ABSTRACT
Concerns remedying the inarticulate critic are the subject of Chapter 4, 'Style', which sees inspiration drawn from French and English literary criticism to enable the musical critic to write not only with flair but with insight backed by method. An interest in regulations and principles in history and criticism grew and this movement ultimately and inevitably affected theories on how critics should write. This chapter looks at parallel developments in the formation of style in English and literary historians and writers that were mapped onto, or transferred to, music criticism. In particular it looks at the works of Émile Hennequin and the influence of his theory of esthopsychologie in writings about Hector Berlioz by Ernest Newman. Informing Newman’s work, it is argued, is the influence of Walter Pater, Appreciations, with an Essay on Style (1889), John Addington Symonds, Essays Speculative and Suggestive (1890), John Earle, English Prose: Its Elements, History, and Usage (1890) and Walter Raleigh, Style (1897).
