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Music journalism (or "music criticism") is media criticism and reporting about popular music topics, including pop music, rock music and related styles. Journalists began writing about music in the eighteenth century, providing commentary on what is now thought of as classical music. In the 2000s, a more prominent branch of music journalism is an aspect of entertainment journalism, covering popular music and including profiles of singers and bands, live concert and album reviews. ==Origins in classical music criticism== Music journalism has its roots in classical music criticism, which has traditionally comprised the study, discussion, evaluation, and interpretation of music and its performance. Before about the 1840s, reporting on music was either done by musical journals, such as ''Allgemeine musikalische Zeitung'' or the ''Neue Zeitschrift für Musik'' (founded by Robert Schumann), and in London such journals as ''The Musical Times'' (founded in 1844 as ''The Musical Times and Singing-class Circular''); or else by reporters at general newspapers where music did not form part of the central objectives of the publication. An influential English 19th-century music critic, for example, was James William Davison of ''The Times.'' The composer Hector Berlioz also wrote reviews and criticisms for the Paris press of the 1830s and 1840s.〔 Modern art music journalism is often informed by music theory consideration of the many diverse elements of a musical piece or performance, including (as regards a musical composition) its form and style, and as regards performance, standards of technique and expression. These standards were expressed, for example, in journals such as ''Neue Zeitschrift für Musik'' founded by Robert Schumann, and are continued today in the columns of serious newspapers and journals such as ''The Musical Times''.〔Bujić, Bojan (n.d.), ''Criticism of Music'' in ''The Oxford Companion to Music'', Oxford Music Online.〕 Several factors — including growth of education, the influence of the Romantic movement generally and in music, popularization (including the 'star-status' of many performers such as Liszt and Paganini), among others — led to an increasing interest in music among non-specialist journals, and an increase in the number of critics by profession, of varying degrees of competence and integrity. The 1840s could be considered a turning point, in that music critics after the 1840s generally were not also practicing musicians.〔 However, counterexamples include Alfred Brendel, Charles Rosen, Paul Hindemith and Ernst Krenek, modern practitioners of the classical music tradition who also write (or wrote) on music. In the early 1980s, a decline in the quantity of classical criticism began occurring "when classical-music criticism visibly started to disappear." At that time, magazines such as ''Time'' and ''Vanity Fair'' employed classical music critics, but by the early 1990s, classical critics were dropped in many magazines, in part due to "a decline of interest in classical music, especially among younger people".〔Sandow, Greg, ''Yes, Classical-Music Criticism Is in Decline but the Last Thing the Industry Should Do Is Blame the Press'', ''Wall Street Journal''. Available online at: http://online.wsj.com/article/SB118194664260737253.html. Accessed on March 9, 2010.〕 Also of concern in classical music journalism was how American reviewers can write about ethnic and folk music from cultures other than their own, such as Indian ragas and traditional Japanese works. In 1990, the World Music Institute interviewed four ''New York Times'' music critics who came up with the following criteria on how to approach ethnic music: # A review should relate the music to other kinds of music that readers know, to help them understand better what the program was about. # "The performers () be treated as human beings and their music () be treated as human activity rather than a mystical or mysterious phenomenon." # The review should show an understanding of the music's cultural backgrounds and intentions.〔 In 2007, ''The New York Times'' wrote that classical music criticism, which it characterized as "a high-minded endeavor that has been around at least as long as newspapers", had undergone "a series of hits in recent months" with the elimination, downgrading, or redefinition of critics' jobs at newspapers in Atlanta, Minneapolis, and elsewhere, citing ''New York'' magazine's Peter G. Davis, "one of the most respected voices of the craft, () said he had been forced out after 26 years."〔Wakin, Daniel J., ''Newspapers Trimming Classical Critics'', ''New York Times'', June 9, 2007.〕 Viewing "robust analysis, commentary and reportage as vital to the health of the art form", the ''New York Times'' stated in 2007 that it continued to maintain "a staff of three full-time classical music critics and three freelancers", noting also that classical music criticism had become increasingly available on blogs, and that a number of other major newspapers "still have full-time classical music critics," including (in 2007) ''The Los Angeles Times'', ''The Washington Post'', ''The Baltimore Sun'', ''The Philadelphia Inquirer'', and ''The Boston Globe''.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Music journalism」の詳細全文を読む スポンサード リンク
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