catalogue of orchestral music at the canadian music centre;orchestra music by canadian composers...
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Catalogue of Orchestral Music at the Canadian Music Centre; Orchestra Music by CanadianComposers Available from BMI Canada, Ltd.Review by: Virginia CunninghamNotes, Second Series, Vol. 22, No. 2 (Winter, 1965 - Winter, 1966), pp. 899-900Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894948 .
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This slender volume comes as the latest addition to the new Birenreiter publica- tions on Orlando di Lasso. Since it in- cludes many previously unpublished docu- ments on Lasso's surroundings in the Bavarian court, it stands as an important supplement to Professor Boetticher's earlier study of the life, music, and his- torical position of Lasso: Orlando di Lasso und seine Zeit, 1532-1594 (Baren- reiter, 1958).1 It also neatly fills the gap left by the unpublished second volume of Adolf Sandberger's Beitrige.2 By bringing together both the results of the latest archival research and scattered material from earlier studies, Professor Boetticher has managed to develop a surprisingly good picture of Lasso in his everyday surroundings at Munich.
Rather than simply reproducing primary documents (mostly letters), the book pro- vides a running narrative interpretation of the sources. Reprinted material is in- cluded in italics as part of the text itself. Such a format seems especially desirable since so many controversies may arise from basic semantic difficulties with Las- so's brand of sixteenth century German. Professor Boetticher preserves all archiac syntax and spellings, as he deciphers them, along with his discussion of the significance of the source. Those who wish to contend with him have their ammunition at hand.
Only those portions of the primary sources that specifically relate to Lasso are reproduced. Though one might oc- casionally wish for more complete cita- tions, there are enormous practical argu- ments for this type of editing: the volume is kept within manageable size, publica- tion costs are reduced, and much genuine- ly irrelevant material is excluded. In any case, the impressive scholarly apparatus leads one not only to the present location of any given document, but also to its mention in the secondary literature. In
1 Reviewed by Alvin Johnson in MLA Notes, 2nd Series, XVI, No. 1 (December, 1958), p. 50-51.
2 Adolf Sandberger, Beitrage zur Geschichte der bayerischen Hofkapelle unter Orlando di Lasso (Breitkopf und Hirtel, Leipzig, 1894- 95.) Volume I dealt with Early History, Volume 3 with Documents. The second vol- ume on Lasso's surroundings at the Munich court did not appear.
This slender volume comes as the latest addition to the new Birenreiter publica- tions on Orlando di Lasso. Since it in- cludes many previously unpublished docu- ments on Lasso's surroundings in the Bavarian court, it stands as an important supplement to Professor Boetticher's earlier study of the life, music, and his- torical position of Lasso: Orlando di Lasso und seine Zeit, 1532-1594 (Baren- reiter, 1958).1 It also neatly fills the gap left by the unpublished second volume of Adolf Sandberger's Beitrige.2 By bringing together both the results of the latest archival research and scattered material from earlier studies, Professor Boetticher has managed to develop a surprisingly good picture of Lasso in his everyday surroundings at Munich.
Rather than simply reproducing primary documents (mostly letters), the book pro- vides a running narrative interpretation of the sources. Reprinted material is in- cluded in italics as part of the text itself. Such a format seems especially desirable since so many controversies may arise from basic semantic difficulties with Las- so's brand of sixteenth century German. Professor Boetticher preserves all archiac syntax and spellings, as he deciphers them, along with his discussion of the significance of the source. Those who wish to contend with him have their ammunition at hand.
Only those portions of the primary sources that specifically relate to Lasso are reproduced. Though one might oc- casionally wish for more complete cita- tions, there are enormous practical argu- ments for this type of editing: the volume is kept within manageable size, publica- tion costs are reduced, and much genuine- ly irrelevant material is excluded. In any case, the impressive scholarly apparatus leads one not only to the present location of any given document, but also to its mention in the secondary literature. In
1 Reviewed by Alvin Johnson in MLA Notes, 2nd Series, XVI, No. 1 (December, 1958), p. 50-51.
2 Adolf Sandberger, Beitrage zur Geschichte der bayerischen Hofkapelle unter Orlando di Lasso (Breitkopf und Hirtel, Leipzig, 1894- 95.) Volume I dealt with Early History, Volume 3 with Documents. The second vol- ume on Lasso's surroundings at the Munich court did not appear.
the hands of so meticulous a scholar, the results are highly functional.
