When one realizes that the ‘authenticity’ of musicology functions as a kind of substitute for the value judgments that critics have given up making, it becomes easy to see why so many talents who might have become critics turn instead to historical, textual or pre-classical studies. Musicology offers, by way of relief, a potential series of positives (accuracy, authenticity and the like) while at the same time not requiring of the practitioner the exercise of that very discrimination which is, or should be, the critic’s raison d’être; authenticity (of a text or work) replaces evaluation. Small wonder then, that so many minds are attracted to musicology; it is the vacancy of present-day criticism which has contributed to its massive extent and still extending influence.
-from "Criticism : A State of Emergency" (1955). Mitchell is a British writer of music, known for his works on Mahler and Britten.