2004-08-24 20:45:27尚未設定
What's wrong? (1)
What's wrong with the music critiques (and critics?) in Taiwan? (1)
You may have seen this before: people under pseudonyms commenting on concerts and musicians on BBS, on feedback web spaces, and etc.
Taiwan is definitely not a place short of critiquesor reviews. But you don't see regular columns; you hardly locate "official" reviews on music on radio, in the newspaper, not to mention the luxury of sacrificing seconds on the TV channels for commenting on a concert - channel administrators would favor the commentory on sports or the affair of a starlet.
In a place full of concerts and musicians - most of which pianists by education and training - and yes, a place full of kids learning music, the shortage of reviews seems rather curious.
Where are Taiwan's music critics?
There certainly are critiques appearing once in a while in certain newspapers and selected magazines, focusing mostly on CDs while concert reviews are so rarely spotted that the surprise scales the chance of winning lotto.
I write critiques, yes, but I am not a critic by profession, honestly speaking. I don't make a living out of criticizing the wrong notes of a performer or the body language of a gesture-laden conductor. Only a few people know of my secret "serious hobby" as most of my writings were contributed to a certain "hard" magazine.
There are people famed as "music critics", all of them music enthusiasts with no strong music education.
"Well, well, well, now comes the background check" you would probably mumble.
"You think only people with substantial music education / backgrounds are qualified to serve the title of critic?" You might well ask.
This kind of professionalism-ripping way of thinking goes everyday in all aspects of professions. Yo-yo Ma was supposedly "educated" to be an anthropologist, Shao-jia Lu "wasn't" any music major when in college, even Timirkanov wasn't any conducting-major at conservatory - he played viola.
Let's take Lu, he is exceptional, and he is normal. Lu is exceptional because he was not tainted by Taiwan's humanities-ignorant education; Lu's normal because he has proved long time ago that he's musically talented and he is devoted to his career and belief in music.
Go and visit BBC 3 (radio), you will find loads of music presenters who comment and review concerts and recordings regularly. Our only classical music station has to offer "light music" to feed themselves, most of the programs are either educational or promotional.
But you read professional profiles of musicians trumpeting favouring critiques of which you have no impression at all.
Where are they, those critiques?
Do we need music critiques?
(original article in English -1)
---to be continued
You may have seen this before: people under pseudonyms commenting on concerts and musicians on BBS, on feedback web spaces, and etc.
Taiwan is definitely not a place short of critiquesor reviews. But you don't see regular columns; you hardly locate "official" reviews on music on radio, in the newspaper, not to mention the luxury of sacrificing seconds on the TV channels for commenting on a concert - channel administrators would favor the commentory on sports or the affair of a starlet.
In a place full of concerts and musicians - most of which pianists by education and training - and yes, a place full of kids learning music, the shortage of reviews seems rather curious.
Where are Taiwan's music critics?
There certainly are critiques appearing once in a while in certain newspapers and selected magazines, focusing mostly on CDs while concert reviews are so rarely spotted that the surprise scales the chance of winning lotto.
I write critiques, yes, but I am not a critic by profession, honestly speaking. I don't make a living out of criticizing the wrong notes of a performer or the body language of a gesture-laden conductor. Only a few people know of my secret "serious hobby" as most of my writings were contributed to a certain "hard" magazine.
There are people famed as "music critics", all of them music enthusiasts with no strong music education.
"Well, well, well, now comes the background check" you would probably mumble.
"You think only people with substantial music education / backgrounds are qualified to serve the title of critic?" You might well ask.
This kind of professionalism-ripping way of thinking goes everyday in all aspects of professions. Yo-yo Ma was supposedly "educated" to be an anthropologist, Shao-jia Lu "wasn't" any music major when in college, even Timirkanov wasn't any conducting-major at conservatory - he played viola.
Let's take Lu, he is exceptional, and he is normal. Lu is exceptional because he was not tainted by Taiwan's humanities-ignorant education; Lu's normal because he has proved long time ago that he's musically talented and he is devoted to his career and belief in music.
Go and visit BBC 3 (radio), you will find loads of music presenters who comment and review concerts and recordings regularly. Our only classical music station has to offer "light music" to feed themselves, most of the programs are either educational or promotional.
But you read professional profiles of musicians trumpeting favouring critiques of which you have no impression at all.
Where are they, those critiques?
Do we need music critiques?
(original article in English -1)
---to be continued