The study consists of four chapters. The first presents newly discovered letters by Lasso and by his wife, who served sometimes as her husband's scribe-per- haps because Bavarian German was her native tongue. The second chapter col- lects references to Lasso in the corre- spondence of the nobility. Especially here the originals have often been severely edited to delete large amounts of irrele- vant material. The third chapter, in eight parts, is concerned with the internal workings of the Munich court chapel under Lasso. Among others, there are sections on the education of the choir boys, the enlistment of foreign musicians, and the role played by Lasso and the chapel in official journeys made by the Dukes. A final chapter brings together miscellaneous, tangential documents con- cerning Lasso and his descendants. It closes with a genealogical table, tracing the heirs of the family through Johann Joseph Lasso (d. 1748)-the last to bear the famous surname. An appendix lists, in critical survey, the most important bibliography that was not relevant to Professor Boetticher's earlier study. Eight plates and five pictures in the text en- hance the book, and a fine color repro- duction of Miielich's famous picture of Lasso surrounded by his musicians in- troduces it.
As a reference source, this volume takes its rightful place beside Professor Boet- ticher's earlier monograph, and beside the new series, now in progress, that will eventually complete the publication of Lasso's works. It is yet another basic tool for those who wish to know Lasso and his music.
ARTHUR HILLS
Catalogue of Orchestral Music at the Canadian Music Centre. Toronto; Canadian Music Centre, 1963. [un- paged, 8vo, $1.00] Orchestra Music by Canadian Com- posers available from BMI Canada, Ltd. Toronto; BMI Canada, Ltd., 1963. [unpaged, 16mo]
The Table of Contents of the first work includes
the hands of so meticulous a scholar, the results are highly functional.
The study consists of four chapters. The first presents newly discovered letters by Lasso and by his wife, who served sometimes as her husband's scribe-per- haps because Bavarian German was her native tongue. The second chapter col- lects references to Lasso in the corre- spondence of the nobility. Especially here the originals have often been severely edited to delete large amounts of irrele- vant material. The third chapter, in eight parts, is concerned with the internal workings of the Munich court chapel under Lasso. Among others, there are sections on the education of the choir boys, the enlistment of foreign musicians, and the role played by Lasso and the chapel in official journeys made by the Dukes. A final chapter brings together miscellaneous, tangential documents con- cerning Lasso and his descendants. It closes with a genealogical table, tracing the heirs of the family through Johann Joseph Lasso (d. 1748)-the last to bear the famous surname. An appendix lists, in critical survey, the most important bibliography that was not relevant to Professor Boetticher's earlier study. Eight plates and five pictures in the text en- hance the book, and a fine color repro- duction of Miielich's famous picture of Lasso surrounded by his musicians in- troduces it.
As a reference source, this volume takes its rightful place beside Professor Boet- ticher's earlier monograph, and beside the new series, now in progress, that will eventually complete the publication of Lasso's works. It is yet another basic tool for those who wish to know Lasso and his music.
ARTHUR HILLS
Catalogue of Orchestral Music at the Canadian Music Centre. Toronto; Canadian Music Centre, 1963. [un- paged, 8vo, $1.00] Orchestra Music by Canadian Com- posers available from BMI Canada, Ltd. Toronto; BMI Canada, Ltd., 1963. [unpaged, 16mo]
The Table of Contents of the first work includes
899 899
This content downloaded from 185.44.77.34 on Sun, 15 Jun 2014 18:53:24 PMAll use subject to JSTOR Terms and Conditions
Index of compositions by forms Catalogue of orchestral music indexed
by composers alphabetically Catalogue of band music indexed by
composers alphabetically The Canadian Music Centre Story, by
John Adaskin A short history of music in Canada, by
R. Murray Schafer Addresses of music publishers, libraries,
and performing rights societies in Canada
This list in itself indicates the usefulness of the work to the librarian.
The alphabetical section names over 75 living Canadian composers-comprehen- sive coverage. Under each name is a brief biographical sketch. For the com- positions, duration, instrumentation, date of composition and first performance, name of publisher and date of publication (if published) and a brief annotation describing the work are given. The sketches and annotations are in English and French. "Orchestral music" as used in the title must be broadly interpreted, since works for band, vocal-orchestral combinations, concertos and operas are also listed.
The BMI Canada catalog lists com- positions of over 25 composers whose works are available from BMI. The make- up of the catalog is similar to that of the Canadian Music Centre. For each com- poser there is a biographical sketch. For each composition, duration, instrumenta- tion, date of composition and first per- formance, and sometimes a brief annota- tion are given. There are no indexes.
