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Ian Mikyska

(b Brno, 13 March 1966). Czech composer, pedagogue, and writer on music, son of zdeněk zouhar. He studied composition at the Janáček Academy of Music and Performing Arts (JAMU) in Brno (with Miloš Ištván and alois piňos) and musicology at the Masaryk University, followed by post-graduate studies at the Hochschule für Musik und darstellende Kunst Graz (with Herman Markus Preßl and younghi pagh-paan) and JAMU. He remains an external pedagogue at both these institutions, as well as being active as a researcher at the Palacký University Olomouc (vice-dean starting in 2010), Ostrava University, and Masaryk University.

His brand of postmodernism is surprisingly respectful, using disparate materials in a serious manner, and generally staying with a few pieces of material for the duration of a piece or movement. Often composed in an additive, evolutionary structure, his works are sonically reminiscent of New York post-minimalism, but are very European in their approach to expressivity and emotional intensity. This approach includes both the intense rhythms of ...


Caroline Polk O’Meara

(bc1966). American music critic and editor. He graduated from Yale University in 1988. He began writing at the Rolling Stone in the late 1980s, where he often covered hip-hop, country, and rock music. In the wake of the 1992 Los Angeles riots, Light advised readers to pay closer attention to rap, pointing out that many artists had been critiquing urban violence well before the Rodney King beating. In 1993, Light left Rolling Stone to help launch the hip-hop magazine Vibe, where he was first the music editor before being promoted to editor-in-chief at the age of 26. During his six years at Vibe, Light helped the magazine demonstrate the appeal, profitability, and significance of hip-hop culture to both readers and advertisers. He left Vibe for Spin, staying there for three years as editor-in-chief. While Light was at Spin, the magazine, known for its coverage of alternative music, expanded its coverage of mainstream artists, reaching out to a broader audience. Since leaving ...


Jayson Greene

(b Ocean City, NJ, May 5, 1945). American journalist, author, film critic, and television personality. Though he is best known as the face and voice for MTV News, Kurt Loder had a long career in rock journalism before he arrived at the network’s then-fledgling news outlet in 1988 to host what was initially called MTV’s “Week In Rock.” From 1979 to 1986, Loder worked at Rolling Stone, first as editor of the gossip-heavy “Random Notes” section, and, later, as features editor. His tone as a critic resembles his television presence; bracingly crisp, erudite, and laced with dry wit. While at Rolling Stone, Loder co-authored singer Tina Turner’s 1986 autobiography I, Tina, and later contributed to the screenplay adaptation for the film What’s Love Got To Do With It?. In 1990, he published a collection of his Rolling Stone work, titled Bat Chain Puller. Prior to his tenure at ...


Michael C. Heller

(b Cardiff, UK, Jan 8, 1948). British jazz journalist and historian. He studied music theory and clarinet at the Welsh College of Music and Drama (1967–71), followed by ten years leading a jazz-rock band under the stage name Nick Stewart. In the early 1980s he began writing on jazz for various magazines and newspapers in the UK. Since then his pieces have appeared in a range of publications in Europe and the United States, including The Western Mail, Gramophone, The Observer, Jazzwise, Jazz Times, and The Wire. His writing expanded to book-length studies in the 1990s, including highly regarded biographies of Ella Fitzgerald, Billie Holiday, and Duke Ellington, as well as broader surveys of jazz in the 1980s and jazz-rock. Since the early 2000s Nicholson has been a key chronicler of the European scene, especially movements blending jazz with local folkloric forms, classical music, and electronica. His controversial ...


Matthew Mugmon

(b San Diego, CA, Oct 11, 1954). American writer. He studied with Leonard Altman at the Tanglewood Music Center and charles Jones at Mannes College before attending Columbia University (BA 1979). Page wrote on culture and music for the New York Times (1982–7). He then served as chief classical music critic for Newsday (1987–95) and the Washington Post (1995–9, 2000–8), where he won a Pulitzer Prize (1997). He has subsequently taught music and journalism at the University of Southern California.

Page has shown a particular interest in 20th-century music and a special attraction to minimalism. But his music writing—some of which appears in the collections Music from the Road (New York, 1992) and Tim Page on Music (Portland, OR, 2002)—displays an expansive knowledge of classical and popular repertories, and he has blurred perceived boundaries between these categories. Page also hosted the radio program ...


