews, size of newspapers, etc.) as a clear evidential basis for discussion of changes in critical coverage. Both here, and in his co-authored chapter, Dingle challenges anecdotal presumptions of decline. Dingle’s Introduction frames the exploratory, critical approach taken in the book, providing a foundation for future scholarship and noting the way certain chapters are included to highlight potential areas for substantial further research. The book was a finalist in two categories for the Association of American Publishers’ 2020 PROSE awards.
- Author contribution statement
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- Non-English
- No
- English abstract
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