Music journalism - Knowledge (XXG)

897:, suggested, "Part of the problem is that a lot of vital pop music is made by 22-year-olds who enjoy shock value, and it's pathetic when their elders are cornered into unalloyed reverence". Miller suggested that critics could navigate this problem by being prepared "to give young artists credit for terrific music without being intimidated into a frame of mind where dark subject matter always gets a passing grade", stating that a critic should be able to call a young artist "a musical genius" while "in the same breath declaring that his or her lyrics are morally objectionable." Reacting to the state of pop music criticism, Miller identified a major issue as critics' failure to "credit an artist with getting a feeling across", specifically pointing out critic 517: 1230:

racialized music encounters, and what are the alternative stories that we might tell". Brooks pointed to Christgau's statement that, after the Beatles' arrival in America, "rock criticism embraced a dream or metaphor of perpetual revolution. Worthwhile bands were supposed to change people's lives, preferably for the better. If they failed to do so, that meant they didn't matter." Unsurprisingly, according to Brooks, "the history of women who've been sustaining a tradition of writing about rock since the 60's" has been "largely hidden in American culture".

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critical studies makes it possible now more than ever to continue to critique and reinterrogate the form and content of popular music histories". In Brooks' view, "By bravely breaking open dense equations of gender, class, power, and subcultural music scenes", music journalists, activists and critics such as Ellen Willis have been "able to brilliantly, like no one before , challenge the intellectual and political activism and agency" of the entire music industry.

879:", adding that the "1980s generation" of post-punk indie rockers had in the mid-2000s "been taken down by younger 'poptimists,' who argue that lovers of underground rock are elitists for not embracing the more multicultural mainstream". Powers likened the poptimist critics' debates about bands and styles to a "scrum in rugby", in that "verybody pushes against everybody else, and we move forward in a huge blob of vehement opinion and mutual judgment". 938: 914:

analytical readers would appreciate "more music talk in music criticism", suggesting that "sensitively modest doses" of musical analysis would provide helpful support for a conclusion "that great melody writing occurred or it didn't". For example, Miller noted that critics rarely "identify catchy melodies as specific passages within a song", in the way that working musicians might discuss "the A-minor in the second measure of the chorus".

112: 749:. While these men were not professional music critics, they often claimed to be qualified rock critics because of their professional experiences with both music and religion. For example, Larson tried to assert his authority as a rock critic by stating: "As a minister, I know now what it is like to feel the unction of the Holy Spirit. As a rock musician, I knew what it meant to feel the counterfeit anointing of Satan". 6287: 4768: 38: 1063: 1221:: when it comes to popular music, these places become stages for the display of male prowess", and adds, "Female expertise, when it appears, is repeatedly dismissed as fraudulent. Every woman who has ever ventured an opinion on popular music could give you some variation ...and becoming a recognized 'expert' (a musician, a critic) will not save from accusations of fakery." 867:

superior knowledge and even threats of physical violence are the stuff of which pop criticism is made", while at the same time, the "best also offers loving appreciation and profound insights about how music creates and collides with our everyday realities". She stated that pop criticism developed as a "slap at the establishment, at publications such as the hippie homestead

848: 243:), among others—led to an increasing interest in music among non-specialist journals, and an increase in the number of critics by profession of varying degrees of competence and integrity. The 1840s could be considered a turning point, in that music critics after the 1840s generally were not also practicing musicians. However, counterexamples include 6274: 4755: 4741: 1017:(2024), is unhealthy. While she found some of the reviews of the album were "well-considered", she opined others were pre-written and "daft". She explained that critics are "staying up until dawn to finish listening to an album as if it's a college paper we're cramming to complete by the morning" and long albums like the 31-track 340:

pointed out that because all newspapers were included, including low-circulation regional papers, the female representation of 26% misrepresented the actual scarcity, in that the "large US papers, which are the ones that influence public opinion, have virtually no women classical music critics", with the notable exceptions of

1188:. Moore described how another female music blogger, an "admitted outsider" who threatened no stereotypes, was greeted with enthusiasm by men, in contrast with Moore's own experiences as a self-described "insider" who was nevertheless expected to "prove" or "earn" her way into a male-dominated journalism scene. 836:) and genres " which rock critics have long dismissed as lightweight, commercial music. Rosen stated that "this new critical paradigm" is called "popism" – or, more evocatively (and goofily), "poptimism". The poptimism approach states: "Pop (and, especially, hip-hop) producers are as important as rock auteurs, 752:

Christian criticisms of rock music in the mid 20th century often centered around arguments that rock was both sonically and morally bad and physically harmful to both the body and soul. Using these central arguments, Noebel, Larson, Garlock, and other Christian critics of rock music wrote extensively

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discussed the 2000s-era trends in pop music criticism in his article "The Perils of Poptimism". Rosen noted that much of the debate is centered on a perception that rock critics regard rock as "normative ... the standard state of popular music ... to which everything else is compared". At a 2006 pop

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Early conservative Christian criticisms of rock music had strong footings in racism. Most white conservative Christians in the mid 20th century understood that rock started among black populations and feared what the success of the genre implied for the church, segregation, and racial equality. When

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album. Published in late August, the latter article provided "the first substantial rock review devoted to one album to appear in any nonrock magazine with accreditory power". Whereas Williams could be sure of a sympathetic readership, given the nature of his publication, Goldstein's task was to win

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s writers advocated the new forms of pop music of the late 1960s. "By 1999, the 'quality' press was regularly carrying reviews of popular music gigs and albums", which had a "key role in keeping pop" in the public eye. As more pop music critics began writing, this had the effect of "legitimating pop

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split, usually around notions of artistic integrity, authenticity, and the nature of commercialism". These review collections, Shuker continues, "became bibles in the field, establishing orthodoxies as to the relative value of various styles or genres and pantheons of artists. Record collectors and

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stated in 2007 that it continued to maintain "a staff of three full-time classical music critics and three freelancers", noting also that classical music criticism had become increasingly available on blogs, and that a number of other major newspapers "still have full-time classical music critics",

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A key finding in a 2005 study of arts journalism in America was that the profile of the "average classical music critic is a white, 52-year old male, with a graduate degree". Demographics indicated that the group was 74% male, 92% white, and 64% had earned a graduate degree. One critic of the study

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from 1968 to 1975, believed society could be enlightened by the "ecstatic experience" of visions expressed through music's rhythm and noise and that such joy would lead people to different ways of sharing. Brooks wrote that "the confluence of cultural studies, rock studies, and third wave feminist

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wrote that classical music criticism, which it characterized as "a high-minded endeavor that has been around at least as long as newspapers", had undergone "a series of hits in recent months" with the elimination, downgrading, or redefinition of critics' jobs at newspapers in Atlanta, Minneapolis,

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analyzed terms used by critics to differentiate between pop music and rock, finding a gendered dichotomy in descriptions of "'serious,' 'raw,' and 'sincere' rock music as distinguished from 'trivial', 'fluffy,' and 'formulaic' pop music". McLeod found that a likely cause of this dichotomy was the

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In the world of pop music criticism, there has tended to be a quick turnover. The "pop music industry" expects that any particular rock critic will likely disappear from popular view within five years; in contrast, according to author Mark Fenster, the "stars" of rock criticism are more likely to

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argued that pop music critics "have always been contrarians", because "pop music rose up as a challenge to taste hierarchies, and has remained a pugilistic, exhibitionist business throughout pop's own evolution". Powers claimed that "nsults, rejections of others' authority, bratty assertions of

761:, similar arguments were posed by Garlock, with the additional argument that 'good' music must come from distinguished and educated musicians. Additionally, Larson argued that the beats used in rock music could cause rebellion in younger generations due to their hypnotic and influential nature. 901:

as "a ball of emotion at all times", who nonetheless "never really related to his favorite artists as people who develop a skill of conveying feelings. You don't feel that he comfortably acknowledged being moved as a result of their honest work. Artists in his writing were vaguely ridiculous,

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narratives" to break away from racial and gender biases as embodied in "contemporary cultural fetishizations of white male performative virtuosity and latent black male innovations". Brooks focused on "the ways that rock music criticism has shaped and continues to shape our understandings of

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s Tracy Moore, in 2014, suggested that one of the virtues of writing about how music made one feel, in contrast with linking it to the sounds of other artists, was to avoid excluding readers who may not have musical knowledge as broad as that of the writer. In contrast, Miller believed that

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The influential evangelist in question is the YouTuber named Anthony Fantano, 34, who has been speaking album and song reviews directly into a camera for more than a decade on The Needle Drop, his channel with 2.26 million subscribers, making him probably the most popular music critic left

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discussed his approach to music criticism in a 2010 interview, stating, "Most of us begin writing about music because we love it so much. We can't wait to tell our friends and neighbors about what we're hearing." According to McCall, even over the course of a long professional career, the

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described "an upsurge in pro-pop sentiment among critics" during the early 2000s, writing that a "new generation moved into positions of critical influence" and then "mounted a wholesale critique against the syndrome of measuring all popular music by the norms of rock culture".

