Why is subjectivity not necessarily a weakness in musical criticism?

In the field of musical criticism, subjectivity is not inherently a weakness because it is an inescapable component of all human perception. If the charge of subjectivity were to invalidate musical criticism, it would logically have to be leveled against every other human endeavor as well.1

Furthermore, there is a fundamental contradiction in viewing subjectivity as a flaw for critics while simultaneously valuing it in other musical roles. Composers are expected to have a deep, subjective entanglement with their creations, and performers are celebrated for their "inner participation" and personal interpretation of music. It is inconsistent to demand objectivity from a critic while praising the subjective engagement of those who create and perform the art.12

Ultimately, the goal of the critic is to move beyond mere personal whim or speculation by rationalizing their intuitive understanding of the music. By turning to the theory of criticism, a critic can develop the necessary means to demonstrate the truth of their reactions, transforming subjective experience into a meaningful judgment.1