That's the subject line of an e-mail from A. C. Douglas, which e-mail is reposted with his permission:

Re, your http://listen101.blogspot.com/2004/11/bingo.html

With all due respect to George, how is his remark more Bingo! than my
prior, "And what exactly do I mean when I say that "a marriage of the two is desirable when handled in such a way as to serve a better understanding of the music under discussion"? I mean that only when the 'hardcore technical' is used to provide clarifying concrete example of an 'impressionistic' point made in general critical writing on music (as opposed to, say, critical writing for use in music theory courses or other specialist venues) is it being used as it ought to be used, and that its use in any other capacity in such critical writing is decidedly out of place, and hugely counterproductive."

I realize George's framing of the matter better suits your "hardcore technical" bias, but both say essentially the same thing, wouldn't you agree.

Me, in response:

Yes, I would say they say more or less the same thing, with a different bias, or perspective, rather.


(You did note, I trust, that the "bias" ("perspective") you mention was due entirely my focusing exclusively on *general* critical writing; i.e., critical writing for "civilians" rather than professionals or music students.)

Yes; that distinction is important. I must admit to still prefering Mr. Hunka's formulation both for its slant, however slight, towards technical analysis and for its elegance.

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