What does audibility mean in the criticism of musical composition?

In the context of musical criticism, audibility refers to the principle that a composition must be structured to ensure its intended musical ideas are effectively communicated to the listener through a total aural impact.1

Because the objective of any composition is to be heard, audibility serves as a critical standard for evaluating whether a composer has successfully balanced their musical material. When a passage is intrinsically inaudible—meaning even a masterful performance cannot make specific parts heard—it is considered a failure of composition.1

Common examples of issues with audibility include:
* Orchestral Balance: Instances where one section of an ensemble, such as a full orchestra, inadvertently drowns out a soloist, rendering their contribution silent despite their physical effort.1
* Instrumental Masking: Situations where the arrangement of instruments causes one voice to swamp another, obscuring the intended musical meaning.1

Critics view the correction of these issues, such as Arnold Schoenberg’s re-orchestration of Brahms’s Piano Quartet in G Minor to fix balance problems, as an act of musical criticism on a high creative level, as it helps the original work fulfill its communicative potential.1