Music criticism in Britain underwent a major transformation in the late nineteenth century, the effects of which were felt far into the twentieth century. The rise of a new school of music criticism facilitated largely by John F. Runciman (1866–1916) helped professionalise the music critic and improve his – and her – literary status. While the reporting of music news and events remained a mainstay of criticism, music critics, through mentoring or self-education, asserted themselves as intellectuals. As a consequence, their writings were no longer simply about music, but often cast in relation to literary, philosophical and historical questions and issues. European, North American and British music criticism had long featured both reporters and intellectuals, but it was in the late nineteenth century that such portfolio careers coalesced and the division that once separated the journalist from the intellectual – or man of letters – was no longer clear-cut.