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
28 - Cultural Anxieties, Aspirational Cosmopolitanism and Capacity Building: Music Criticism in Singapore
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
This chapter by a journalist-turned-ethnomusicologist begins with a personal anecdote, channelling critic Tim Quirk’s indictment of academia and journalism’s shared and ambivalent reliance on maintaining ‘dysfunctional relationships with the truth’. Where subjectivities have recently become the focus of writings about music, an autoethnographic account of a moment in history in Southeast Asia could usefully open a narrative about musical narratives. And so a version of ‘the truth’ begins: in 1998, a music graduate freshly returned from the UK (this writer) joined the lifestyle section of a national newspaper and was dispatched to review the debut of a Singaporean violinist. The performer, sixteen years old, had been studying with a celebrated pedagogue in the United States.
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- The Cambridge History of Music Criticism , pp. 542 - 568Publisher: Cambridge University PressPrint publication year: 2019
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