How to Help Your Child with Music by M. Emett WilsonReview by: Virginia CunninghamNotes, Second Series, Vol. 9, No. 2 (Mar., 1952), p. 294Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/890237 .

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Manual for Folk Music Collectors. London: International Folk Music Coun- cil, 12 Clorane Gardens, N.W. 3., 1951. [30 p., 12mo; paper, 3/6]

Prepared by Maud Karpeles and Arnold Bake, and "based on the expe- rience of a number of practised collectors of folk music," this booklet "is addressed to those who wish to be initiated into methods of collecting folk music rather than to the experts."

As is the case in many other branches of scholarly endeavor, the study of folk music has benefited enormously through the contributions of amateurs. Even though it is desirable that such materials be gathered solely by trained specialists, the results of the activities of amateurs and partially trained enthusiasts will probably continue, for some time to come in the United States, at least, to account for the greater part of collectanea reach- ing the hands of serious students and, hopefully, deposited in central archives.

The Council and the authors are to be congratulated upon the publication of the best introduction of its kind in English known to this reviewer. There is a section on sound-recording equipment (reasonably up-to-date as of 1951) and one on the noting and filming of folk dance. There is a brief bibliography.

CHARLES SEEGER

How To Help Your Child With Music. By M. Emett Wilson. New York: Henry Schuman, [1951]. [170 p., illus., 8vo; $3.50]

As the title implies, Mr. Wilson's book is written for the parent. From his own rich background of musical experience and of teaching he has developed an ap- proach to the subject which is both sound and sensible. Beginning with music for very small children, he proceeds to discuss the choice of instrument, the selection of a teacher, the relationship between the parent and the teacher, the troublesome problem of practicing, and other related factors.

This book is unusual in that the author has added a new element in his treat- ment of the subject-practical psychology. His ideas will be very helpful to the parent seeking guidance for the first

Manual for Folk Music Collectors. London: International Folk Music Coun- cil, 12 Clorane Gardens, N.W. 3., 1951. [30 p., 12mo; paper, 3/6]

Prepared by Maud Karpeles and Arnold Bake, and "based on the expe- rience of a number of practised collectors of folk music," this booklet "is addressed to those who wish to be initiated into methods of collecting folk music rather than to the experts."

As is the case in many other branches of scholarly endeavor, the study of folk music has benefited enormously through the contributions of amateurs. Even though it is desirable that such materials be gathered solely by trained specialists, the results of the activities of amateurs and partially trained enthusiasts will probably continue, for some time to come in the United States, at least, to account for the greater part of collectanea reach- ing the hands of serious students and, hopefully, deposited in central archives.

The Council and the authors are to be congratulated upon the publication of the best introduction of its kind in English known to this reviewer. There is a section on sound-recording equipment (reasonably up-to-date as of 1951) and one on the noting and filming of folk dance. There is a brief bibliography.

CHARLES SEEGER

How To Help Your Child With Music. By M. Emett Wilson. New York: Henry Schuman, [1951]. [170 p., illus., 8vo; $3.50]

As the title implies, Mr. Wilson's book is written for the parent. From his own rich background of musical experience and of teaching he has developed an ap- proach to the subject which is both sound and sensible. Beginning with music for very small children, he proceeds to discuss the choice of instrument, the selection of a teacher, the relationship between the parent and the teacher, the troublesome problem of practicing, and other related factors.

This book is unusual in that the author has added a new element in his treat- ment of the subject-practical psychology. His ideas will be very helpful to the parent seeking guidance for the first

Manual for Folk Music Collectors. London: International Folk Music Coun- cil, 12 Clorane Gardens, N.W. 3., 1951. [30 p., 12mo; paper, 3/6]

Prepared by Maud Karpeles and Arnold Bake, and "based on the expe- rience of a number of practised collectors of folk music," this booklet "is addressed to those who wish to be initiated into methods of collecting folk music rather than to the experts."

As is the case in many other branches of scholarly endeavor, the study of folk music has benefited enormously through the contributions of amateurs. Even though it is desirable that such materials be gathered solely by trained specialists, the results of the activities of amateurs and partially trained enthusiasts will probably continue, for some time to come in the United States, at least, to account for the greater part of collectanea reach- ing the hands of serious students and, hopefully, deposited in central archives.

The Council and the authors are to be congratulated upon the publication of the best introduction of its kind in English known to this reviewer. There is a section on sound-recording equipment (reasonably up-to-date as of 1951) and one on the noting and filming of folk dance. There is a brief bibliography.

CHARLES SEEGER

How To Help Your Child With Music. By M. Emett Wilson. New York: Henry Schuman, [1951]. [170 p., illus., 8vo; $3.50]

As the title implies, Mr. Wilson's book is written for the parent. From his own rich background of musical experience and of teaching he has developed an ap- proach to the subject which is both sound and sensible. Beginning with music for very small children, he proceeds to discuss the choice of instrument, the selection of a teacher, the relationship between the parent and the teacher, the troublesome problem of practicing, and other related factors.

