Music Criticism and Journalism (module V) 3106-KRYM-W
Music Criticism is a course offered by the Institute of Musicology at the University of Warsaw, designed for third-year full-time students (mandatory in Module 5), with the possibility of being taken as an elective in specific cases. This seminar-style course also includes significant practical exercises. The main focus is on developing skills in writing reviews of concerts and music publications, as well as conducting journalistic interviews.
The structure of the Music Criticism course can be divided into two parts.
Part 1. Theoretical Component
This includes an overview of the history of music criticism, featuring reviews by figures such as E.T.A. Hoffmann, R. Schumann, Stefan Kisielewski, and Andrzej Chłopecki. It also incorporates theoretical articles exploring the relationships between criticism, analysis, and musical poetics (e.g., M. Jabłoński, A. Tuchowski, I. Bent, J. Kerman, A. Chęćka, and M. Bristiger). Additionally, the course examines contemporary examples of music criticism (e.g., A. Suprynowicz, J. Marczyński, D. Kozińska, B. Chaciński), addressing both reflections on the state of modern criticism and specific forms of music critique.
Part 2. Practical Component
Students are required to prepare reviews of concerts and albums selected by the instructors. The culmination of the course involves presenting a review of an album chosen by the student, allowing them to apply their skills to critique music they personally enjoy and feel most comfortable engaging with. To provide material for their reviews, group outings to concerts are planned.
Another element of the course involves group work, where students prepare and conduct a journalistic interview with a musician in both written and audio-video formats.
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Term 2024L:
Music Criticism is a course offered by the Institute of Musicology at the University of Warsaw, designed for third-year full-time students (mandatory in Module 5), with the possibility of being taken as an elective in specific cases. This seminar-style course also includes significant practical exercises. The main focus is on developing skills in writing reviews of concerts and music publications, as well as conducting journalistic interviews. |
Prerequisites (description)
Course coordinators
Type of course
elective courses
Mode
General: Classroom and field classes Blended learning | Term 2024L: Blended learning Classroom and field classes |
Learning outcomes
Upon completing the course, the student will:
1. Understand the fundamental theoretical principles of music criticism.
2. Be familiar with the history of music criticism in Poland and globally.
3. Place the practice of music criticism within the contexts of composition, performance practice, musicology, and music analysis.
4. Create short critical texts (e.g., album reviews, concert reports).
5. Conduct journalistic interviews in both written and audio-video formats.
6. Collaborate with other students in a newsroom-style editorial team.
7. Adopt a critical approach toward contemporary music practices.
Assessment criteria
Assessment Criteria:
1. Attendance and Active Participation in Classes – 10%; includes presence at both classes and assigned concerts, as well as engagement during discussions and activities.
2. First Concert Review – 30%; a written review of the first assigned concert.
3. Second Concert Review – 30%; a written review of the second assigned concert.
4. Album Review – 30%; a written review of the chosen music album.
5. Interview – Pass/Fail; completion of a journalistic interview in written and audio-video formats.
Students must fulfill all components to successfully complete the course.
Practical placement
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Bibliography
Core Theoretical and Practical Texts:
1. Historical Contexts of Music Criticism
Ian Bent: Analysis, in The New Grove Dictionary of Music and Musicians (1980; 2nd ed. 2001); Polish translation in Analiza i interpretacja dzieła muzycznego. Wybór metod (Kraków, 1990, pp. 5–10).
Ernst Theodor Amadeus Hoffmann: "L. v. Beethoven, Symphony No. 5," in Allgemeine Musikalische Zeitung (1810).
Robert Schumann: "Symphonie von H. Berlioz," in Neue Zeitschrift für Musik (1835).
2. Criticism and Music Poetics
Michał Bristiger: Krytyka muzyczna a poetyka muzyki, in Teksty (1972, No. 4, pp. 56–66).
Andrzej Tuchowski: Krytyka a analiza – dwie drogi do poznania dzieła muzycznego, in Krytyka muzyczna. Teoria, historia, współczesność (Zielona Góra, 2009, pp. 23–39).
Anna Chęćka:
Wszyscy jesteśmy krytykami. Interpretacja jako doświadczenie obcego, in Ruch Muzyczny (2015, No. 5, pp. 98–99).
Dysonanse krytyki. O ocenie wykonania dzieła muzycznego (Gdańsk: słowo/obraz terytoria, 2008).
3. Contemporary Perspectives
Olga Drenda: Why Write About Music?, in Muzyka dla myślących, edited by Marlena Wieczorek (online resource).
Discussions on the state of modern criticism:
Rola krytyki w dzisiejszym życiu artystycznym, ed. Alicja Matracka-Kościelny (2003).
Sytuacja współczesnej polskiej krytyki muzycznej panel discussion, in Krytyka muzyczna. Teoria, historia, współczesność (Zielona Góra, 2009, pp. 221–244).
4. Practical Guidance
Lawrence Grobel: The Art of the Interview (Warsaw, 2006).
Filip Szałasek: How to Write About Music: On Free Listening (Gdańsk, 2015).
Kacper Miklaszewski: Conception of Evaluation Criteria for Musical Performance, in Ocenianie wykonań muzycznych (Warsaw, 2006, pp. 77–93).
Notable Figures in Polish Music Criticism:
1. Andrzej Chłopecki: Dziennik ucha. Słuchane na ostro: felietony (Kraków/Warsaw, 2013).
2. Stefan Kisielewski: Gwiazdozbiór muzyczny; Z muzyką przez lata (Warsaw, 2012).
3. Zygmunt Mycielski: Notatki o muzyce i muzykach (Kraków, 1961).
4. Jerzy Waldorff: Muzyka łagodzi obyczaje (Kraków, 1982).
5. Adam Wiatr: Stefan Kisielewski as a Music Critic (Wrocław, 2006).
Journals, Podcasts, and Blogs:
1. Music Journals: Ruch Muzyczny, Glissando, Meakultura, Presto, Jazz Forum.
2. Podcasts: Szafa melomana, The Listening Service, Klassisch Drastisch.
3. Blogs: Upiór w operze, Co w duszy gra, Klasyczna płytoteka, Polifonia. Płyty Bartka Chacińskiego, Pisane ze słuchu – blog o muzyce.
Notes
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Term 2024L:
None |
Additional information
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: