degrees of competence and integrity. The 1840s could be considered a turning point, in that music critics after the 1840s generally were not also practicing musicians. However, counterexamples include Alfred Brendel, Charles Rosen, Paul Hindemith, and Ernst Krenek; all of whom were modern practitioners of the classical music tradition who also write (or wrote) on music. Women music journalists in the twentieth century who covered classic music performance include Ruth Scott Miller of the Chicago Tribune (1920-1921), Henriette Weber at the Chicago Herald-Examiner, and Claudia Cassidy, who worked for Chicago Journal of Commerce (1924–1941), the Chicago Sun (1941–42) and the Chicago Tribune (1942–65). Classical In the early 1980s, a decline in the quantity of classical criticism began occurring "when classical-music criticism visibly started to disappear" from the media. At that time, leading newspapers still typically employed a chief music critic, while magazines such as Time and Vanity Fair also employed classical music critics. But by the early 1990s, classical critics were dropped in many publications, in part due to "a decline of interest in classical music, especially among younger people". Also of concern in classical music journalism was how American reviewers can write about ethnic and folk music from cultures other than their own, such as Indian ragas and traditional Japanese works. In 1990, the World Music Institute interviewed four New York Times music critics who came up with the following criteria on how to approach ethnic music: A review should relate the music to other kinds of music that readers know, to help them understand better what the program was about. "The performers [should] be treated as human beings and their music [should] be treated as human activity rather than a mystical or mysterious phenomenon." The review should show an understanding of the music's cultural backgrounds and intentions. A key finding in a 2005 study of arts journalism in America was that the profile of the "average classical music critic is a white, 52-year old male, with a graduate degree". Demographics indicated that the group was 74% male, 92% white, and 64% had earned a graduate degree. One critic of the study pointed out that because all newspapers were included, including low-circulation regional papers, the female representation of 26% misrepresented the actual scarcity, in that the "large US papers, which are the ones that influence public opinion, have virtually no women classical music critics", with the notable exceptions of