The Paul Bekker Collection in the Yale University Music Library

Hailey, Christopher

doi:10.2307/899169

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“…7 Bekker's quarrel with Pfitzner receives the briefest of mentions (Nielsen 2018, 30 and 158) . For further information on Bekker, see Hailey (1993Hailey ( , 1994 . 8 Fay uses an abbreviated version of the same quotation from Cherney's thesis as is found in Roberge (1994, 7) .…”

Section: Résumé De L'articlementioning

confidence: 99%

Brian Cherney as Scholar and Creative Artist

Elliott¹

2019

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While best known as a composer, Cherney has also been active in music scholarship. His doctoral thesis in musicology was on German music criticism during the Weimar era, but in his later career he has made important and timely interventions into Canadian music studies. Among his publications are articles on John Weinzweig and Pierre Mercure, as well as a monograph on Harry Somers, who is the subject of his ongoing research. His course on Canadian music at McGill University has introduced many students to the serious study and understanding of composed music in Canada. This article considers Cherney’s music scholarship and speculates on how this work may have had an impact upon his creative activities as a composer.

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Section: Résumé De L'articlementioning

confidence: 99%

Brian Cherney as Scholar and Creative Artist

Elliott¹

2019

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The Cambridge History of Music Criticism

2019

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A basic tool for investigating nineteenth-century British journalism, including music criticism, has long been The Waterloo Directory of English Newspapers and Periodicals, 1800-1900, issued in 1976. Among the 50,000 entries of its updated series 2 ( 2003) are more than 200 music titles. 1 Most of those originated in London and had brief lives. They touch every conceivable topic from church music to Wagner, madrigals to music hall, string technique to theories of history. Add the several thousand literary magazines, art and theatre papers, and daily and weekly newspapers that carried essays, review articles and other music-evaluative discussion, and the bulk of British music criticism grows exponentially. This is before one absorbs Waterloo's prediction that its final list, series 5, is expected to reach 125,000 entries. Nineteenth-century periodical publishing took place on a prodigious scale, more than a hundred times greater than that of book production, and music was far from trivial in the content of thousands of titles: the very presence of music discussion helped to sell many of them. The old cliché about a few backward critics controlling taste in this environment is as unlikely as it is naive.The reasons are less to do with number and range of titles, however, or even the over-stressed visibility of a few critics whose identities are clearthat is, those who kept long attachments to one or two prominent journals in a largely anonymous, freelance context and who left vivid memoirs or had literary careers beyond music. That kind of celebrity has encouraged repeated secondary reference to the same few writers, often owing to ease of access and the entertainment value in their barbed judgements, maybe 'wrong' in 1 Edited by John S. North (Waterloo: North Waterloo Academic Press), with series 3 reaching a total of 73,000 entries (2013) (available online at www.victorianperiodicals.com/series3). North and his colleagues cast their music net wide. For a more focused approach, see the list for Great Britain under 'Periodicals' in

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Introduction

Dingle¹

2019

The Cambridge History of Music Criticism

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The Paul Bekker Collection in the Yale University Music Library

Cited by 41 publications

References 0 publications

Brian Cherney as Scholar and Creative Artist

Brian Cherney as Scholar and Creative Artist

The Cambridge History of Music Criticism

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