Admittedly the organisation had other distractions earlier this year, as it attempted to shore up its reputation after attacks from all sides led to the resignation of chief executive Andrew Dixon at the end of 2012.
However, if Creative Scotland had allies in its most beleaguered days, they were in the music sector. In both this newspaper and our Sunday sister, prominent voices in traditional and popular music were explicit about the important role the government agency had assumed in advocacy and financial backing by comparison with its predecessor, the Scottish Arts Council.
One black mark against Creative Scotland that was voiced was the surprising non-appearance of the Music Sector Review that was to guide policy-making. The commissioning of these reports was one of the first actions of CS, and the other performing arts had had their documents so long ago they could have become well-thumbed by a couple of years of students doing masters in Scotland's creative industries.
Music represented by far the biggest sector in economic terms, but that surely only suggested a need for urgency in the publication of the review. Yet the report had the gestation period of the proverbial elephant, only to be delayed by a further three or four months between submission and publication.
In the absence of answers from CS, we can only speculate about the reasons. Sadly, top of the list is that despite three consultants - Ekos in Glasgow, Judith Akrill Associates and Nod Knowles Productions (and perhaps there is a clue to its lengthy birth pangs) - there seems to be little new in the report's findings.
It is not news that artists' earnings are, with the exceptions of a few, low or that the average earnings of those who work in music in Scotland is just a pound more than the UK minimum wage. The lack of an adaptable mid-scale venue in Edinburgh is a complaint that will come as no surprise to anyone familiar with the capital-based Scottish Chamber Orchestra.
Being unoriginal only makes the review disappointing, while being wrong cannot be allowed to pass without comment. On page 56, towards the end of a chapter on recorded music, and following a few paragraphs criticising the broadcast media for "failing the local music scene", you will find the following: "Print media fared little better, with a general feeling that the press in Scotland is overly negative and generally unsupportive of the local music industry".
You can probably see my hackles rising. Michael Tumelty unsupportive of Scotland's orchestras? Alan Morrison and Nicola Meighan not among the most fervent chroniclers of independent grass-roots music-making and recording in every airt of bonnie new Caledonia? In traditional music and jazz, has the most dedicated follower of both the live scene and album releases for the past 25 years not been Rob Adams in The Herald? Have I mentioned the features and reviews of Kate Molleson and the interviews of Graeme Thomson in these pages?
Perhaps the review writers were thinking of the specialist music press and its tendency to be metro-centric (although retro-centric is as much of a problem), but that's not the way the paragraph reads. I'd like to know whose opinion it is that they are reporting - because we'd tell you that in The Herald.