This book is unusual in that the author has added a new element in his treat- ment of the subject-practical psychology. His ideas will be very helpful to the parent seeking guidance for the first

time, as well as to the one who thinks he is an old hand at the game. For example, in his chapter on practice Mr. Wilson says "Let the child know that you enjoy his practice-you do not just tolerate it. Admit that you couldn't do it yourself."

The comments on the various instru- ments are concise and precise. The par- ent is given data on ease of learning, of maintaining skill, on cost, upkeep, and attractiveness from the point of view of demand. Sometimes Mr. Wilson's estimate of the literature available seems questionable. One look at the Published Music Catalog of the Copyright Office will show that there is much material for trombone, as well as for the "casual instruments" such as guitar and ac- cordion.

It is unfortunate that the pictures of the instruments are not done to scale. For instance, the viola appears to he larger than the string bass. This is, however, a minor flaw in an otherwise fine book. VIRGINIA CUNNINGHAM

What Makes an Orchestra; Story and Pictures by Jan Balet. New York: Oxford University Press, 1951. [41 p., illus., 4to; $2.50]

Such a bare bibliographical heading conveys no idea of the delightful quality of this book. "What makes an orchestra" -each of the orchestral instruments is described. "Story"-there is no storv, really, but an accurate and appealingly humorous account of each instrument. "Pictures" include clear pictures of the instruments alone and clever drawings of them being played, usually to admir- ing audiences of children, cats, and dogs. These are in bright color and convey a "feel" of the instrument. Groups play- ing together, ranging from a string quartet to the orchestra, are also pic- tured.

"Forty-one pages" sounds like a small book, but the book is tall and a good deal of information is packed between its covers. The price is reasonable for so much continuing pleasure. The seven- and nine-year-olds at our house like this book fine and think everyone should have a copy. VIRGINIA CUNNINGHAM

time, as well as to the one who thinks he is an old hand at the game. For example, in his chapter on practice Mr. Wilson says "Let the child know that you enjoy his practice-you do not just tolerate it. Admit that you couldn't do it yourself."

The comments on the various instru- ments are concise and precise. The par- ent is given data on ease of learning, of maintaining skill, on cost, upkeep, and attractiveness from the point of view of demand. Sometimes Mr. Wilson's estimate of the literature available seems questionable. One look at the Published Music Catalog of the Copyright Office will show that there is much material for trombone, as well as for the "casual instruments" such as guitar and ac- cordion.

It is unfortunate that the pictures of the instruments are not done to scale. For instance, the viola appears to he larger than the string bass. This is, however, a minor flaw in an otherwise fine book. VIRGINIA CUNNINGHAM

What Makes an Orchestra; Story and Pictures by Jan Balet. New York: Oxford University Press, 1951. [41 p., illus., 4to; $2.50]

Such a bare bibliographical heading conveys no idea of the delightful quality of this book. "What makes an orchestra" -each of the orchestral instruments is described. "Story"-there is no storv, really, but an accurate and appealingly humorous account of each instrument. "Pictures" include clear pictures of the instruments alone and clever drawings of them being played, usually to admir- ing audiences of children, cats, and dogs. These are in bright color and convey a "feel" of the instrument. Groups play- ing together, ranging from a string quartet to the orchestra, are also pic- tured.

"Forty-one pages" sounds like a small book, but the book is tall and a good deal of information is packed between its covers. The price is reasonable for so much continuing pleasure. The seven- and nine-year-olds at our house like this book fine and think everyone should have a copy. VIRGINIA CUNNINGHAM

time, as well as to the one who thinks he is an old hand at the game. For example, in his chapter on practice Mr. Wilson says "Let the child know that you enjoy his practice-you do not just tolerate it. Admit that you couldn't do it yourself."

The comments on the various instru- ments are concise and precise. The par- ent is given data on ease of learning, of maintaining skill, on cost, upkeep, and attractiveness from the point of view of demand. Sometimes Mr. Wilson's estimate of the literature available seems questionable. One look at the Published Music Catalog of the Copyright Office will show that there is much material for trombone, as well as for the "casual instruments" such as guitar and ac- cordion.

It is unfortunate that the pictures of the instruments are not done to scale. For instance, the viola appears to he larger than the string bass. This is, however, a minor flaw in an otherwise fine book. VIRGINIA CUNNINGHAM

What Makes an Orchestra; Story and Pictures by Jan Balet. New York: Oxford University Press, 1951. [41 p., illus., 4to; $2.50]

Such a bare bibliographical heading conveys no idea of the delightful quality of this book. "What makes an orchestra" -each of the orchestral instruments is described. "Story"-there is no storv, really, but an accurate and appealingly humorous account of each instrument. "Pictures" include clear pictures of the instruments alone and clever drawings of them being played, usually to admir- ing audiences of children, cats, and dogs. These are in bright color and convey a "feel" of the instrument. Groups play- ing together, ranging from a string quartet to the orchestra, are also pic- tured.

"Forty-one pages" sounds like a small book, but the book is tall and a good deal of information is packed between its covers. The price is reasonable for so much continuing pleasure. The seven- and nine-year-olds at our house like this book fine and think everyone should have a copy. VIRGINIA CUNNINGHAM

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