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was first innovated by black communities, but was soon appropriated by white populations. This aspect of rock's history has been overlooked by historians and the media, but music experts now widely agree that rock's true origins lie in the American south among black populations.

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The emergence of rock journalism coincided with an attempt to position rock music, particularly the Beatles' work, in the American cultural landscape. The critical discourse was further heightened by the respectful coverage afforded the genre in mainstream publications such as

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said that pop and rock music "are closely associated with gender; that is, with conventions of male and female behaviour". According to Holly Kruse, both popular music articles and academic articles about pop music are usually written from "masculine subject positions".

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applied a perspective previously reserved for jazz artists to the rise of American-influenced local rock and pop groups, anticipating the advent of rock critics. Among Britain's broadsheet newspapers, pop music gained exposure in the arts section of

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Rock music received a considerable amount of criticism from conservative Christian communities within the United States. This criticism was strongest throughout the 1960s and 70s, with some of the most prominent Christian critics being

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In the early 1980s, a decline in the quantity of classical criticism began occurring "when classical music criticism visibly started to disappear" from the media. At that time, leading newspapers still typically employed a

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over a more highbrow readership to the artistic merits of contemporary pop music. At this time, both Goldstein and Williams gained considerable renown in the cultural mainstream and were the subject of profile articles in

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Daphne Brooks, in her 2008 article "The Write to Rock: Racial Mythologies, Feminist Theory, and the Pleasures of Rock Music Criticism", wrote that in order to restructure music criticism, one must "focus on multiple

83:. Journalists began writing about music in the eighteenth century, providing commentary on what is now regarded as classical music. In the 1960s, music journalism began more prominently covering popular music like 955:

noted that unlike other art forms, "music is now effectively free. Music criticism's former priority — telling consumers what to purchase — has been rendered null and void for most fans." He argued that this and

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enthusiastic impulse to share "never fades". McCall expressed his interest in "examining why people respond to what they respond to. I hazard guesses. Sometimes I'm wrong, but I hope I'm always provocative."

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also employed classical music critics. But by the early 1990s, classical critics were dropped in many publications, in part due to "a decline of interest in classical music, especially among younger people".

6040: 6048: 95:. With the rise of the internet in the 2000s, music criticism developed an increasingly large online presence with music bloggers, aspiring music critics, and established critics supplementing 372:, "one of the most respected voices of the craft, said he had been forced out after 26 years". Viewing "robust analysis, commentary and reportage as vital to the health of the art form", 688: 677:, October 1968). Christgau was the "originator of the 'consumer guide' approach to pop music reviews", an approach that was designed to help readers decide whether to buy a new album. 6139: 1138:

defined "rockism" as "idolizing the authentic old legend (or underground hero) while mocking the latest pop star". Music journalism "infected" with rockism has become, according to

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columnist, opined that "the way we critique music is broken". She argues that the current culture of consuming new music, particularly with the release of Taylor Swift's album

4805: 3036: 2254: 6030: 2025: 434:, Ulf Lindberg and his co-writers say that rock criticism appears to have been "slower to develop in the U.S. than in England". One of the early British music magazines, 589:

According to Gendron, Goldstein's most significant early pieces were a "manifesto" on rock 'n' roll and "pop aestheticism", and a laudatory assessment of the Beatles'

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Also of concern in classical music journalism was how American reviewers can write about ethnic and folk music from cultures other than their own, such as Indian

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led its rival publications in terms of approaching music and musicians as a subject for serious study rather than merely entertainment. Staff reporters such as

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frustrate them. Karl also felt that reviews appearing online within hours of an album's release discredits both the plaudits and criticism. She condemned the

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criticized the trend, arguing that while the "Internet has democratized music criticism, it seems it's also spread its penchant for uncritical hype".

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In the 2000s, online music bloggers began to supplement, and to some degree displace, music journalists in print media. In 2006, Martin Edlund of the

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critiquing rock music, Christian critics commonly portrayed rock music with "primitive and exotic imagery to convey African-roots". For example, The

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Lindberg et al. say that, while Williams is widely considered to be the first American rock critic, he "nevertheless looked to England for material".

1197:, the "problem for women is that our role in popular music was codified long ago"; as a result, "most famous rock-music critics – Robert Christgau, 6056: 4929: 785:

in New Jersey released a booklet called "Jungle to Jukebox" that used racist, exotic tropes to illustrate the dangers of rock music to white youth.

624: 208:) its form and style, and for performance, standards of technique and expression. These standards were expressed, for example, in journals such as 6112: 5712: 4981: 4798: 2793: 1233:

Brooks theorized that perceptions of female artists of color might be different if there were more women of color writing about them, and praised

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Author Bernard Gendron writes that in the United States "the emergence of a 'serious' rock press and the rock critic" began in 1966, presaged by

6222: 6129: 6100: 2743: 574:, which Gendron describes as "the first regular column on rock 'n' roll ... to appear in an established cultural publication". Rock journalist 178:

where music did not form part of the central objectives of the publication. An influential English 19th-century music critic, for example, was

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enthusiasts, and specialisation and secondhand record shops, inevitably have well-thumbed copies of these and similar volumes close at hand."

3730: 2004: 1869: 1580: 1555: 1506: 4996: 5094: 1130:) to music journalism, some academic writers suggest that mutual disrespect between critics and artists is one of many negative effects of 561: 332:"The performers be treated as human beings and their music be treated as human activity rather than a mystical or mysterious phenomenon." 129:, which has traditionally comprised the study, discussion, evaluation, and interpretation of music that has been composed and notated in a 2318: 477:, the country's highbrow Sunday newspaper, signalled a reversal of the establishment's cultural snobbery towards pop music by appointing 6156: 6146: 516: 6161: 6014: 4791: 4614: 4280: 3026: 708:

declared that "Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read." In the

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A review should relate the music to other kinds of music that readers know, to help them understand better what the program was about.

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played a role in the rise of rock critics as tastemakers in the music industry, "constructing their own version of the traditional

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was similarly the subject of journalistic debate, and invited reprisals from musicologists, composers and cultural commentators.

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In the 2010s, some commentators noted and criticized the lack of negative reviews in music journalism. Saul Austerlitz from the

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as "probably the most popular music critic left standing." Fantano's channel, The Needle Drop, is his main outlet, but he also

673: 146: 2488: 921:, said, "I think more than any other journalism, music journalism has got a really powerful creative writing quotient to it." 6151: 4599: 4300: 3520: 1839: 1780: 682: 981:(X) is "perhaps the last public space for unfettered music criticism in an increasingly anti-critical landscape". In 2020, 6317: 6237: 6232: 6227: 4971: 4629: 4110: 3427: 2503: 1013: 513:

have long careers with "book contracts, featured columns, and editorial and staff positions at magazines and newspapers".

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professor Daphne Brooks, a challenge "for those of us concerned with historical memory and popular music performance".

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The Classical Music Critic: A Survey of Music Critics at General-Interest and Specialized News Publications in America

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as an art form"; as a result, "newspaper coverage shifted towards pop as music rather than pop as social phenomenon".

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Christgau, Robert (2003). "A History of Rock Criticism". In Szántó, András; Levy, Daniel S.; Tyndall, Andrew (eds.).

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In the realm of rock music, as in that of classical music, critics have not always been respected by their subjects.

