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

Protein surface charge of trypsinogen changes its activation pattern

Background: Trypsinogen is the inactive precursor of trypsin, a serine protease that cleaves proteins and peptides after arginine and lysine residues. In this study, human trypsinogen was used as a model protein to study the influence of electrostatic forces on protein–protein interactions. Trypsinogen is active only after its eight-amino-acid-long activation peptide has been cleaved off by another protease, enteropeptidase. Trypsinogen can also be autoactivated without the involvement of enteropeptidase. This autoactivation process can occur if a trypsinogen molecule is activated by another trypsin molecule and therefore is based on a protein–protein interaction. Results: Based on a rational protein design based on autoactivation-defective guinea pig trypsinogen, several amino acid residues, all located far away from the active site, were changed to modify the surface charge of human trypsinogen. The influence of the surface charge on the activation pattern of trypsinogen was investigated. The autoactivation properties of mutant trypsinogen were characterized in comparison to the recombinant wild-type enzyme. Surface-charged trypsinogen showed practically no autoactivation compared to the wild-type but could still be activated by enteropeptidase to the fully active trypsin. The kinetic parameters of surface-charged trypsinogen were comparable to the recombinant wild-type enzyme. Conclusion: The variant with a modified surface charge compared to the wild-type enzyme showed a complete different activation pattern. Our study provides an example how directed modification of the protein surface charge can be utilized for the regulation of functional protein–protein interactions, as shown here for human trypsinogen

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’