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
26 - Writing about Popular Music
from Part V - New Areas
Published online by Cambridge University Press: 21 August 2019
- 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
In a twenty-year period, between 1966 and 1986, a new way of writing about music was established in European and North American journalism. ‘Rock critic’ became a recognisable title, initially in the alternative, bohemian and underground press, then in specialist music outlets and fanzines, and eventually in mainstream newspapers and magazines too.
Rock criticism was culturally significant for a number of reasons. It described a new kind of popular music aesthetic that shaped public understanding of a new kind of popular music, rock. It challenged taken-for-granted arts page distinctions between high and low culture and fed into the creation of a new academic field, popular music studies. It thus changed the terrain of music criticism generally.
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- The Cambridge History of Music Criticism , pp. 502 - 526Publisher: Cambridge University PressPrint publication year: 2019
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