Glenda Goodman

(b Connecticut, 1953). American music critic. Raised in Connecticut, he played piano from an early age and took up jazz flute in high school. He attended Yale University, where he majored in music and was music director of the university radio station, WNHC. After graduating in 1974 he moved to Boston, where he launched his professional career as a freelance music critic. He wrote reviews for the “PopTop” section in Fusion, a free Boston newspaper, and at the same time contributed to the alternative weekly publication Real Paper. In 1975 his first submission to the pioneer rock-and-roll magazine Crawdaddy was accepted by writer John Swenson, catapulting Pareles into the national world of popular music criticism. After two years of freelancing, he became music editor at Crawdaddy, and he moved to New York in 1977. He left the magazine shortly before it folded in 1979 and became assistant editor at ...


Eric Hung

(b Seattle, WA, Feb 4, 1964). American rock critic. After contributing to alternative publications in the Seattle and San Francisco Bay areas for a decade, she became a pop critic for the New York Times (1992–3, 1997–2001), an editor at The Village Voice (1993–6), a senior curator for the Experience Music Project (2001–5), and a senior critic at Blender magazine (2005–). For articles written during her tenure as chief pop-music critic of the Los Angeles Times (2006–11), Powers received the ASCAP Deems Taylor Award in 2010. She was the Distinguished Artist in Residence at the Norman Lear Center’s Popular Music Project at the University of Southern California (2008–9), and guest-edited the 2010 edition of Da Capo Press’s Best Music Writing series. In March 2011 she joined the staff of NPR Music.

Strongly dedicated to feminist cultural criticism, Powers and Evelyn McDonnell coedited ...


Daphne G. Carr

(b London, England, June 19, 1963). British popular music and culture critic. Reynolds is known for his fine-grained analysis of sound and culture in emergent and radical pop music movements, for his use of postmodern theory in criticism, and for his coining of neologisms that become genre terms, such as “post-rock.” He has most frequently published on rock-derived musics—including post-punk, twee pop, and British indie—hip hop, and, most notably, electronic dance music. He began his writing career with the fanzine Monitor, which he cofounded as an Oxford University student in 1984. From 1986 to 1988 he had a column for the New Statesman and from 1986 to 1990 he was a staff writer at Melody Maker. In 1990 he became a full-time freelance journalist, dividing his time between the United States and London, then permanently moving to New York City in 1994. He and his wife Joy Press published ...


Jonas Westover

(b Chicago, IL,May 12, 1944; d Miami, FL, May 13, 2004). American music critic. After a brief period at medical school, Roos, a violinist, gave in to his love for music and pursued a career as a critic, beginning with contributions to the local paper of the University of Illinois-Chicago. From there, he traveled to New York City to write for the Saturday Review. He studied music criticism at the University of Southern California with the assistance of a Rockefeller Foundation fellowship. From 1971 until his death in 2004, Roos was the primary music and dance critic for the Miami Herald. Roos began writing at the same time that classical music was beginning to blossom in southern Florida, and although the scene was new, the critic held it to very high standards. Roos regularly flew to Europe to develop his knowledge of music, and his writing was demonstrative of his rigorous study. Of particular importance to Roos was operatic and vocal repertoire, and his contributions to the Florida Grand Opera were key to the group’s success. Another important organization Roos helped promote was Michael Tilson Thomas’s New World Symphony....


Andrea F. Bohlman

(b Washington, DC, Jan 12, 1968). American music critic. He studied English and music at Harvard University (BA 1990). While an undergraduate he worked at the college’s radio station, WHRB, where he sought to promote classical music. He has credited his DJ experience for inspiring him to explore the relationship between popular and classical music, since he also hosted underground rock programs at the station, excavating obscure and experimental music for broadcast. As a critic he has contributed to the New Republic, Slate, Lingua Franca, Fanfare, and Feed. Ross wrote regularly on music for the New York Times from 1992 until his appointment as classical music critic at the New Yorker in 1996. At the latter he has developed a strong profile for 20th-century composition and has implicitly insisted that classical music culture is relevant to contemporary society. His writing has consistently presented music as critically integrated into various avenues of culture from the moment of composition through its continued performance. Through lively analytical writing that has not avoided technical terminology and argumentation, Ross has advocated for music’s accessibility to a general readership. Musical sounds and styles, stories and recollections, and composers and performers have received equal attention throughout his reviews. His fluid sense of musical styles and genres is evident in his occasional attention to American popular music. His first book, ...