VIRGINIA CUNNINGHAM
Workbook in Harmonic Composition. By Allen Forte and Alfred B. Kuhn. New York: Holt, Rinehart and Win- ston, Inc., 1963 [xi, 226 p.4to; $3.50]
This is a paper-back, student work- book with perforated pages which can be detached. It was designed as a com- panion to Tonal Harmony in Concept and Practice by Allen Forte, although the preface states that it may also serve as an adjunct to other textbooks.
Students using other harmony texts would be able to understand the direc- tions given for most exercises; there are,
Index of compositions by forms Catalogue of orchestral music indexed
by composers alphabetically Catalogue of band music indexed by
composers alphabetically The Canadian Music Centre Story, by
John Adaskin A short history of music in Canada, by
R. Murray Schafer Addresses of music publishers, libraries,
and performing rights societies in Canada
This list in itself indicates the usefulness of the work to the librarian.
The alphabetical section names over 75 living Canadian composers-comprehen- sive coverage. Under each name is a brief biographical sketch. For the com- positions, duration, instrumentation, date of composition and first performance, name of publisher and date of publication (if published) and a brief annotation describing the work are given. The sketches and annotations are in English and French. "Orchestral music" as used in the title must be broadly interpreted, since works for band, vocal-orchestral combinations, concertos and operas are also listed.
The BMI Canada catalog lists com- positions of over 25 composers whose works are available from BMI. The make- up of the catalog is similar to that of the Canadian Music Centre. For each com- poser there is a biographical sketch. For each composition, duration, instrumenta- tion, date of composition and first per- formance, and sometimes a brief annota- tion are given. There are no indexes.
VIRGINIA CUNNINGHAM
Workbook in Harmonic Composition. By Allen Forte and Alfred B. Kuhn. New York: Holt, Rinehart and Win- ston, Inc., 1963 [xi, 226 p.4to; $3.50]
This is a paper-back, student work- book with perforated pages which can be detached. It was designed as a com- panion to Tonal Harmony in Concept and Practice by Allen Forte, although the preface states that it may also serve as an adjunct to other textbooks.
Students using other harmony texts would be able to understand the direc- tions given for most exercises; there are,
Index of compositions by forms Catalogue of orchestral music indexed
by composers alphabetically Catalogue of band music indexed by
composers alphabetically The Canadian Music Centre Story, by
John Adaskin A short history of music in Canada, by
R. Murray Schafer Addresses of music publishers, libraries,
and performing rights societies in Canada
This list in itself indicates the usefulness of the work to the librarian.
The alphabetical section names over 75 living Canadian composers-comprehen- sive coverage. Under each name is a brief biographical sketch. For the com- positions, duration, instrumentation, date of composition and first performance, name of publisher and date of publication (if published) and a brief annotation describing the work are given. The sketches and annotations are in English and French. "Orchestral music" as used in the title must be broadly interpreted, since works for band, vocal-orchestral combinations, concertos and operas are also listed.
The BMI Canada catalog lists com- positions of over 25 composers whose works are available from BMI. The make- up of the catalog is similar to that of the Canadian Music Centre. For each com- poser there is a biographical sketch. For each composition, duration, instrumenta- tion, date of composition and first per- formance, and sometimes a brief annota- tion are given. There are no indexes.
VIRGINIA CUNNINGHAM
Workbook in Harmonic Composition. By Allen Forte and Alfred B. Kuhn. New York: Holt, Rinehart and Win- ston, Inc., 1963 [xi, 226 p.4to; $3.50]
This is a paper-back, student work- book with perforated pages which can be detached. It was designed as a com- panion to Tonal Harmony in Concept and Practice by Allen Forte, although the preface states that it may also serve as an adjunct to other textbooks.
Students using other harmony texts would be able to understand the direc- tions given for most exercises; there are,
however, a few where the task to be per- formed would be in doubt because of the author's special terminology. For ex- ample, page 15 states: "3. Specify the function of each 6th chord as a repre- sentative of the parent triad or as an extension of the parent triad by writing 'R' or 'E' in the bracket provided below the staff."
The greatest value of the workbook lies in the fact that it presents a great number of problems and exercises in which the solutions lie outside the usual four-part texture. Writing for the tradi- tional vocal quartet has long been the main activity of most harmony books based upon the chorale style. The authors are to be congratulated for em- phasizing other textures, particularly that of the keyboard instrument, in these exercises. Types of exercise given in- clude: analysis, figured and unfigured basses, melodies, figured and unfigured outer parts, and completions. The ma- terial used has not been specially com- posed by the authors, but is taken from music literature. This is an added bonus, since it acquaints the young student with live music, rather than pedantic, text- book exercises. The quality of paper and the music printing are especially ex- cellent.
