<<<<<<<<< Back to Why COOL is not enough Elements of Musical Criticism The term criticism used in connection with a review of a work of music or a performance of a specific piece of music is not applied to convey a negative judgment about the composition or performers.  Rather, the term is meant to convey the analytical nature of the commentary on the music.  After the analysis is complete the reviewer may form a negative judgment of the music, but that is not required. At a minimum, a work of musical criticism includes the eight components listed below.

1.    Identify the Composer, Performers and the Work or Works Performed.             •  What was the title of the musical composition or compositions you heard?             •  Who was the composer?             •  Who was the arranger, if different from the composer?             • Where and when was the performance held?             •   Who were the performers?  That means you must identify the conductor, orchestra, ensemble and                           soloists as appropriate to the work.             •   What was the nature of the performance hall?             •   Was any electronic sound reinforcement used in the hall? 2.    Describe the Form of the Work. The construction of a work of music is very important.  Is it a song?  Is it an opera?  Is it a mass?  Is it a symphony?  It is chamber music?  It is a jazz quartet?  Form is vital to understand because it is unfair to criticize a work of music by applying the wrong template of form.  A song is not a symphony.  Different standards apply.   An educated listener judges a piece of music first by how well it represents the form it strives to attain.  Music can be divided into five basic forms.     1.  Sectional forms – songs, fiddle tunes, old time music, rondos, ragtime, early jazz     2.  Variation forms – basso ostinato, passacaglia, chaconne, theme and variations     3.  Fugal forms – the fugue, Concerto Grosso, chorale, prelude, motets and madrigals     4.  Sonata forms – sonata, symphony, concerto     5.  Free forms – the prelude, symphonic poem, contemporary jazz This lecture will focus most of its attention on sectional forms and sonata forms.  These appear in such great number and are very much in contemporary use. Some very sophisticated listeners argue that music IS form.   That is to say most of the good melodies have been written.  Most of the interesting harmonies have been worked out.  Most of the good rhythms are known.  So, what the artist is left with is how to construct these elements into a form that is expressive.  This is a highly intellectual approach to music.  My personal view is that, although form is extremely important, I am unwilling to swap my heart for my head.  I want a work of music to move me emotionally.  If it does that, the work has a better chance of providing intellectual content.  It is much harder for me to grasp the intellectual component of a work of music and then have that understanding affect me in some way.  Music is both emotion and intellect.  One of the early critical choices you must make is which of these, emotion or intellect, will guide your perspective on music.  •    Identify the form of the work that is performed.  A list of  music forms is found here.  Scroll down to the last section to find the list. •    Be specific about the structure of the music.  Is it a rondo or a sonata?  What was the nature of the organization of the movements or themes?  For example, a rondo might be structured A-B-A-C-A with the “C” part exhibiting a modulation of key or change of tempo.  A sonata allegro form will rely upon the development of a theme over the course of three or four movements.

3.    Provide a Context for the Music.         •     What is the historical, cultural, political, religious, scientific, economic context in which the composer lived or lives?         •     How has context of the time informed, constrained or otherwise informed the composition?         •     All creative work is, to some extent, autobiographical and captive to the time in which it was written.          •     Has the composer’s personal experiences openly influenced the composition and, if so, in what way?         •    The program notes for the concert may help.  The conductor may say something to the audience to put the music into context.  Refer to the                timeline of Western music for some help. 4.    Describe the Artistic Heritage of the Music. No creative work is without forbearers.  A good review of music includes an examination of  what came before the composition and how the new work fits into the context of its heritage.        •    Where does the work fit within the uninterrupted stream of human expression?        •    Is this a new form, perhaps a member of an emerging school of composition?  Or, is the work part of a well-established tradition?        •    Did the composer “borrow” ideas from works of earlier composers?  If so, was this an act of homage or thievery?        •    Is this work of music connected to other contemporary forms of visual or literary art?         •    The program notes for the concert may help.  The conductor may say something to the audience to put the music into context.

5.    Explain the Affective Content of the Music.        •    What story does the music tell?        •    What is the composer trying to make the listener feel, think or understand?        •    Is the story literal – like the William Tell Overture?  Or is it abstract – like Beethoven’s 5th symphony?        •    Is the composition an act of worship, criticism, celebration, love or contemplation?        •    Is the composer meditating, wandering, or trying to represent something or some event in nature?        •    What is inside the affective domain of the composition?        •    Is the composition strictly an intellectual piece that has no connection with our corporeal experiences?        •    How well does the composer use all the voices of the orchestra: strings, woodwinds, brass and percussion?  Is the arrangement or                  orchestration of the voices successful?        •    Melody, rhythm, harmony and tonal color combine to affect listeners.  How well is this combination done and what does the music achieve?         •    Is the composer successful in conveying his ideas to the listener?  6.    Describe the Technical Devices Employed to Convey the Message of the Music.         •    How has the composer made use of the basic musical tools of rhythm, melody, harmony and tonal color?         •    Is the music monophonic – does it have a single melody line?  Or, is it polyphonic – does it have at least two melody lines that are                 relatively equal in strength and complexity?         •    If lyrics are part of the performance, how does the text and music combine in overall affect?         •    What changes in rhythm, key, tempo, instrumentation, melody and harmony are present in the composition?          •    How well does the composer use all the voices of the orchestra:  strings, woodwinds, brass and percussion?  Is the arrangement or                 orchestration of the voices successful?          •    Identify any special orchestration techniques such as the instruments used in a string quartet or any soloists.         •    Were any unusual instruments used such as folk instruments, Cage’s “prepared pianos” or a Theremin?

7.    Make a Statement of Personal Judgment on the Quality of the Musical Composition.         •    Was the composer successful in conveying his or her ideas to the listener?         •    Why does the composition succeed or fail?  Don’t confuse liking a piece of music with the quality or artistic merit of the piece.                  Some music, for example Bernard Herrman’s score to the movie Psycho, is simultaneously unsettling and extremely effective.         •    What, if any, emotions did the composition evoke from you? 8.    Make a Statement of Personal Judgment on the Quality of the Musical Performance.         •    Did the conductor interpret the composition effectively?         •    Did the soloists perform the work persuasively?         •    Did the orchestra provide a sense of life to the composition?         •    Did the concert hall provide a good listening setting or was it a distraction to the music? Items 7 and 8 are what musicologists do for a living.  To be able to prepare a professional review of music requires long study of the technical aspects of music, history, art, philosophy and the other liberal arts.  Musicologists generally have at least a bachelor’s degree and often a master’s degree in music.  Some have doctoral degrees and are notable scholars.  They are trained judges and interpreters of serious music.   On to an example of musical criticism - Down By The Salley Gardens >>>>>>>>

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