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verbally attacked critics who gave the band negative reviews because of their actions on stage; such critics as

6278: 6202: 5717: 5366: 5361: 5083: 4759: 4365: 4260: 4210: 4180: 3481: 3273: 2823: 591: 2114: 259:; all of whom were modern practitioners of the classical music tradition who also write (or wrote) on music. 6290: 5988: 5609: 5042: 4915: 4574: 4540: 3474: 951: 529: 1332:"Yes, Classical-Music Criticism Is in Decline but the Last Thing the Industry Should Do Is Blame the Press" 5301: 4879: 4828: 4065: 3920: 3498: 3216: 3041: 2853: 2145: 918: 893: 782: 482: 6182: 5974: 5569: 5071: 5037: 5027: 5022: 4870: 4853: 4525: 4475: 4375: 4345: 4325: 3700: 3454: 3432: 3172: 3046: 2729: 636:

in March, challenged the highbrow aesthetic of rock proposed by Goldstein. The latter's mixed review of

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movement generally and in music, popularization (including the 'star-status' of many performers such as

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lack of women writing in music journalism: "By 1999, the number of female editors or senior writers at

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Music writers only started "treating pop and rock music seriously" in 1964 "after the breakthrough of

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consideration of the many diverse elements of a musical piece or performance, including (as regards a

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National Arts Journalism Program: Reporting the Arts II: News Coverage of Arts and Culture in America

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Among other young American writers who became pop columnists following Goldstein's appointment were

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review for making "a litany of petty, exclamation-pointed digs" at Swift, and dismissed the rave

983: 929: 757:, Noebel explained why rock music was 'bad' by contrasting it with qualities of 'good' music. In 721: 653: 538: 357: 1897:"'More than just a music': conservative Christian anti-rock discourse and the U.S. culture wars" 99:

online. Music journalism today includes reviews of songs, albums and live concerts, profiles of

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Women music journalists in the twentieth century who covered classic music performance include

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critic conference, attendees discussed their "guilty pop pleasures, reconsidering musicians (

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as a significant feminist critic of rock's classic era. Willis, who was a columnist for the

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Before about the 1840s, reporting on music was either done by musical journals, such as the

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The review should show an understanding of the music's cultural backgrounds and intentions.

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music critics who came up with the following criteria on how to approach ethnic music:

321: 252: 244: 190: 115: 1172:, roughly 20%." Criticism associated with gender was graphically discussed in a 2014 680:

According to popular music academic Roy Shuker in 1994, music reference books such as

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and traditional Japanese works. In 1990, the World Music Institute interviewed four

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Lindberg, Ulf; Guomundsson, Gestur; Michelsen, Morten; Weisethaunet, Hans (2005).

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The Devil's Music: How Christians Inspired, Condemned, and Embraced Rock'n'Roll

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within a day, as well as criticizing articles by "reputable publications" like

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Rock Criticism from the Beginning: Amusers, Bruisers, and Cool-Headed Cruisers

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McGill, Lawrence; Conrad, Willa J.; Rosenberg, Donald; Szántó, András (2005).

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critic, wrote an appreciation of the Beatles in December 1963. In early 1965,

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also wrote reviews and criticisms for the Paris press of the 1830s and 1840s.

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and the evaluation of the performance of classical songs and pieces, such as

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Pop Conference) was the first American music critic to focus on rock music.

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Several factors—including growth of education, the influence of the

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Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde

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fascinating primitives, embodying an archetype by accident of nature."

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in the months leading up to and following the release of the Beatles'

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professor Charles Kronengolm at the 2007 Pop Conference at Seattle's

1762: 1760: 960:" causes music critics to act as "cheerleaders" for existing stars. 30:"Music press" redirects here. For the American music publisher, see 2111: 1361:

Classical Music Criticism: With a Chapter on Reviewing Ethnic Music

1182:, written by music critic Tracy Moore, previously an editor at the 5548: 5198: 3395: 3343: 3031: 2953: 2883: 2752: 2202:"Oh, the Unbelievable Shit You Get Writing About Music as a Woman" 1319:

Chicago on the Aisle: Claudia Cassidy's Music Criticism and Legacy

875: 846: 515: 489:, the first daily newspaper to employ a dedicated rock critic was 110: 36: 4907: 4783: 844:, and ascribing shame to pop pleasure is itself a shameful act." 582:, cites "the true genesis of rock criticism" to the emergence of 5898: 5750: 5238: 5130: 5006: 3182: 2973: 769: 316: 4911: 4787: 3560: 2725: 2501:

Frith, Simon, "Pop Music" in S. Frith, W. Stray and J. Street,

2319:"No Apologies: A Critique of the Rockist v. Poptimist Paradigm" 5923: 5893: 5819: 5594: 5135: 1056: 118:, active as a music journalist in Paris in the 1830s and 1840s 2553:

Gender in the Music Industry: Rock, Discourse, and Girl Power

2404:"Taylor Swift Is Proof That How We Critique Music Is Broken" 1447:

Wakin, Daniel J., "Newspapers Trimming Classical Critics",

2519:"Between Rock and a Hard Place: Gender and Rock Criticism" 1191:

According to Anwen Crawford, music critic for Australia's

1723: 1721: 1708: 1706: 1427:(Mailing list). International Alliance for Women in Music 753:

about the differences between 'good' and 'bad' music. In

554:, an eighteen-year-old student, launched the pop journal 2721: 2368:"The Only Music Critic Who Matters (if You're Under 25)" 1985:""I hear you knocking…": from R&B to rock and roll" 1081: 917:

Stevie Chick, a writer who teaches music journalism at

2604:. New York: NAJP at Columbia University. p. 142. 2652:

Rock She Wrote: Women Write about Rock, Pop, and Rap

1876:(citing many examples of insults in both directions) 218:, and are continued today in the columns of serious 6170: 6002: 5937: 5866: 5857: 5769: 5654: 5618: 5509: 5405: 5287: 5189: 5154: 5108: 5051: 5015: 4954: 4945: 4889: 4821: 4638: 4567: 3553: 3404: 3314: 3196: 3137: 3059: 3037:

