Ear tuned to the critics

Press, 21 May 1988, Page 23

Ear tuned to the critics

The Attentive Ear: A Workbook on Music Criticism. Edited by J. M. Thomson. Victoria University, 1987. 94 pp. $lO. _ (Reviewed by J. A. Ritchie) If there be sympathy for Bernard Shaw’s view that “music criticisms, like sermons, are of low average quality simply because they are never discussed or contradicted” this modest booklet may provide some remedy. Ten musicians — Robert Oliver, Peter Walls, Robert Donington, Colleen Rae-Gerrard, Judith Clark, David Farquhar, Jack Body, Margaret Nielsen, and Elizabeth Kerr — have contributed to what started out as a series of seminars in Victoria University in 1985. John Thomson, Stout Research Fellow at the time, organised the course of study and is responsible for this helpful summation of the ideas presented. The range covered is wide. Mr

Thomson himself presents a valuable survey of music criticism in New Zealand and there are specialist articles to do with authentic interpretation of early period European music. The composers themselves give some views on criticism as it concerns them, and several of the Wellington critics offer advice as to how critics should approach new music. Not a little of this is somewhat idealistic to the point of naivete but, again, John Thomson comes to the rescue with a charmingly crafted set of notes on “How to write a bad review.” A short “anthology” of local music criticism completes the substance of the offering. The excerpts presented are largely of the “morning-after” variety at its best, but one s impressions of a trade, which of its nature is parasitic, are reinforced. "The Attentive Ear” is good value.