Comparing Notes: Recording and Criticism

This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edison’s Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice

Wider Still and Wider: British Music Criticism since the Second World War

This chapter provides the first historical examination of music criticism in Britain since the Second World War. In the process, it also challenges the simplistic prevailing view of this being a period of decline from a golden age in music criticism

Lettres de Mademoiselle Aïssé. accompagnées d'une notice biographique / (par le baron de Barante) ; et de notes explicatives

Collection : Collection épistolaire des femmes célèbres du siècle de Louis XIV ; IIIComprend : Notice sur Mademoiselle Aïss

Inhibitory Effect of Lactobacillus plantarum FL75 and Leuconostoc mesenteroides FL14 against Foodborne Pathogens in Artificially Contaminated Fermented Tomato Juices

Tomatoes and tomato based-foods contain beneficial microorganisms and various organic acids that have important nutritional values for human. The objective of this study was to access the physiochemical properties of fermented tomatoes juices and to evaluate the competitiveness of lactic acid bacteria (LAB) against Listeria monocytogenes, Listeria innocua, and Salmonella spp., in artificially contaminated tomato juice. Microbial counting (LAB, fungi Salmonella spp., and Listeria spp.) was performed after fermentation and weekly during storage. Different organic acids (Lactic, succinic, and acetic) and ethanol were also monitored using HPLC method. Color parameters were also determined. The results showed an increase of lactic and acetic acid content, during fermentation and storage of juices inoculated with Lactobacillus plantarum and Leuconostoc mesenteroides at 25°C. Besides, citric acid and ethanol revealed higher content at the end of storage compared to that registered at 4°C. The pH from tomatoes juices decreased from an initial value of 4.5 to below 3.2. Alongside, foodborne pathogen population was significantly suppressed in tomatoes juices when the samples were coinoculated with LAB strains. Moreover, the inhibition of Salmonella species was faster compared to that of Listeria. After four weeks of storage at 4°C, Lb. plantarum and Lc. mesenteroides showed high survival rate, while pathogenic bacteria, yeasts, and molds cell numbers decreased drastically in all the contaminated vials. This work highlights the efficiency of Lb. plantarum and Lc. mesenteroides as potential starters for developing nutritious and safe fermented tomato juice products

The Gender Paradox: Criticism of Women and Women as Critics

In May 2014 a storm erupted in the British classical music world when five established male critics fat-shamed Irish mezzo-soprano Tara Erraught, who was performing Octavian in Der Rosenkavalier at Covent Garden. Instead of focusing upon Erraught’s technique or interpretation, the critics ridiculed her physique. Writing in the Financial Times Andrew Clark referred to Erraught as ‘a chubby bundle of puppy-fat’; Michael Church in The Independent and Rupert Christiansen in The Telegraph both described her as ‘dumpy’; Andrew Clements in The Guardian called her ‘stocky’; and Richard Morrison in The Times characterised her as ‘unbelievable, unsightly and unappealing’. Although these sexist comments drew widespread condemnation, they are symptomatic of a centuries-old tendency for empowered male critics to fail to produce objective assessments of female musicians

Critiquing the Canon: The Role of Criticism in Canon Formation

Music critics wield great power. Their writing influences public opinion and contributes to how audiences receive works. They focus attention upon specific works and musicians, thus justifying these as most worthy of public recognition and debate. They help works to achieve repeat performances, and thereby to establish their places within the performing canon. In the age of recorded sound, they influence sales and affect charts. Although some claim that with the recent rise of ubiquitous digital critical commentary (much of it amateur) professional critics have lost their traditional authority, online criticism continues to exercise considerable sway. In a very real way, critics have been – and continue to be – the gatekeepers of the canon. As Roy Shuker has observed, ‘popular music critics … function as significant gatekeepers and as arbiters of taste’

Music Criticism in France Since the Second World War

info:eu-repo/semantics/publishe

Spanish music criticism in the twentieth century: writing music history in real time

This chapter examines how the documenting and reflecting on current musical life carried out by two Spanish music critics whose careers spanned most of the twentieth century – Adolfo Salazar (1890–1958) and Federico Sopeña (1917–91) – provided a crucial foundation for the historiography of Spanish music after 1900. For decades, Salazar and Sopeña have shaped our thinking about Spanish twentieth-century music; their works are still regarded as authoritative to a considerable extent and they are frequently cited as secondary sources in studies of Spanish music. Indeed, it is only in the last decade that their writings and biographies have started to be examined with a view to identifying and critiquing the master narratives they crafted to present and explain Spanish music of the twentieth century: the music they were immersed in and, in some cases, turned into history almost from the moment they heard it for the first time