Evolution of timpani in the 18th and 19th centuries

3002: 2932: 2809: 2759: 1397:. National Arts Journalism Program. Baltimore, MD: 2270:"Do you want poptimism? Or do you want the truth?" 2247:"Jersey City's Tris McCall Joins the Star-Ledger" 1956:The Beatles: A study in drugs, sex and revolution 1575:. London: Simon & Schuster. pp. 262–63. 1383: 1381: 1007:In an article published in 2024, Jessica Karl, a 755:The Beatles: A Study in Drugs, Sex and Revolution 103:, and reporting of artist news and music events. 2670:Women and Music: A Journal of Gender and Culture 2614:Women and Music: A Journal of Gender and Culture 2574: 2572: 2447:Women and Music: A Journal of Gender and Culture 1766: 1739: 1697: 1685: 1595: 1533: 1521: 963:The 2010s saw a rise of music critics who used 732:Conservative Christian criticisms of rock music 2024:: CS1 maint: DOI inactive as of August 2024 ( 4923: 4799: 2737: 2648:McDonnell, Evelyn; Powers, Ann, eds. (1999). 2436: 2434: 2432: 2430: 2428: 2426: 2424: 2137: 2135: 2133: 2131: 1296:Bujić, Bojan (n.d.), "Criticism of Music" in 1090:that contextualizes different points of view. 1076:to certain ideas, incidents, or controversies 8: 2195: 2193: 2191: 542:, writing articles praising the Beatles and 270:(1920-1921), Henriette Weber at the Chicago 172:The Musical Times and Singing-class Circular 71:and reporting about music topics, including 2507:(Cambridge University Press, 2001), p. 226. 1465: 1463: 1461: 1459: 1457: 628:album in June 1967. Within this discourse, 580:The Penguin Book of Rock & Roll Writing 5863: 5402: 4951: 4930: 4916: 4908: 4806: 4792: 4784: 3557: 2806: 2744: 2730: 2722: 2240: 2238: 2236: 2160: 2158: 1399:Music Critics Association of North America 1049:instead of serious journalism of the art. 481:as its "critic of pop culture". Following 3381:Music technology (electronic and digital) 2656:. New York: Cooper Square Press. p. 2055: 2053: 1991:, Routledge, pp. 31–67, 2012-10-12, 1321:, BA Thesis, University of Chicago: 2018. 1317:, November 7, 1920, p. 97; Hannah Edgar, 1106:Learn how and when to remove this message 840:is as worthy of serious consideration as 164:in 1834), and in London journals such as 2106: 2104: 1501:. New York, NY: Peter Lang. p. 73. 1353: 1351: 1209:– are all male". Crawford points to "he 936: 568:writer, debuted his "Pop Eye" column in 520:Richard Goldstein (pictured at the 2015 2525:. Temple University Press. p. 96. 2504:The Cambridge Companion to Pop and Rock 1813: 1751: 1727: 1712: 1673: 1661: 1641:. Temple University Press. p. 85. 1364:. New York: Garland. pp. 166–176. 1292: 1290: 1288: 1284: 41:(From left to right) Music journalists 2694:(ellipses and internal quotes omitted) 2638:(ellipses and internal quotes omitted) 2485:Department of African American Studies 2306:from the original on October 31, 2015. 2017: 1943:Rock & Roll, the Devil's Diversion 1573:1965: The Year Modern Britain Was Born 1045:for catering gossip to the masses and 977:magazine's Larry Fitzmaurice in 2016, 2919:Vietnam imperial court music—Nhã nhạc 2581:"The World Needs Female Rock Critics" 2039: 2037: 2035: 1979: 1977: 1890: 1888: 1886: 1884: 1882: 625:Sgt. Pepper's Lonely Hearts Club Band 7: 2061:"Not All They Were Blogged Up To Be" 887:Music critic and indie pop musician 107:Origins in classical music criticism 6157:Global Recording Artist of the Year 6125:Highest-grossing live music artists 2338:Fitzmaurice, Larry (9 March 2016). 2223:"How To: Get Into Music Journalism" 1160:hovered around a whopping 15%, at 789:Critical trends of the 21st century 4595:Classical and art music traditions 3027:History of lute-family instruments 2844:Cambodian ceremonial music—Pinpeat 2296:"The Pernicious Rise of Poptimism" 2294:Austerlitz, Saul (April 6, 2014). 2268:Richards, Chris (April 16, 2015). 2047:. Harvard University Press Chicago 1788:s Timing Was As Good As Its Music" 1419:Osborne, William (June 11, 2005). 122:Music journalism has its roots in 25: 2221:Reid, Alastair (March 22, 2013). 1958:. Christian Crusade Publications. 432:Rock Criticism from the Beginning 6286: 6285: 6272: 5302:Artists and repertoire (A&R) 5033:Universal Music Publishing Group 4767: 4766: 4753: 4739: 4311:Saint Vincent and the Grenadines 3786:Democratic Republic of the Congo 3386:Sound recording and reproduction 2839:Burmese classical music—Mahāgīta 2579:Crawford, Anwen (May 26, 2015). 2491:from the original on 2015-07-09. 2317:Loss, Robert (August 10, 2015). 2257:from the original on 2010-06-22. 1408:from the original on 2015-09-11. 1274:List of writers on popular music 1061: 971:as their platform. According to 200:journalism is often informed by 5723:Entertainment Monitoring Africa 4615:Jazz and popular music glossary 2545:McLeod (2002) at 94, quoted in 2200:Moore, Tracy (March 20, 2014). 1178:article about the struggles of 1029:review for calling the album a 147:Allgemeine musikalische Zeitung 6223:Largest recorded music markets 6130:Highest-grossing concert tours 3856:Federated States of Micronesia 2366:Coscarelli, Joe (2020-09-30). 1864:. W. W. Norton & Company. 1779:Hamilton, Jack (24 May 2017). 1126:, critical gender studies and 683:The Rolling Stone Record Guide 1: 2899:Philippine art songs—Kundiman 2819:Afghan classical music—Klasik 2549:"Meaning Making in the Press" 1971:. Bob Jones University Press. 1298:The Oxford Companion to Music 1014:The Tortured Poets Department 6279:Record production portal 5095:Independent UK record labels 4760:Record production portal 4605:Cultural and regional genres 2864:Indonesian art music—Gamelan 2487:. Yale University. 2015–16. 2245:Whiten, Jon (May 18, 2010). 1861:Lexicon of Musical Invective 1345:. Accessed on March 9, 2010. 6147:Most-attended concert tours 3376:Music technology (electric) 2914:Thai classical music—Piphat 2869:Japanese court music—Gagaku 2300:The New York Times Magazine 1895:Nekola, Anna (2013-09-13). 1828:Understanding Popular Music 1476:. Temple University Press. 1254:List of chief music critics 578:, in his role as editor of 560:in February 1966; in June, 422:20th century rock criticism 280:Chicago Journal of Commerce 174:); or else by reporters at 6334: 6162:Wealthiest musical artists 6015:Best-selling music artists 3022:History of the harpsichord 2909:Kandyan dance of Sri Lanka 2708:"Spy in the House of Love" 2664:Brooks, Daphne A. (2008). 