How to Become a Musical Critic by Bernard Shaw; Dan H. LaurenceReview by: Irving LowensNotes, Second Series, Vol. 18, No. 4 (Sep., 1961), p. 576Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/895550 .

Accessed: 15/06/2014 21:35

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

This content downloaded from 195.78.108.199 on Sun, 15 Jun 2014 21:35:28 PMAll use subject to JSTOR Terms and Conditions

and ornamentation, and diffusion of the various instruments in Africa plus pos- sible prior sources of the instruments. In addition to the text, the first volume includes 144 excellent sketches showing many quite intricate details of chordo- phone construction. Such things as the many different types of carved tuning pegs and the fine details of ornamental design are clearly illustrated. Many cross-section sketches of instruments are also included.

A bibliography of sources consulted follows the text, and it contains many helpful references-although a few more sources in English could have been added. The journal African Music, for instance, is not mentioned. It has had a few articles discussing chordophones, but perhaps even more important are

and ornamentation, and diffusion of the various instruments in Africa plus pos- sible prior sources of the instruments. In addition to the text, the first volume includes 144 excellent sketches showing many quite intricate details of chordo- phone construction. Such things as the many different types of carved tuning pegs and the fine details of ornamental design are clearly illustrated. Many cross-section sketches of instruments are also included.

A bibliography of sources consulted follows the text, and it contains many helpful references-although a few more sources in English could have been added. The journal African Music, for instance, is not mentioned. It has had a few articles discussing chordophones, but perhaps even more important are

the lists in the 1957 and 1958 issues of over 100 long playing records of African music, many of which include chordo- phones. The only other point I would raise, again a minor one, is that cap- tions for the photographs in the second volume would have been a great help to the reader.

To sum up, libraries frequented by readers interested in Africa or in non- Western music will probably want to have these two volumes on their shelves. They would seem especially useful for museums, musical instrument collections, and for ethnologists, ethnomusicologists, and individuals generally interested in Africa. For the Africanist, and for per- sons specifically interested in the Congo, they would seem indispensable.

DARIUS L. THIEME

the lists in the 1957 and 1958 issues of over 100 long playing records of African music, many of which include chordo- phones. The only other point I would raise, again a minor one, is that cap- tions for the photographs in the second volume would have been a great help to the reader.

To sum up, libraries frequented by readers interested in Africa or in non- Western music will probably want to have these two volumes on their shelves. They would seem especially useful for museums, musical instrument collections, and for ethnologists, ethnomusicologists, and individuals generally interested in Africa. For the Africanist, and for per- sons specifically interested in the Congo, they would seem indispensable.

DARIUS L. THIEME

How to Become a Musical Critic. By Bernard Shaw. Ed. with an introd. by Dan H. Laurence. New York: Hill and Wang, 1961. [xxiii, 359 p., 8vo; $5.00]

This is the fifth volume of GBS's oc- The first piece Laurence prints is casional writings on music. The earlier dated December 6, 1876; the last is volumes, collected by Shaw in his November 11, 1950. This almost in- "Standard Edition" as London Music and credible span of nearly three-quarters of Music in London, were chosen by the a century enables Shaw to describe author himself; this one is the first in Wagner's conducting, write an obituary a series of Shaw's heretofore uncol- for Liszt, and to insist that Heifetz, lected pieces on various topics to be Menuhin, and Kentner are greater vir- edited by Dan H. Laurence, compiler tuosos than Joachim, Sarasate, and An- of the definitive bibliography of Shaw ton Rubinstein, all of whom he had and editor of the projected Collected personally heard. It is to wonder. Shaw Letters of Bernard Shaw. is the most quotable of all authors, and

Presumably, all of Shaw's music criti- thus it is perhaps novel to conclude a cism is now in book form. How to Be- notice of one of his volumes without come a Musical Critic is so entertaining, giving the reader a single bon mot to perceptive, and characteristically Shavian cherish. This procedure will, however, that it is really impossible to figure out give him just that much more to enjoy just why the author chose to omit just when he picks up this marvelous book. these particular reviews from his col- Oh, yes-does Shaw reveal "how to lected works. Shaw was-as everybody become a musical critic?" No, indeed; knows-unfair, brash, ruthless, and run- he only reveals how GBS became a ning over with prejudice. He offended musical critic. The book won't help a people and was proud of it. Were he neophyte reviewer who has no equally actively in the music criticism game magic pen, and anyone with an equally now, he would either worry any con- magic pen won't need any help. But if scientious newspaper editor into a pre- you suffer from musicriticitis, a dread mature grave or get himself fired in no disease the main symptom of which is time flat. But he knew his music and reading what music critics write about he wrote like a prophet with an avenging music, then this volume will be a big sword. event in your life. IRVING LOWENS

576

How to Become a Musical Critic. By Bernard Shaw. Ed. with an introd. by Dan H. Laurence. New York: Hill and Wang, 1961. [xxiii, 359 p., 8vo; $5.00]

This is the fifth volume of GBS's oc- The first piece Laurence prints is casional writings on music. The earlier dated December 6, 1876; the last is volumes, collected by Shaw in his November 11, 1950. This almost in- "Standard Edition" as London Music and credible span of nearly three-quarters of Music in London, were chosen by the a century enables Shaw to describe author himself; this one is the first in Wagner's conducting, write an obituary a series of Shaw's heretofore uncol- for Liszt, and to insist that Heifetz, lected pieces on various topics to be Menuhin, and Kentner are greater vir- edited by Dan H. Laurence, compiler tuosos than Joachim, Sarasate, and An- of the definitive bibliography of Shaw ton Rubinstein, all of whom he had and editor of the projected Collected personally heard. It is to wonder. Shaw Letters of Bernard Shaw. is the most quotable of all authors, and

Presumably, all of Shaw's music criti- thus it is perhaps novel to conclude a cism is now in book form. How to Be- notice of one of his volumes without come a Musical Critic is so entertaining, giving the reader a single bon mot to perceptive, and characteristically Shavian cherish. This procedure will, however, that it is really impossible to figure out give him just that much more to enjoy just why the author chose to omit just when he picks up this marvelous book. these particular reviews from his col- Oh, yes-does Shaw reveal "how to lected works. Shaw was-as everybody become a musical critic?" No, indeed; knows-unfair, brash, ruthless, and run- he only reveals how GBS became a ning over with prejudice. He offended musical critic. The book won't help a people and was proud of it. Were he neophyte reviewer who has no equally actively in the music criticism game magic pen, and anyone with an equally now, he would either worry any con- magic pen won't need any help. But if scientious newspaper editor into a pre- you suffer from musicriticitis, a dread mature grave or get himself fired in no disease the main symptom of which is time flat. But he knew his music and reading what music critics write about he wrote like a prophet with an avenging music, then this volume will be a big sword. event in your life. IRVING LOWENS

576

This content downloaded from 195.78.108.199 on Sun, 15 Jun 2014 21:35:28 PMAll use subject to JSTOR Terms and Conditions