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Sound Judgment: Ideologies of Listen...

Hall, Jordan.

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Sound Judgment: Ideologies of Listening and the Birth of English Music Criticism.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sound Judgment: Ideologies of Listening and the Birth of English Music Criticism./
Author:	Hall, Jordan.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	318 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-02, Section: A.
Contained By:	Dissertations Abstracts International82-02A.
Subject:	Art criticism. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27828506
ISBN:	9798662483415

Sound Judgment: Ideologies of Listening and the Birth of English Music Criticism.
Hall, Jordan.

Sound Judgment: Ideologies of Listening and the Birth of English Music Criticism. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 318 p.

Source: Dissertations Abstracts International, Volume: 82-02, Section: A.

Thesis (Ph.D.)--New York University, 2020.

This item must not be sold to any third party vendors.

Critiques of music can be traced to antiquity, but it was not until the eighteenth century that they became the distinct category of writing known as "criticism". In eighteenth-century Britain, the growth of print and performance multiplied self-appointed arbiters of musical taste: John Dryden and Alexander Pope instructed listeners in verses, Joseph Addison and Jonathan Swift in essays, Maria Edgeworth and Jane Austen in novels, while preachers delivered opinions in churches and everyone debated in coffeehouses. I argue that music criticism developed not through any emerging consensus over musical works, but through an intensifying disagreement over what qualified as authoritative judgment of those works.Tracing the earliest applications of the term "musical criticism", I show that the genre of music criticism emerged at the historical moment when writers shifted attention from music to the literature of musical opinions. Those who forged the genre combated the notion that writing about music required less expertise than playing it. Music critics were writers and close readers of texts, and their project was first and foremost literary. Turning their focus from the stage to the page, emergent music critics invited readers from the sonic world of music into the silent world of texts, teaching readers how to define manuscript and print sources as authoritative in musical matters, and how to exclude the vast majority of musical opinions that writers circulated for a growing readership.

ISBN: 9798662483415Subjects--Topical Terms:

526357
Art criticism.
Subjects--Index Terms:

British literature

Sound Judgment: Ideologies of Listening and the Birth of English Music Criticism.
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245 1 0 $a Sound Judgment: Ideologies of Listening and the Birth of English Music Criticism.
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300 $a 318 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-02, Section: A.
500 $a Advisor: McDowell, Paula J.
502 $a Thesis (Ph.D.)--New York University, 2020.
506 $a This item must not be sold to any third party vendors.
520 $a Critiques of music can be traced to antiquity, but it was not until the eighteenth century that they became the distinct category of writing known as "criticism". In eighteenth-century Britain, the growth of print and performance multiplied self-appointed arbiters of musical taste: John Dryden and Alexander Pope instructed listeners in verses, Joseph Addison and Jonathan Swift in essays, Maria Edgeworth and Jane Austen in novels, while preachers delivered opinions in churches and everyone debated in coffeehouses. I argue that music criticism developed not through any emerging consensus over musical works, but through an intensifying disagreement over what qualified as authoritative judgment of those works.Tracing the earliest applications of the term "musical criticism", I show that the genre of music criticism emerged at the historical moment when writers shifted attention from music to the literature of musical opinions. Those who forged the genre combated the notion that writing about music required less expertise than playing it. Music critics were writers and close readers of texts, and their project was first and foremost literary. Turning their focus from the stage to the page, emergent music critics invited readers from the sonic world of music into the silent world of texts, teaching readers how to define manuscript and print sources as authoritative in musical matters, and how to exclude the vast majority of musical opinions that writers circulated for a growing readership.
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653 $a English music history
653 $a Genre study
653 $a Listening practices
653 $a Music criticism
653 $a Music in the Enlightenment
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