2608:Brooks, Daphne A. (2008). 2441:Brooks, Daphne A. (2008). 2098:articles. August 27, 2009. 1969:The big beat: A rock blast 1571:Bray, Christopher (2014). 1470:Jones, Steve, ed. (2002). 1358:Schick, Robert D. (1996). 1313:“Concerning Ruth Miller”, 851:American pop music critic 759:The Big Beat: A Rock Blast 548:1965 Newport Folk Festival 495:, with the appointment of 414: 348:and Wynne Delacoma in the 303:, while magazines such as 211:Neue Zeitschrift für Musik 157:Neue Zeitschrift für Musik 91:after the breakthrough of 29: 6266: 5733:New Zealand singles chart 4733: 3567: 2849:Chinese traditional music 2521:. In Jones, Steve (ed.). 2112:"The Perils of Poptimism" 1913:10.1017/s0261143013000299 1637:. In Jones, Steve (ed.). 1546:Gendron, Bernard (2002). 1524:, pp. 85, 88, 89–91. 1180:women in music journalism 1042:The Philadelphia Inquirer 764:Drawing from styles like 398:The Philadelphia Inquirer 152:Johann Friedrich Rochlitz 6203:Christian music industry 5718:GfK Entertainment charts 5362:Professional audio store 3731:Central African Republic 3274:Computational musicology 2824:Andalusi classical music 2547:Leonard, Marion (2007). 2517:McLeod, Kembrew (2002). 2043:Stephens, R. J. (2018). 728:were mentioned by name. 689:Christgau's Record Guide 564:, a recent graduate and 377:including (in 2007) the 55:Experience Music Project 5610:Music streaming service 5043:Disney Music Publishing 4620:Music genres and styles 2924:Western classical music 2894:Persian classical music 2523:Pop Music and the Press 2251:Jersey City Independent 1999:(inactive 2024-08-21), 1997:10.4324/9780203214459-7 1989:Just My Soul Responding 1639:Pop Music and the Press 1473:Pop Music and the Press 952:New York Times Magazine 873:and the rawker outpost 6152:Most-attended concerts 6120:Highest-paid musicians 4829:Architecture criticism 4600:Classical music genres 3676:Bosnia and Herzegovina 3217:Doctor of Musical Arts 3042:History of the trumpet 2854:Indian classical music 2229:. Mousetrap Media Ltd. 2125:magazine. May 9, 2006. 1954:Noebel, D. A. (1969). 1633:Fenster, Mark (2002). 1053:Gender and race theory 946: 919:City University London 855: 783:American Tract Society 525: 362:and elsewhere, citing 119: 57: 6233:Most valuable records 6228:Most expensive albums 6183:Album-equivalent unit 5713:Italian singles chart 5570:Promotional recording 5038:Warner Chappell Music 5028:Sony Music Publishing 5023:BMG Rights Management 4871:Video game journalism 4854:Rockism and poptimism 4426:São Tomé and Príncipe 4301:Saint Kitts and Nevis 4281:Republic of the Congo 3047:History of the violin 2171:Music: What Happened? 1421:"Women Music Critics" 1269:Popular music studies 1084:by rewriting it in a 940: 894:Music: What Happened? 850: 519: 417:Rockism and poptimism 222:and journals such as 180:James William Davison 114: 40: 6318:Occupations in music 6208:Environmental impact 6108:Best-selling singles 5121:Digital music stores 4876:Visual art criticism 4861:Television criticism 4496:United Arab Emirates 3269:Cognitive musicology 1967:Garlock, F. (1971). 1826:Shuker, Roy (1994). 1767:Lindberg et al. 2005 1740:Lindberg et al. 2005 1698:Lindberg et al. 2005 1686:Lindberg et al. 2005 1596:Lindberg et al. 2005 1534:Lindberg et al. 2005 1522:Lindberg et al. 2005 1128:critical race theory 995:music commentary on 170:(founded in 1844 as 6238:Music certification 6218:Largest music deals 6096:Best-selling albums 5929:The Country Network 5708:Irish Singles Chart 5357:Musical instruments 4646:Aesthetics of music 4461:Trinidad and Tobago 3596:Antigua and Barbuda 3080:Band (rock and pop) 3004:Musical instruments 2879:Lao classical music 2274:The Washington Post 2085:"The Decade in Pop" 1941:Larson, B. (1970). 1343:Wall Street Journal 1302:Oxford Music Online 987:described YouTuber 891:, in his 2010 book 657:, from June 1967), 386:The Washington Post 206:musical composition 5751:SNEP singles chart 5526:Extended play (EP) 5297:Album cover design 4844:Literary criticism 4708:Musical instrument 4676:Music and politics 3806:Dominican Republic 3554:By sovereign state 2874:Korean court music 2834:Azerbaijani Mugham 2713:2016-03-04 at the 2682:10.1353/wam.0.0002 2626:10.1353/wam.0.0002 2459:10.1353/wam.0.0002 2372:The New York Times 2146:"Bratty by nature" 2117:2010-03-25 at the 2090:2010-03-01 at the 2066:2011-02-20 at the 1856:Slonimsky, Nicolas 1816:, pp. 194–95. 1769:, pp. 118–19. 1754:, pp. 193–94. 1449:The New York Times 1337:2018-01-12 at the 1134:. In 2004, critic 984:The New York Times 947: 941:American YouTuber 930:Newark Star-Ledger 856: 667:, March 1968) and 642:The New York Times 632:, in an essay for 539:The New York Times 526: 374:The New York Times 358:The New York Times 301:chief music critic 286:(1941–42) and the 176:general newspapers 120: 58: 6300: 6299: 6243:Parental Advisory 6198:Bootleg recording 6188:A-side and B-side 6045: 5998: 5997: 5914:The Music Factory 5756:Sverigetopplistan 5680:Argentina Hot 100 5646:Music competition 5636:Concert residency 5575:Phonograph record 5545: 5505: 5504: 5332:Music and fashion 5317:Entertainment law 5185: 5184: 5146:Virgin Megastores 4948:and organizations 4905: 4904: 4866:Theatre criticism 4781: 4780: 4666:Music and fashion 4661:Music and emotion 4563: 4562: 3831:Equatorial Guinea 3327:A-side and B-side 3232:Music archaeology 3207:Bachelor of Music 3055: 3054: 2989:Psychedelic music 2984:Progressive music 2904:Scottish Ceòl Mór 2150:Los Angeles Times 2006:978-0-203-21445-9 1871:978-0-393-32009-1 1688:, pp. 73–74. 