Published online by Cambridge University Press: 21 August 2019
The development of serious music criticism in Canada and the United States has paralleled in many ways the more general growth of music in the two nations. Musical independence from Europe came somewhat later than in the other arts. Eurocentric critics based their evaluative criteria on European models; even today vestiges of this subservience remain. Nevertheless, reviews in the United States and Canada have usually been more reportorial than their European counterparts, which tend more towards analysis and reflection; as a result, the focus has been on timeliness and objectivity, although certainly biases are by no means absent.