Book contents
- The Cambridge History of Music Criticism
- The Cambridge History of Music
- The Cambridge History of Music Criticism
- Copyright page
- Contents
- Music Examples, Figures and Tables
- Notes on Contributors
- Acknowledgements
- Introduction
- Part I The Early History of Music Criticism
- Part II The Rise of the Press
- Part III Critical Influence and Influences
- Part IV Entering the Twentieth Century
- Part V New Areas
- 24 Jazz Criticism in America
- 25 Catalysing Latin American Identities: Alejo Carpentier’s Music Criticism as a Cuban Case Study
- 26 Writing about Popular Music
- 27 Working in the Cool Capitalism Complex: The Role of Critics in the World Music Field
- 28 Cultural Anxieties, Aspirational Cosmopolitanism and Capacity Building: Music Criticism in Singapore
- Part VI Developments since the Second World War
- Postlude
- Bibliography
- Index
27 - Working in the Cool Capitalism Complex: The Role of Critics in the World Music Field
from Part V - New Areas
Published online by Cambridge University Press: 21 August 2019
Edited by
Book contents
- The Cambridge History of Music Criticism
- The Cambridge History of Music
- The Cambridge History of Music Criticism
- Copyright page
- Contents
- Music Examples, Figures and Tables
- Notes on Contributors
- Acknowledgements
- Introduction
- Part I The Early History of Music Criticism
- Part II The Rise of the Press
- Part III Critical Influence and Influences
- Part IV Entering the Twentieth Century
- Part V New Areas
- 24 Jazz Criticism in America
- 25 Catalysing Latin American Identities: Alejo Carpentier’s Music Criticism as a Cuban Case Study
- 26 Writing about Popular Music
- 27 Working in the Cool Capitalism Complex: The Role of Critics in the World Music Field
- 28 Cultural Anxieties, Aspirational Cosmopolitanism and Capacity Building: Music Criticism in Singapore
- Part VI Developments since the Second World War
- Postlude
- Bibliography
- Index
Summary
This chapter considers world music criticism, broadly understood. What we now call ‘world music’ is a category created by a cadre of critics, DJs, retailers in the late 1980s, but, of course, the folk and traditional musics that were placed in that category have existed as long as there has been music. The beginning of this chapter examines the rise of music as a ‘genre’ in the Anglo-American music industry and its genrefication constructed and maintained, in part, by critics, who play important roles.
- Type
- Chapter
- Information
- The Cambridge History of Music Criticism , pp. 527 - 541Publisher: Cambridge University PressPrint publication year: 2019