GEORGE THADDEUS JONES
Ballads and Songs from Ohio. By Mary O. Eddy. New foreword by D. K. Wilgus. Hatboro, Pennsylvania: Folklore Associates, Inc., 1964. [xi, 330 p., illus., 8vo; $8.50] (1st publ. 1939)
Originally published in 1939, and long out-of-print, Ballads and Songs from Ohio includes many Ohio variants of British traditional and broadside ballads, indi- genous American folksongs, religious songs, and ballad themes preserving early American history. There are 153 songs and ballads with approximately 100 tunes. It remains the largest major collection of Ohio traditional songs available in print.
As to the size of her total collection, printed and unprinted, Miss Eddy may have to yield first place in Ohio to an- other lady, Mrs. Anne Grimes, former president of the Ohio Folklore Society.
however, a few where the task to be per- formed would be in doubt because of the author's special terminology. For ex- ample, page 15 states: "3. Specify the function of each 6th chord as a repre- sentative of the parent triad or as an extension of the parent triad by writing 'R' or 'E' in the bracket provided below the staff."
The greatest value of the workbook lies in the fact that it presents a great number of problems and exercises in which the solutions lie outside the usual four-part texture. Writing for the tradi- tional vocal quartet has long been the main activity of most harmony books based upon the chorale style. The authors are to be congratulated for em- phasizing other textures, particularly that of the keyboard instrument, in these exercises. Types of exercise given in- clude: analysis, figured and unfigured basses, melodies, figured and unfigured outer parts, and completions. The ma- terial used has not been specially com- posed by the authors, but is taken from music literature. This is an added bonus, since it acquaints the young student with live music, rather than pedantic, text- book exercises. The quality of paper and the music printing are especially ex- cellent.
GEORGE THADDEUS JONES
Ballads and Songs from Ohio. By Mary O. Eddy. New foreword by D. K. Wilgus. Hatboro, Pennsylvania: Folklore Associates, Inc., 1964. [xi, 330 p., illus., 8vo; $8.50] (1st publ. 1939)
Originally published in 1939, and long out-of-print, Ballads and Songs from Ohio includes many Ohio variants of British traditional and broadside ballads, indi- genous American folksongs, religious songs, and ballad themes preserving early American history. There are 153 songs and ballads with approximately 100 tunes. It remains the largest major collection of Ohio traditional songs available in print.
As to the size of her total collection, printed and unprinted, Miss Eddy may have to yield first place in Ohio to an- other lady, Mrs. Anne Grimes, former president of the Ohio Folklore Society.
however, a few where the task to be per- formed would be in doubt because of the author's special terminology. For ex- ample, page 15 states: "3. Specify the function of each 6th chord as a repre- sentative of the parent triad or as an extension of the parent triad by writing 'R' or 'E' in the bracket provided below the staff."
The greatest value of the workbook lies in the fact that it presents a great number of problems and exercises in which the solutions lie outside the usual four-part texture. Writing for the tradi- tional vocal quartet has long been the main activity of most harmony books based upon the chorale style. The authors are to be congratulated for em- phasizing other textures, particularly that of the keyboard instrument, in these exercises. Types of exercise given in- clude: analysis, figured and unfigured basses, melodies, figured and unfigured outer parts, and completions. The ma- terial used has not been specially com- posed by the authors, but is taken from music literature. This is an added bonus, since it acquaints the young student with live music, rather than pedantic, text- book exercises. The quality of paper and the music printing are especially ex- cellent.
GEORGE THADDEUS JONES
Ballads and Songs from Ohio. By Mary O. Eddy. New foreword by D. K. Wilgus. Hatboro, Pennsylvania: Folklore Associates, Inc., 1964. [xi, 330 p., illus., 8vo; $8.50] (1st publ. 1939)
Originally published in 1939, and long out-of-print, Ballads and Songs from Ohio includes many Ohio variants of British traditional and broadside ballads, indi- genous American folksongs, religious songs, and ballad themes preserving early American history. There are 153 songs and ballads with approximately 100 tunes. It remains the largest major collection of Ohio traditional songs available in print.
As to the size of her total collection, printed and unprinted, Miss Eddy may have to yield first place in Ohio to an- other lady, Mrs. Anne Grimes, former president of the Ohio Folklore Society.
900 900 900
This content downloaded from 185.44.77.34 on Sun, 15 Jun 2014 18:53:24 PMAll use subject to JSTOR Terms and Conditions