Watching Beato is like taking a masterclass in whatever it is he's talking about. I also enjoy Fantano, though I almost never agree with anything he says. I'm surprised no one has mentioned him yet.
I guess not. But I do like a lot of Rick Beato, especially his interviews. I bet most jazz fans aren't aware of the interview he did with Keith Jarrett post-stroke; it's fantastic. When musicians interview musicians, it's usually a plus. I loved the one with Sting because Sting seemed genuinely gobsmacked to be conversing with someone who actually knew what he was talking about. But Beato is more like a traditional TV interview show. He's not part of this new wave of spot vids -- like tiktoks & youtubes -- featuring people of often questionable abilities explaining the world to you. I end up watching a lot of the politics ones because I want to see the bits that the "hosts" or whatever you call them are commenting on. So I fast-forward through the commentary and just watch the clips. And then I ask myself if this is really the best use of my time.
Interesting post. Thank you. I appreciate your sense of humor as well. One question that arose as I was reading - does the success/failure of the medium have to do with what the criticism is trying to convey? It seems like several of the examples you listed are as much about music analysis for the sake of education as they are what I think of as more traditional music criticism. Jimmy Webb's harmonic analysis, for example. And the Charlene Kaye video walking us through common chord progressions. Reactions videos often seem to veer off this technical path and into more subjective responses to music and in that case I agree with you that video often works well as we receive so much info through the person's voice and facial expressions.
But I can imagine certain types of music criticism might lend themselves more to the written word, especially those that lean into interpreting the poetics around a creative statement, calling on language that hits (or tries to hit) closer to the experience of the music itself, language that perhaps performs better on the page than it does in a video. Or music critics who bring us into the environment or context of the music with the deftness of a novelist or short story writer. But then this might just reveal my own ignorance about what defines "music criticism" vs. "music analysis" etc. And I'm ignoring the aspect of potential popular appeal, which seems like a key subtext of your article and that will for sure go to video over text. Anyway, thanks for the thought provoking post and for your insights into music.
Thanks for reading and for your substantive comments here. Yeah, the reaction video style of music criticism has its limits, for sure--along with its clear advantages for popular appeal. And there are a few music writers so adept at immersing us in the feeling of music that I'd be disappointed to see them pivot to video. Rafi Zabor's The Bear Comes Home is a prime example of a book with language that hits close to the experience of music itself, as you wrote.
You’re welcome. Thank you for the reply (and for the reminder of Zabor’s book, which I had read long ago but forgotten about). I was also thinking of liner notes on so many classic jazz records, how they sort of usher us into a listening experience. But insofar as physical records are also dying, I suppose your point about print criticism being dead is even more true. I look forward to seeing how you transition the topic to video if/when.
One final q here - how do you define music criticism? Reading your post I realized I thought it was one thing but my definition may need updating. I realize this is a subjective question and apologize if it’s an annoying one.
In all honesty, I wasn't a big fan of Maestro. There were things I liked about it - Carey Mulligan's performance as Felicia Montealegre was especially good and the few moments that showed how Bernstein felt enraptured by music (the 'On the Town' sequence, the re-creation of him conducting the finale of Mahler's Resurrection symphony) were especially moving to me. I think as well the movie had something interesting to say about the cost one pays to be in service of music but on the whole, I don't think Bradley Cooper (who I think is one of the most gifted artists in Hollywood these days) truly communicated what made Bernstein a remarkable figure while acknowledging he was, to some extent, problematic and troubled . For me, discovering Bernstein and realizing he felt about music the way that I do was a gateway as I became interested in classical music about ten years ago. As well, Bernstein's very democratic view of music (putting Beethoven and the Beatles on an equal plain) resonates deeply with me. What did you think?
P.S. I picked up a copy of your Joni Mitchell book in a used bookstore earlier this summer and read it, and just wanted to share how much I liked it and that it broadened my appreciation of her music (getting the back-story of 'Court and Spark' was particularly revelatory).
I didn't like Maestro much at all. For the reasons you mentioned and also because it just felt stilted. But I often overthink artist biopics or bring sky-high expectations to them, so I tried to give the film the benefit of the doubt. Honestly, I couldn't finish it. And thanks for reading my book! That book was met with so much confusion when it was published, so I appreciate hearing that people find value in it now.
Watching Beato is like taking a masterclass in whatever it is he's talking about. I also enjoy Fantano, though I almost never agree with anything he says. I'm surprised no one has mentioned him yet.
Polyphonic and Sideways are some of the only music analysis channels on Youtube I've found educational. Really great stuff from them.
I've never seen a music-response video I didn't find cringeworthy, but I will check out your suggested clips, thanks.
I understand. They're not for us, really.
