The Principles and Methods of Musical Criticism

The Principles and Methods of Musical Criticism

The Principles and Methods of Musical Criticism

The Principles and Methods of Musical Criticism

Excerpt

The best way of dealing with my subject in the first place would have been to write a rough draft, have it printed, and send it to a number of competent judges, inviting their comments and corrections--the course followed by M. André Lalande in preparing his wonderful Vocabulaire Technique et Critique de la Philosophie. I very much doubt whether it would have been practicable.

As it happens, reviews of the first edition of my book, and various articles and books published later, have provided or suggested a number of emendations and complements for which I am deeply grateful, and of which I have tried to avail myself in the writing of the third part. This new part deals mainly with the problem of objectivity versus subjectivity in criticism, but also with many questions rising from this central one.

I found it preferable not to alter the sequence and balance of the first two parts, and not to burden the book with all my replies to various objections raised by my critics--replies which appeared in the Musical Times, April 1924 (A Critic on His Critics), and in the Monthly Musical Record, January 1925 (When Critic Joined Critic).

I have also provided an Index.

M. D. CALVOCORESSI

CHELSEA, May 1930 . . .

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