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Western classical music has a substantial history of music criticism, and many individuals have established careers as music critics.However, concert reviews are not always credited in the daily and weekly newspapers, especially those in the early to mid-20th century.
Eduard Hanslick, an influential music critic of the 19th-century. The Oxford Companion to Music defines music criticism as "the intellectual activity of formulating judgments on the value and degree of excellence of individual works of music, or whole groups or genres". [1] In this sense, it is a branch of musical aesthetics.
"True" was noted as the worst song ever by St. Petersburg Times music columnist Sean Daly [78] and The Guardian journalist Luke Williams; [74] Williams's colleague Michael Hann described the track as "dreadful wine-bar soul". [79] Seattle Post-Intelligencer critic Robert Jamieson called it the worst love song of all time. [80]
The Pitchfork review system’s highest review is a 9.9 — used only once, for the Complete Motown Singles, in 2007. Dash had no review lower than a 7.1 out of 25 reviews, until Eminem’s record ...
Music criticism's former priority — telling consumers what to purchase — has been rendered null and void for most fans." He argued that this and "click culture" causes music critics to act as "cheerleaders" for existing stars. [44] [45] [46] The 2010s saw a rise of music critics who used YouTube and social media as their platform.
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Robert Thomas Christgau (/ ˈ k r ɪ s t ɡ aʊ / KRIST-gow; born April 18, 1942) is an American music journalist and essayist.Among the most well-known [1] and influential music critics, [2] he began his career in the late 1960s as one of the earliest professional rock critics and later became an early proponent of musical movements such as hip hop, riot grrrl, and the import of African ...
In the 1970s, he was an associate editor of Crawdaddy!, where he published his first works (outside school publications); [4] and in the 1980s, an associate editor at Rolling Stone and the music editor at The Village Voice. He started contributing to The Times in 1982. [3] He reviews popular music in the arts section of The Times. [4]