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music office Five tips to deal with criticism. Illustration: Mayo Bous Five tips to deal with criticism. Illustration: Mayo Bous

Five tips for dealing with criticism

There was once a musical criticism in Cuba. As a trend, as a rule, as a movement. Some were favorable and others negative. It existed, and the musicians coexisted with the real possibility of receiving a bad one. Most of the time the critic praised some elements while disapproving others. He was in good health and served not only for the musicians to look in the mirror of their successes and mistakes, but also for the public to learn by reading them.

But it was languishing. Any authentically critical exercise was labeled as malicious and vicious, the artists became untouchable idols, the level of musical journalism in its generality came to the floor and everyone (journalists, musicians and critics) accommodated the informative commentaries or praiseworthy

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Darsi Fernández04.09.2020

But I hope it's not like that all of life. We predict that no. With luck, someday as a musician you will leave your comfort zone or you will get to experiment in some unexpected direction, and you will find yourself face to face, with luck too, with some hard critic, who will give you birth. And you better learn to deal with it, so here are five basic tips:

  1. Do not take music criticism as something personal. Generally, if a music journalist chooses to review your work it is because it seems important to do so (either to grow as a musician, to rectify the course or for the audience to learn something that allows them to better appreciate the music) and not because you do not like her. On the other hand, like any exercise of opinion, it is fallible; remember that whether it elevates you or sinks you, that criticism - for better or for worse - will not radically change the course of your career.
  2. Do not try to put your family, friends and music scene against the critic or the medium. The only thing you will achieve with this is to polarize the issue and draw more attention to the negative criticism you have received.
  3. Try to find some positive message in the opinion of the critic, something that will serve you for your personal and professional growth.
  4. Give thanks that they have focused on your work, given the immense amount of music that inhabits our sound planet. Think that good, bad, or regular, some publicity always brings criticism.
  5. Share it on your social networks. Most fans and friends will give you like without reading it, those who read it and disagree with its content, will debate, hopefully respectfully, with the music critic. You will not have to do it, which will almost always put you in an awkward position, if not directly ridiculous.
Avatar photo Darsi Fernández Hyperlink with human figure. He has a bad memory only for what suits him. He dreams of retiring to read. More posts

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  1. Aries Morales says:

    Excellent, I congratulate the author, the exercise of criticism is vital, I was born in an era, in which critics handled audiences and audiences, so valued were, I remember important names such as Rine Leal, Ma Elena Freyre and these referents to the Theater area. I applaud this incitement to criticism, to critics. Thanks Darcy.

  2. Yentsy Rangel says:

    The importance of each word, each adjective counts in the compression of a criticism, a review or an advertisement. Just over 4 years ago I read on the same page of a newspaper the phrase "excellent musician" to define two artists located at opposite poles. One of the writings occupied the entire page and referred to a new artist with an incipient career and not at all (in my opinion) legitimate. On the side of the same page and as a curious note the indication of a historical date of one of the great creators of Cuban popular music. Both were called «excellent musician» It left me thinking about how trite some phrases are made without analyzing the weight they acquire in relation to their meaning. In my opinion, the greatest achievement of a critic is the possibility that it has to guide the audience, to teach, in its didactic sense, about elements to take into account to develop what is named in historically informed listening musicology.

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