Is there a fundamental difference in the ways music critics see their roles? Are European classical music critics different from American critics? Are there different expectations of London critics than New York critics? Between critics in the “second cities” of America and those of Europe? Consequently, is the level of public discussion about music different in North America than in Europe? This week, ArtsJournal hosts a discussion among 17 classical music critics from the UK, US, Canada and Australia. Who’s got the role of modern music critic figured out?