1609:"Geoffrey Cannon" 1582:978-1-84983-387-5 1557:978-0-226-28737-9 1508:978-0-8204-7490-8 1116: 1115: 1108: 1070:This article may 864:Los Angeles Times 842:Bruce Springsteen 571:The Village Voice 562:Richard Goldstein 430:". In their book 392:The Baltimore Sun 380:Los Angeles Times 350:Chicago Sun-Times 282:(1924–1941), the 278:, who worked for 264:Ruth Scott Miller 225:The Musical Times 167:The Musical Times 154:in 1798) and the 101:recording artists 81:traditional music 16:(Redirected from 6325: 6313:Music journalism 6289: 6288: 6277: 6276: 6275: 6043: 5864: 5761:UK singles chart 5693:Canadian Hot 100 5585:Compact cassette 5523: 5470:Session musician 5445:Hip hop producer 5403: 5337:Music journalism 5269:Rhythm and blues 4987:IFPI (worldwide) 4952: 4932: 4925: 4918: 4909: 4849:Music journalism 4808: 4801: 4794: 4785: 4770: 4769: 4758: 4757: 4756: 4746:Music portal 4744: 4743: 4742: 4698:Music technology 4686:Environmentalism 4639:Related articles 4246:Papua New Guinea 4111:Marshall Islands 3558: 3504:Central American 3242:Music psychology 3127:Backing vocalist 2964:Electronic music 2807: 2761:History of music 2746: 2739: 2732: 2723: 2717: 2701: 2695: 2693: 2661: 2655: 2645: 2639: 2637: 2605: 2597: 2591: 2590: 2576: 2567: 2566: 2543: 2537: 2536: 2514: 2508: 2499: 2493: 2492: 2477: 2471: 2470: 2438: 2419: 2418: 2416: 2415: 2400: 2394: 2393: 2387: 2386: 2363: 2357: 2356: 2354: 2352: 2335: 2329: 2328: 2314: 2308: 2307: 2291: 2285: 2284: 2282: 2280: 2265: 2259: 2258: 2242: 2231: 2230: 2227:Journalism.co.uk 2218: 2212: 2211: 2197: 2186: 2185: 2162: 2153: 2152:. July 27, 2008. 2139: 2126: 2108: 2099: 2081: 2075: 2072:The New York Sun 2059:Edlund, Martin. 2057: 2048: 2041: 2030: 2029: 2023: 2015: 2014: 2013: 1981: 1972: 1965: 1959: 1952: 1946: 1939: 1933: 1932: 1892: 1877: 1875: 1852: 1846: 1845: 1832:Psychology Press 1823: 1817: 1811: 1805: 1804: 1802: 1800: 1787: 1776: 1770: 1764: 1755: 1749: 1743: 1737: 1731: 1725: 1716: 1710: 1701: 1695: 1689: 1683: 1677: 1671: 1665: 1659: 1653: 1652: 1630: 1624: 1623: 1621: 1619: 1613:Rock's Backpages 1605: 1599: 1598:, p. 125fn. 1593: 1587: 1586: 1568: 1562: 1561: 1543: 1537: 1531: 1525: 1519: 1513: 1512: 1494: 1488: 1487: 1467: 1452: 1445: 1436: 1435: 1433: 1432: 1416: 1410: 1409: 1407: 1396: 1385: 1376: 1375: 1355: 1346: 1328: 1322: 1311: 1305: 1294: 1111: 1104: 1100: 1097: 1091: 1087:balanced fashion 1065: 1064: 1057: 999:and posts on X. 912: 819:magazine writer 766:rhythm and blues 726:Bob Guccione Jr. 724:, Mick Wall and 649:Robert Christgau 507: 404:The Boston Globe 61:Music journalism 43:Robert Christgau 27:Journalism genre 21: 6333: 6332: 6328: 6327: 6326: 6324: 6323: 6322: 6303: 6302: 6301: 6296: 6273: 6271: 6262: 6166: 5994: 5933: 5853: 5848:Top of the Pops 5813:Musica e dischi 5765: 5650: 5614: 5534:Cassette single 5512: 5501: 5455:Record producer 5401: 5372:Radio promotion 5342:Music publisher 5327:Music executive 5322:Music education 5289: 5283: 5181: 5150: 5104: 5047: 5011: 4955:Representatives 4947: 4946:Major companies 4941: 4936: 4906: 4901: 4897:Arts journalism 4885: 4834:Dance criticism 4817: 4812: 4782: 4777: 4754: 4752: 4740: 4738: 4729: 4656:Fictional music 4634: 4559: 4366:Solomon Islands 4211:North Macedonia 3563: 3549: 3411: 3409:regional genres 3408: 3400: 3366:Record producer 3310: 3299:Sociomusicology 3284:Ethnomusicology 3212:Master of Music 3192: 3151: 3133: 3090:All-female band 3073: 3051: 2998: 2935: 2928: 2884:Mandé art music 2859:Byzantine music 2805: 2755: 2750: 2720: 2715:Wayback Machine 2702: 2698: 2663: 2647: 2646: 2642: 2607: 2599: 2598: 2594: 2578: 2577: 2570: 2563: 2546: 2544: 2540: 2533: 2516: 2515: 2511: 2500: 2496: 2481:"Daphne Brooks" 2479: 2478: 2474: 2440: 2439: 2422: 2413: 2411: 2402: 2401: 2397: 2384: 2382: 2365: 2364: 2360: 2350: 2348: 2337: 2336: 2332: 2316: 2315: 2311: 2293: 2292: 2288: 2278: 2276: 2267: 2266: 2262: 2244: 2243: 2234: 2220: 2219: 2215: 2199: 2198: 2189: 2182: 2174:. 125 Records. 2164: 2163: 2156: 2140: 2129: 2119:Wayback Machine 2109: 2102: 2092:Wayback Machine 2082: 2078: 2074:. June 6, 2006. 2068:Wayback Machine 2058: 2051: 2042: 2033: 2016: 2011: 2009: 2007: 1983: 1982: 1975: 1966: 1962: 1953: 1949: 1940: 1936: 1894: 1893: 1880: 1872: 1854: 1853: 1849: 1842: 1825: 1824: 1820: 1812: 1808: 1798: 1796: 1785: 1778: 1777: 1773: 1765: 1758: 1750: 1746: 1738: 1734: 1726: 1719: 1711: 1704: 1696: 1692: 1684: 1680: 1672: 1668: 1660: 1656: 1649: 1632: 1631: 1627: 1617: 1615: 1607: 1606: 1602: 1594: 1590: 1583: 1570: 1569: 1565: 1558: 1545: 1544: 1540: 1532: 1528: 1520: 1516: 1509: 1496: 1495: 1491: 1484: 1469: 1468: 1455: 1451:, June 9, 2007. 1446: 1439: 1430: 1428: 1418: 1417: 1413: 1405: 1394: 1387: 1386: 1379: 1372: 1357: 1356: 1349: 1339:Wayback Machine 1329: 1325: 1315:Chicago Tribune 1312: 1308: 1295: 1286: 1282: 1259:Music criticism 1250: 1185:Nashville Scene 1120:critical theory 1112: 1101: 1095: 1092: 1082:help improve it 1079: 1066: 1062: 1055: 1005: 989:Anthony Fantano 943:Anthony Fantano 910: 885: 796: 791: 739:David A. Noebel 734: 714:Get in the Ring 674:Saturday Review 630:Richard Meltzer 505: 497:Geoffrey Cannon 469:classical music 424: 419: 413: 296: 288:Chicago Tribune 276:Claudia Cassidy 272:Herald-Examiner 268:Chicago Tribune 216:Robert Schumann 162:Robert Schumann 127:music criticism 109: 77:classical music 65:music criticism 35: 28: 23: 22: 18:Rock journalism 15: 12: 11: 5: 6331: 6329: 6321: 6320: 6315: 6305: 6304: 6298: 6297: 6295: 6294: 6282: 6267: 6264: 6263: 6261: 6260: 6255: 6253:Surprise album 6250: 6245: 6240: 6235: 6230: 6225: 6220: 6215: 6210: 6205: 6200: 6195: 6190: 6185: 6180: 6174: 6172: 6168: 6167: 6165: 6164: 6159: 6154: 6149: 6144: 6143: 6142: 6137: 6127: 6122: 6117: 6116: 6115: 6105: 6104: 6103: 6093: 6092: 6091: 6090: 6089: 6084: 6079: 6074: 6069: 6061: 6060: 6059: 6051: 6046: 6041:United Kingdom 6038: 6033: 6028: 6023: 6012: 6006: 6004: 6000: 5999: 5996: 5995: 5993: 5992: 5985: 5978: 5971: 5964: 5957: 5950: 5941: 5939: 5935: 5934: 5932: 5931: 5926: 5921: 5916: 5911: 5906: 5901: 5896: 5891: 5886: 5881: 5876: 5870: 5868: 5861: 5855: 5854: 5852: 5851: 5844: 5837: 5830: 5823: 5816: 5809: 5802: 5795: 5788: 5781: 5773: 5771: 5767: 5766: 5764: 5763: 5758: 5753: 5748: 5743: 5735: 5730: 5725: 5720: 5715: 5710: 5705: 5700: 5695: 5690: 5688:Brasil Hot 100 5682: 5674: 5666: 5660: 5658: 5652: 5651: 5649: 5648: 5643: 5641:Music festival 5638: 5633: 5628: 5622: 5620: 5616: 5615: 5613: 5612: 5607: 5605:Music download 5602: 5597: 5592: 5587: 5582: 5577: 5572: 5567: 5562: 5561: 5560: 5546: 5517: 5515: 5507: 5506: 5503: 5502: 5500: 5499: 5497:Sound engineer 5494: 5493: 5492: 5487: 5482: 5477: 5467: 5462: 5460:Rhythm section 5457: 5452: 5447: 5442: 5437: 5432: 5431: 5430: 5425: 5415: 5409: 5407: 5400: 5399: 5394: 5392:Talent manager 5389: 5384: 5379: 5374: 5369: 5364: 5359: 5354: 5349: 5344: 5339: 5334: 5329: 5324: 5319: 5314: 5309: 5304: 5299: 5293: 5291: 5285: 5284: 5282: 5281: 5276: 5271: 5266: 5261: 5256: 5251: 5246: 5241: 5236: 5231: 5226: 5221: 5216: 5211: 5209:Easy listening 5206: 5201: 5195: 5193: 5187: 5186: 5183: 5182: 5180: 5179: 