I guess not. But I do like a lot of Rick Beato, especially his interviews. I bet most jazz fans aren't aware of the interview he did with Keith Jarrett post-stroke; it's fantastic. When musicians interview musicians, it's usually a plus. I loved the one with Sting because Sting seemed genuinely gobsmacked to be conversing with someone who actually knew what he was talking about. But Beato is more like a traditional TV interview show. He's not part of this new wave of spot vids -- like tiktoks & youtubes -- featuring people of often questionable abilities explaining the world to you. I end up watching a lot of the politics ones because I want to see the bits that the "hosts" or whatever you call them are commenting on. So I fast-forward through the commentary and just watch the clips. And then I ask myself if this is really the best use of my time.
I made a clear distinction between Beato's videos and music reaction videos in the piece.
Interesting post. Thank you. I appreciate your sense of humor as well. One question that arose as I was reading - does the success/failure of the medium have to do with what the criticism is trying to convey? It seems like several of the examples you listed are as much about music analysis for the sake of education as they are what I think of as more traditional music criticism. Jimmy Webb's harmonic analysis, for example. And the Charlene Kaye video walking us through common chord progressions. Reactions videos often seem to veer off this technical path and into more subjective responses to music and in that case I agree with you that video often works well as we receive so much info through the person's voice and facial expressions.
But I can imagine certain types of music criticism might lend themselves more to the written word, especially those that lean into interpreting the poetics around a creative statement, calling on language that hits (or tries to hit) closer to the experience of the music itself, language that perhaps performs better on the page than it does in a video. Or music critics who bring us into the environment or context of the music with the deftness of a novelist or short story writer. But then this might just reveal my own ignorance about what defines "music criticism" vs. "music analysis" etc. And I'm ignoring the aspect of potential popular appeal, which seems like a key subtext of your article and that will for sure go to video over text. Anyway, thanks for the thought provoking post and for your insights into music.
Thanks for reading and for your substantive comments here. Yeah, the reaction video style of music criticism has its limits, for sure--along with its clear advantages for popular appeal. And there are a few music writers so adept at immersing us in the feeling of music that I'd be disappointed to see them pivot to video. Rafi Zabor's The Bear Comes Home is a prime example of a book with language that hits close to the experience of music itself, as you wrote.
You’re welcome. Thank you for the reply (and for the reminder of Zabor’s book, which I had read long ago but forgotten about). I was also thinking of liner notes on so many classic jazz records, how they sort of usher us into a listening experience. But insofar as physical records are also dying, I suppose your point about print criticism being dead is even more true. I look forward to seeing how you transition the topic to video if/when.
One final q here - how do you define music criticism? Reading your post I realized I thought it was one thing but my definition may need updating. I realize this is a subjective question and apologize if it’s an annoying one.
For me, watching Leonard Bernstein discuss music is a joy and hugely influential for what I try to do in my writing.
Interesting. Poets and novelists have always inspired my music writing. What did you think of Maestro, the film?
In all honesty, I wasn't a big fan of Maestro. There were things I liked about it - Carey Mulligan's performance as Felicia Montealegre was especially good and the few moments that showed how Bernstein felt enraptured by music (the 'On the Town' sequence, the re-creation of him conducting the finale of Mahler's Resurrection symphony) were especially moving to me. I think as well the movie had something interesting to say about the cost one pays to be in service of music but on the whole, I don't think Bradley Cooper (who I think is one of the most gifted artists in Hollywood these days) truly communicated what made Bernstein a remarkable figure while acknowledging he was, to some extent, problematic and troubled . For me, discovering Bernstein and realizing he felt about music the way that I do was a gateway as I became interested in classical music about ten years ago. As well, Bernstein's very democratic view of music (putting Beethoven and the Beatles on an equal plain) resonates deeply with me. What did you think?
P.S. I picked up a copy of your Joni Mitchell book in a used bookstore earlier this summer and read it, and just wanted to share how much I liked it and that it broadened my appreciation of her music (getting the back-story of 'Court and Spark' was particularly revelatory).
I didn't like Maestro much at all. For the reasons you mentioned and also because it just felt stilted. But I often overthink artist biopics or bring sky-high expectations to them, so I tried to give the film the benefit of the doubt. Honestly, I couldn't finish it. And thanks for reading my book! That book was met with so much confusion when it was published, so I appreciate hearing that people find value in it now.
Stilted is a good description of 'Maestro' and Bernstein's music was rarely that - the rare conductor would could make a symphony orchestra swing.
Another one for the books, Merc!
Thanks, Eug! Waiting for your video criticism series.
Couldn't agree more and brilliant stuff!
Thank you. We'll see if I'm brave enough to share some video criticism.