Everyone’s Critic
Whereas Bessie Smith’s lyrical representation was mainly viewed as ground breaking, making a transition from the traditional type of music into the Baroque era, he went on without detractors. His critics claim how he diluted the renaissance music expressions with his romanticism approach that would include stage performances to bring out the true meaning of Baroque, (McDonagh, 20-27). Despite considerable fame, he would still attract critics who viewed his innovation as a departure that injected into music a boomerang of confusion that lacked coordinated expressional and emotional sense. I tend to think, these critics are all faced with issues of subjectivity when it comes to observations. And because they perceived Monteverdi’s musical works subjectively, this would reduce their critique to barely individual prejudices. By and large, their way of looking at issues does not warrant their critics any truer. The pertinent question that these critics would face is how to substantiate the truth of their perceptions (Brainard, 45-54). In fact, these three critics are completely at cross roads with each other. Apparently, music critic in this line can be viewed as stuck at the litmus paper phase: these critics would take a swipe into music, and each would see how color turns. Essentially, I can’t refute the fact that musical criticism remains unmatched from mere hearsay until we fashion critique to a level of confirming the reality of his views. If you contemplate on the way by which we listen to music, an elementary fact is evident. Monteverdi does not merit his critique depiction because he did music that has inherent value; which is evident in the work of art.
Works Cited
Brainard, Ingrid. “Figure Dances.” In International Encyclopedia of Dance. New York, 1998.
McDonagh, Don. “Social Dance: Twentieth-Century Social Dance before 1960.” In International Encyclopedia of Dance. New York, 1998.
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