5174: 5169: 5164: 5158: 5156: 5152: 5151: 5149: 5148: 5143: 5138: 5133: 5128: 5118: 5112: 5110: 5106: 5105: 5103: 5102: 5097: 5092: 5079: 5074: 5069: 5055: 5053: 5049: 5048: 5046: 5045: 5040: 5035: 5030: 5025: 5019: 5017: 5013: 5012: 5010: 5009: 5004: 4999: 4994: 4989: 4984: 4979: 4974: 4969: 4964: 4958: 4956: 4949: 4943: 4942: 4939:Music industry 4937: 4935: 4934: 4927: 4920: 4912: 4903: 4902: 4900: 4899: 4893: 4891: 4887: 4886: 4884: 4883: 4873: 4868: 4863: 4858: 4857: 4856: 4846: 4841: 4839:Film criticism 4836: 4831: 4825: 4823: 4819: 4818: 4815:Arts criticism 4813: 4811: 4810: 4803: 4796: 4788: 4779: 4778: 4776: 4775: 4763: 4749: 4734: 4731: 4730: 4728: 4727: 4725:Women in music 4722: 4721: 4720: 4715: 4713:Classification 4705: 4700: 4695: 4693:Music festival 4690: 4689: 4688: 4683: 4673: 4671:Music industry 4668: 4663: 4658: 4653: 4648: 4642: 4640: 4636: 4635: 4633: 4632: 4627: 4622: 4617: 4612: 4607: 4602: 4597: 4592: 4587: 4582: 4577: 4571: 4569: 4565: 4564: 4561: 4560: 4558: 4553: 4548: 4543: 4541:Western Sahara 4538: 4533: 4528: 4523: 4518: 4513: 4508: 4503: 4501:United Kingdom 4498: 4493: 4488: 4483: 4478: 4473: 4468: 4463: 4458: 4453: 4448: 4443: 4438: 4433: 4428: 4423: 4418: 4413: 4408: 4403: 4398: 4393: 4388: 4383: 4378: 4373: 4368: 4363: 4358: 4353: 4348: 4343: 4338: 4333: 4328: 4323: 4318: 4313: 4308: 4303: 4298: 4293: 4288: 4283: 4278: 4273: 4268: 4263: 4258: 4253: 4248: 4243: 4238: 4233: 4228: 4223: 4218: 4213: 4208: 4203: 4198: 4193: 4188: 4183: 4178: 4173: 4168: 4163: 4158: 4153: 4148: 4143: 4138: 4133: 4128: 4123: 4118: 4113: 4108: 4103: 4098: 4093: 4088: 4083: 4078: 4073: 4068: 4063: 4058: 4053: 4048: 4043: 4038: 4033: 4028: 4023: 4018: 4013: 4008: 4003: 3998: 3993: 3988: 3983: 3978: 3973: 3968: 3963: 3958: 3953: 3948: 3943: 3938: 3933: 3928: 3923: 3918: 3913: 3908: 3903: 3898: 3893: 3888: 3883: 3878: 3873: 3868: 3863: 3858: 3853: 3848: 3843: 3838: 3833: 3828: 3823: 3818: 3813: 3808: 3803: 3798: 3793: 3788: 3783: 3781:Czech Republic 3778: 3773: 3768: 3763: 3758: 3753: 3748: 3743: 3738: 3733: 3728: 3723: 3718: 3713: 3708: 3703: 3698: 3693: 3688: 3683: 3678: 3673: 3668: 3663: 3658: 3653: 3648: 3643: 3638: 3633: 3628: 3623: 3618: 3613: 3608: 3603: 3598: 3593: 3588: 3583: 3578: 3573: 3568: 3565: 3564: 3561: 3555: 3551: 3550: 3548: 3547: 3546: 3545: 3540: 3535: 3525: 3524: 3523: 3516:North American 3513: 3512: 3511: 3509:South American 3506: 3499:Latin American 3496: 3495: 3494: 3489: 3479: 3478: 3477: 3472: 3467: 3465:Middle Eastern 3462: 3457: 3447: 3446: 3445: 3440: 3435: 3430: 3425: 3414: 3412: 3405: 3402: 3401: 3399: 3398: 3393: 3388: 3383: 3378: 3373: 3368: 3363: 3358: 3356:Audio engineer 3353: 3352: 3351: 3346: 3341: 3331: 3330: 3329: 3318: 3316: 3312: 3311: 3309: 3308: 3307: 3306: 3301: 3296: 3291: 3289:New musicology 3286: 3281: 3276: 3271: 3266: 3256: 3255: 3254: 3244: 3239: 3234: 3229: 3224: 3219: 3214: 3209: 3203: 3201: 3194: 3193: 3191: 3190: 3185: 3180: 3175: 3170: 3165: 3160: 3154: 3152: 3150: 3149: 3144: 3138: 3135: 3134: 3132: 3131: 3130: 3129: 3124: 3114: 3109: 3104: 3099: 3098: 3097: 3095:Rhythm section 3092: 3087: 3076: 3074: 3072: 3071: 3066: 3060: 3057: 3056: 3053: 3052: 3050: 3049: 3044: 3039: 3034: 3029: 3024: 3019: 3014: 3008: 3006: 3000: 2999: 2997: 2996: 2991: 2986: 2981: 2976: 2971: 2966: 2961: 2956: 2951: 2946: 2940: 2938: 2930: 2929: 2927: 2926: 2921: 2916: 2911: 2906: 2901: 2896: 2891: 2886: 2881: 2876: 2871: 2866: 2861: 2856: 2851: 2846: 2841: 2836: 2831: 2826: 2821: 2815: 2813: 2804: 2803: 2798: 2797: 2796: 2786: 2781: 2776: 2771: 2765: 2763: 2757: 2756: 2751: 2749: 2748: 2741: 2734: 2726: 2719: 2718: 2696: 2640: 2592: 2586:The New Yorker 2568: 2561: 2538: 2531: 2509: 2494: 2472: 2420: 2395: 2358: 2330: 2309: 2286: 2260: 2232: 2213: 2187: 2180: 2154: 2127: 2100: 2076: 2049: 2031: 2005: 1973: 1960: 1947: 1934: 1907:(3): 407–426. 1878: 1870: 1847: 1840: 1834:. p. 70. 1818: 1806: 1771: 1756: 1744: 1742:, p. 118. 1732: 1730:, p. 193. 1717: 1715:, p. 192. 1702: 1690: 1678: 1676:, p. 191. 1666: 1664:, p. 190. 1654: 1647: 1625: 1600: 1588: 1581: 1563: 1556: 1538: 1526: 1514: 1507: 1489: 1482: 1453: 1437: 1411: 1377: 1370: 1347: 1330:Sandow, Greg, 1323: 1306: 1283: 1281: 1278: 1277: 1276: 1271: 1266: 1261: 1256: 1249: 1246: 1151:Kembrew McLeod 1114: 1113: 1069: 1067: 1060: 1054: 1051: 1019:Tortured Poets 1009:Bloomberg News 1004: 1001: 884: 881: 795: 792: 790: 787: 733: 730: 664:The New Yorker 576:Clinton Heylin 566:New Journalism 530:Robert Shelton 485:'s arrival at 467:, the paper's 444:". From 1964, 423: 420: 412: 409: 370:Peter G. Davis 346:New York Times 337: 336: 333: 330: 322:New York Times 295: 292: 253:Paul Hindemith 245:Alfred Brendel 191:Hector Berlioz 116:Hector Berlioz 108: 105: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6330: 6319: 6316: 6314: 6311: 6310: 6308: 6293: 6292: 6283: 6281: 6280: 6269: 6268: 6265: 6259: 6256: 6254: 6251: 6249: 6246: 6244: 6241: 6239: 6236: 6234: 6231: 6229: 6226: 6224: 6221: 6219: 6216: 6214: 6211: 6209: 6206: 6204: 6201: 6199: 6196: 6194: 6191: 6189: 6186: 6184: 6181: 6179: 6176: 6175: 6173: 6169: 6163: 6160: 6158: 6155: 6153: 6150: 6148: 6145: 6141: 6138: 6136: 6133: 6132: 6131: 6128: 6126: 6123: 6121: 6118: 6114: 6111: 6110: 6109: 6106: 6102: 6099: 6098: 6097: 6094: 6088: 6085: 6083: 6080: 6078: 6075: 6073: 6070: 6068: 6065: 6064: 6063:Nationality: 6062: 6058: 6055: 6054: 6052: 6050: 6049:United States 6047: 6042: 6039: 6037: 6034: 6032: 6029: 6027: 6024: 6022: 6018: 6017: 6016: 6013: 6011: 6008: 6007: 6005: 6001: 5991: 5990: 5986: 5984: 5983: 5979: 5977: 5976: 5972: 5970: 5969: 5965: 5963: 5962: 5958: 5956: 5955: 5951: 5949: 5947: 5943: 5942: 5940: 5936: 5930: 5927: 5925: 5922: 5920: 5917: 5915: 5912: 5910: 5907: 5905: 5902: 5900: 5897: 5895: 5892: 5890: 5887: 5885: 5882: 5880: 5877: 5875: 5872: 5871: 5869: 5865: 5862: 5860: 5856: 5850: 5849: 5845: 5843: 5842: 5838: 5836: 5835: 5834:Rolling Stone 5831: 5829: 5828: 5824: 5822: 5821: 5817: 5815: 5814: 5810: 5808: 5807: 5803: 5801: 5800: 5796: 5794: 5793: 5789: 5787: 5786: 5782: 5780: 5779: 5775: 5774: 5772: 5768: 5762: 5759: 5757: 5754: 5752: 5749: 5747: 5744: 5742: 5740: 5739:Rolling Stone 5736: 5734: 5731: 5729: 5728:Oricon charts 5726: 5724: 5721: 5719: 5716: 5714: 5711: 5709: 5706: 5704: 5703:G-Music chart 5701: 5699: 5696: 5694: 5691: 5689: 