Skip to main content Accessibility help
×
Home
Hostname: page-component-59b7f5684b-z9m8x Total loading time: 0.616 Render date: 2022-10-01T18:12:18.066Z Has data issue: true Feature Flags: { "shouldUseShareProductTool": true, "shouldUseHypothesis": true, "isUnsiloEnabled": true, "useRatesEcommerce": false, "displayNetworkTab": true, "displayNetworkMapGraph": true, "useSa": true } hasContentIssue true

Introduction

Published online by Cambridge University Press:  21 August 2019

Christopher Dingle
Affiliation:
Royal Birmingham Conservatoire
Get access

Summary

All histories are partial. All histories are simplifications. Anyone professing to write about history, to write a history, never mind writing or compiling the history of anything should be aware of these twin a priori limitations. Even before considering the prejudices, philosophy or political intent of the author, history is written from a particular perspective, at a particular time, with access to particular evidence. While such basic observations are readily apparent with any area of historical investigation, two factors make them especially pertinent for the study of music criticism. First, although music criticism has long been an integral aspect of musical life, and is an obvious source material for musicological areas such as reception studies, it is only relatively recently that it has been regarded as a field of study in its own right. Second, although this translates to a paucity of secondary sources compared to other subjects of musicological enquiry, there is a vast amount of primary source material.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×