5687: 5683: 5681: 5679: 5675: 5673: 5671: 5667: 5665: 5662: 5661: 5659: 5657: 5653: 5647: 5644: 5642: 5639: 5637: 5634: 5632: 5629: 5627: 5624: 5623: 5621: 5617: 5611: 5608: 5606: 5603: 5601: 5598: 5596: 5593: 5591: 5588: 5586: 5583: 5581: 5578: 5576: 5573: 5571: 5568: 5566: 5563: 5559: 5555: 5552: 5551: 5550: 5547: 5543: 5539: 5535: 5531: 5527: 5522: 5519: 5518: 5516: 5514: 5508: 5498: 5495: 5491: 5488: 5486: 5483: 5481: 5478: 5476: 5475:Backup singer 5473: 5472: 5471: 5468: 5466: 5463: 5461: 5458: 5456: 5453: 5451: 5448: 5446: 5443: 5441: 5438: 5436: 5433: 5429: 5426: 5424: 5421: 5420: 5419: 5416: 5414: 5411: 5410: 5408: 5404: 5398: 5397:Tour promoter 5395: 5393: 5390: 5388: 5385: 5383: 5380: 5378: 5375: 5373: 5370: 5368: 5365: 5363: 5360: 5358: 5355: 5353: 5350: 5348: 5345: 5343: 5340: 5338: 5335: 5333: 5330: 5328: 5325: 5323: 5320: 5318: 5315: 5313: 5310: 5308: 5305: 5303: 5300: 5298: 5295: 5294: 5292: 5286: 5280: 5277: 5275: 5272: 5270: 5267: 5265: 5262: 5260: 5257: 5255: 5252: 5250: 5247: 5245: 5242: 5240: 5237: 5235: 5232: 5230: 5227: 5225: 5222: 5220: 5217: 5215: 5212: 5210: 5207: 5205: 5202: 5200: 5197: 5196: 5194: 5192: 5188: 5178: 5175: 5173: 5170: 5168: 5165: 5163: 5160: 5159: 5157: 5153: 5147: 5144: 5142: 5139: 5137: 5134: 5132: 5129: 5126: 5122: 5119: 5117: 5114: 5113: 5111: 5107: 5101: 5098: 5096: 5093: 5091: 5087: 5086: 5085: 5080: 5078: 5075: 5073: 5070: 5068: 5064: 5063: 5062: 5057: 5056: 5054: 5052:Record labels 5050: 5044: 5041: 5039: 5036: 5034: 5031: 5029: 5026: 5024: 5021: 5020: 5018: 5014: 5008: 5005: 5003: 5000: 4998: 4995: 4993: 4990: 4988: 4985: 4983: 4980: 4978: 4975: 4973: 4970: 4968: 4965: 4963: 4960: 4959: 4957: 4953: 4950: 4944: 4940: 4933: 4928: 4926: 4921: 4919: 4914: 4913: 4910: 4898: 4895: 4894: 4892: 4888: 4881: 4877: 4874: 4872: 4869: 4867: 4864: 4862: 4859: 4855: 4852: 4851: 4850: 4847: 4845: 4842: 4840: 4837: 4835: 4832: 4830: 4827: 4826: 4824: 4820: 4816: 4809: 4804: 4802: 4797: 4795: 4790: 4789: 4786: 4774: 4773: 4764: 4762: 4761: 4750: 4748: 4747: 4736: 4735: 4732: 4726: 4723: 4719: 4716: 4714: 4711: 4710: 4709: 4706: 4704: 4703:Music therapy 4701: 4699: 4696: 4694: 4691: 4687: 4684: 4682: 4679: 4678: 4677: 4674: 4672: 4669: 4667: 4664: 4662: 4659: 4657: 4654: 4652: 4649: 4647: 4644: 4643: 4641: 4637: 4631: 4628: 4626: 4623: 4621: 4618: 4616: 4613: 4611: 4608: 4606: 4603: 4601: 4598: 4596: 4593: 4591: 4588: 4586: 4583: 4581: 4578: 4576: 4573: 4572: 4570: 4566: 4557: 4554: 4552: 4549: 4547: 4544: 4542: 4539: 4537: 4534: 4532: 4529: 4527: 4524: 4522: 4519: 4517: 4514: 4512: 4509: 4507: 4506:United States 4504: 4502: 4499: 4497: 4494: 4492: 4489: 4487: 4484: 4482: 4479: 4477: 4474: 4472: 4469: 4467: 4464: 4462: 4459: 4457: 4454: 4452: 4449: 4447: 4444: 4442: 4439: 4437: 4434: 4432: 4429: 4427: 4424: 4422: 4419: 4417: 4414: 4412: 4409: 4407: 4404: 4402: 4399: 4397: 4394: 4392: 4389: 4387: 4384: 4382: 4379: 4377: 4374: 4372: 4369: 4367: 4364: 4362: 4359: 4357: 4354: 4352: 4349: 4347: 4344: 4342: 4339: 4337: 4334: 4332: 4329: 4327: 4324: 4322: 4319: 4317: 4314: 4312: 4309: 4307: 4304: 4302: 4299: 4297: 4294: 4292: 4289: 4287: 4284: 4282: 4279: 4277: 4274: 4272: 4269: 4267: 4264: 4262: 4259: 4257: 4254: 4252: 4249: 4247: 4244: 4242: 4239: 4237: 4234: 4232: 4229: 4227: 4224: 4222: 4219: 4217: 4214: 4212: 4209: 4207: 4204: 4202: 4199: 4197: 4194: 4192: 4189: 4187: 4184: 4182: 4179: 4177: 4174: 4172: 4169: 4167: 4164: 4162: 4159: 4157: 4154: 4152: 4149: 4147: 4144: 4142: 4139: 4137: 4134: 4132: 4129: 4127: 4124: 4122: 4119: 4117: 4114: 4112: 4109: 4107: 4104: 4102: 4099: 4097: 4094: 4092: 4089: 4087: 4084: 4082: 4079: 4077: 4074: 4072: 4069: 4067: 4066:Liechtenstein 4064: 4062: 4059: 4057: 4054: 4052: 4049: 4047: 4044: 4042: 4039: 4037: 4034: 4032: 4029: 4027: 4024: 4022: 4019: 4017: 4014: 4012: 4009: 4007: 4004: 4002: 3999: 3997: 3994: 3992: 3989: 3987: 3984: 3982: 3979: 3977: 3974: 3972: 3969: 3967: 3964: 3962: 3959: 3957: 3954: 3952: 3949: 3947: 3944: 3942: 3939: 3937: 3934: 3932: 3929: 3927: 3924: 3922: 3921:Guinea-Bissau 3919: 3917: 3914: 3912: 3909: 3907: 3904: 3902: 3899: 3897: 3894: 3892: 3889: 3887: 3884: 3882: 3879: 3877: 3874: 3872: 3869: 3867: 3864: 3862: 3859: 3857: 3854: 3852: 3849: 3847: 3844: 3842: 3839: 3837: 3834: 3832: 3829: 3827: 3824: 3822: 3819: 3817: 3814: 3812: 3809: 3807: 3804: 3802: 3799: 3797: 3794: 3792: 3789: 3787: 3784: 3782: 3779: 3777: 3774: 3772: 3769: 3767: 3764: 3762: 3759: 3757: 3754: 3752: 3749: 3747: 3744: 3742: 3739: 3737: 3734: 3732: 3729: 3727: 3724: 3722: 3719: 3717: 3714: 3712: 3709: 3707: 3704: 3702: 3699: 3697: 3694: 3692: 3689: 3687: 3684: 3682: 3679: 3677: 3674: 3672: 3669: 3667: 3664: 3662: 3659: 3657: 3654: 3652: 3649: 3647: 3644: 3642: 3639: 3637: 3634: 3632: 3629: 3627: 3624: 3622: 3619: 3617: 3614: 3612: 3609: 3607: 3604: 3602: 3599: 3597: 3594: 3592: 3589: 3587: 3584: 3582: 3579: 3577: 3574: 3572: 3569: 3566: 3559: 3556: 3552: 3544: 3541: 3539: 3536: 3534: 3531: 3530: 3529: 3526: 3522: 3519: 3518: 3517: 3514: 3510: 3507: 3505: 3502: 3501: 3500: 3497: 3493: 3490: 3488: 3485: 3484: 3483: 3480: 3476: 3473: 3471: 3468: 3466: 3463: 3461: 3458: 3456: 3453: 3452: 3451: 3448: 3444: 3441: 3439: 3436: 3434: 3431: 3429: 3426: 3424: 3421: 3420: 3419: 3416: 3415: 3413: 3410: 3407:Cultural and 3403: 3397: 3394: 3392: 3389: 3387: 3384: 3382: 3379: 3377: 3374: 3372: 3369: 3367: 3364: 3362: 3359: 3357: 3354: 3350: 3347: 3345: 3342: 3340: 3337: 3336: 3335: 3334:Extended play 3332: 3328: 3325: 3324: 3323: 3320: 3319: 3317: 3313: 3305: 3304:Zoomusicology 3302: 3300: 3297: 3295: 3292: 3290: 3287: 3285: 3282: 3280: 3279:Ecomusicology 3277: 3275: 3272: 3270: 3267: 3265: 3264:Biomusicology 3262: 3261: 3260: 3257: 3253: 3250: 3249: 3248: 3245: 3243: 3240: 3238: 3237:Music history 3235: 3233: 3230: 3228: 3225: 3223: 3220: 3218: 3215: 3213: 3210: 3208: 3205: 3204: 3202: 3199: 3195: 3189: 3186: 3184: 3181: 3179: 3176: 3174: 3173:Improvisation 3171: 3169: 3166: 3164: 3161: 3159: 3156: 3155: 3153: 3148: 3145: 3143: 3140: 3139: 3136: 3128: 3125: 3123: 3122:Lead vocalist 3120: 3119: 3118: 3117:Military band 3115: 3113: 3110: 3108: 3105: 3103: 3100: 3096: 3093: 3091: 3088: 3086: 3083: 3082: 3081: 3078: 3077: 3075: 3070: 3067: 3065: 3062: 3061: 3058: 3048: 3045: 3043: 3040: 3038: 3035: 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