Black Music by Dean Tudor; Nancy Tudor; Contemporary Popular Music by Dean Tudor; NancyTudor; Grass Roots Music by Dean Tudor; Nancy Tudor; Jazz by Dean Tudor; Nancy TudorReview by: Robert M. JonesNotes, Second Series, Vol. 36, No. 3 (Mar., 1980), pp. 648-649Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/939813 .

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MLA Notes, March 1980 MLA Notes, March 1980

effect. First, it isolates this collection from the body of Liszt's published correspon- dence. No more than a half-dozen footnotes cite other collections, although Liszt con- stantly refers to other letters and corre- spondents. The reader who wishes to follow him had best keep the Briefe collections at hand, especially the Correspondance with Charles Alexander of Weimar (Leipzig, 1909) which parallels this one in many ways. Even three published letters to Olga Meyendorff herself, not in this collection, go unmentioned.

The second effect is to leave the reader on his or her own to thread through such topics as the excommunication of Pere Hyacinthe, the Vatican's ambiguous politi- cal status, or the tangled state of French politics following the Franco-Prussian War-in fact, all the "current events" that Liszt discusses at length. Musical events suffer the same neglect. Among those Liszt discusses that are not identified are: the meeting of the Cacilie-Verein (p. 16), Liszt's

Black Music. By Dean and Nancy Unlimited, 1979. [262 p.; $18.50]

effect. First, it isolates this collection from the body of Liszt's published correspon- dence. No more than a half-dozen footnotes cite other collections, although Liszt con- stantly refers to other letters and corre- spondents. The reader who wishes to follow him had best keep the Briefe collections at hand, especially the Correspondance with Charles Alexander of Weimar (Leipzig, 1909) which parallels this one in many ways. Even three published letters to Olga Meyendorff herself, not in this collection, go unmentioned.

The second effect is to leave the reader on his or her own to thread through such topics as the excommunication of Pere Hyacinthe, the Vatican's ambiguous politi- cal status, or the tangled state of French politics following the Franco-Prussian War-in fact, all the "current events" that Liszt discusses at length. Musical events suffer the same neglect. Among those Liszt discusses that are not identified are: the meeting of the Cacilie-Verein (p. 16), Liszt's

Black Music. By Dean and Nancy Unlimited, 1979. [262 p.; $18.50]

ownJubilee Festival, (p. 101, where the note belongs, not on p. 108 a month after the event), the first performance of Wagner's Tristan outside Munich, (p. 144), and many others.

Besides omissions, a few errors of com- mission can also be found. Note 13 (p. 85) refers to the Weimar performance of Tannhiiuser on the following page, not the Brussels premiere. Note 18 (p. 90) identify- ing Taubert's Noveletten as "incidental music to Hebel's drama" is incomprehensible.

After all these specifics, one can still be thankful that the collection was published. With so long a wait, though, it's a pity to see it treated so poorly. Perhaps Dumbarton Oaks will someday publish an adequately annotated edition of the French text. Until then, or until this one is revised, it can satisfy neither the specialist nor the in- terested reader.

CHARLES SUTTONI

New York, New York

Tudor. Littleton, Colo.: Libraries

ownJubilee Festival, (p. 101, where the note belongs, not on p. 108 a month after the event), the first performance of Wagner's Tristan outside Munich, (p. 144), and many others.

Besides omissions, a few errors of com- mission can also be found. Note 13 (p. 85) refers to the Weimar performance of Tannhiiuser on the following page, not the Brussels premiere. Note 18 (p. 90) identify- ing Taubert's Noveletten as "incidental music to Hebel's drama" is incomprehensible.

After all these specifics, one can still be thankful that the collection was published. With so long a wait, though, it's a pity to see it treated so poorly. Perhaps Dumbarton Oaks will someday publish an adequately annotated edition of the French text. Until then, or until this one is revised, it can satisfy neither the specialist nor the in- terested reader.

CHARLES SUTTONI

New York, New York

Tudor. Littleton, Colo.: Libraries

Contemporary Popular Music. By Dean and Nancy Tudor. Littleton, Colo.: Libraries Unlimited, 1979. [313 p.; $18.50]

Grass Roots Music. By Dean and Nancy Tudor. Littleton, Colo.: Libraries Unlimited, 1979. [367 p.; $18.50]

Jazz. By Dean and Nancy Tudor. Littleton, Colo.: Libraries Unlimited, 1979. [302 p.; $18.50]

Contemporary Popular Music. By Dean and Nancy Tudor. Littleton, Colo.: Libraries Unlimited, 1979. [313 p.; $18.50]

Grass Roots Music. By Dean and Nancy Tudor. Littleton, Colo.: Libraries Unlimited, 1979. [367 p.; $18.50]

Jazz. By Dean and Nancy Tudor. Littleton, Colo.: Libraries Unlimited, 1979. [302 p.; $18.50]

Dean and Nancy Tudor's four record

buying guides covering Black Music, Jazz, Contemporary Popular Music, and Grass Roots Music attempt to fill what is an extremely large gap on our reference shelves. They aim to provide libraries with a badly needed buying guide and finding aid through the extremely complex fields of popular music. The Tudors have amassed a large number of discographical citations and have provid- ed most with an annotation of approxi- mately 300 words each. The basic format of the four volumes is similar in layout and design, each containing an essay on popular music, the text proper, and citations, direc- tories, and indexes.

Each volume annotates approximately 750 albums of which about 220 key albums

Dean and Nancy Tudor's four record

buying guides covering Black Music, Jazz, Contemporary Popular Music, and Grass Roots Music attempt to fill what is an extremely large gap on our reference shelves. They aim to provide libraries with a badly needed buying guide and finding aid through the extremely complex fields of popular music. The Tudors have amassed a large number of discographical citations and have provid- ed most with an annotation of approxi- mately 300 words each. The basic format of the four volumes is similar in layout and design, each containing an essay on popular music, the text proper, and citations, direc- tories, and indexes.

Each volume annotates approximately 750 albums of which about 220 key albums

are starred as "first purchase" items. These are recordings which the Tudors consider seminal recordings and can be used as a selection guide to collection building. If one

purchases only the recordings which the Tudors consider seminal in the four areas, one is speaking of approximately $4,400. How many libraries, I wonder, are willing or indeed able to devote this amount of

money to the area of popular music? I would like to think many, but given the realities of budget situations, I doubt that this is true. The statement is made that the recordings are "constantly available around the country; [yet] some may be difficult to acquire." This may be a consid- erable understatement. However, with the

help of the directory of specialist record

are starred as "first purchase" items. These are recordings which the Tudors consider seminal recordings and can be used as a selection guide to collection building. If one

purchases only the recordings which the Tudors consider seminal in the four areas, one is speaking of approximately $4,400. How many libraries, I wonder, are willing or indeed able to devote this amount of

money to the area of popular music? I would like to think many, but given the realities of budget situations, I doubt that this is true. The statement is made that the recordings are "constantly available around the country; [yet] some may be difficult to acquire." This may be a consid- erable understatement. However, with the

help of the directory of specialist record

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Book Reviews Book Reviews

stores, problems associated with obtaining issues from small, independent labels may be a bit less difficult. Still, the librarian branching out into these areas should be prepared for many frustrations.

Each volume divides the larger topic into categories such as "Bluegrass Music," "Southwestern Music," "Sacred Music," and so forth, and it is in the preface or intro- duction to each of these sections that the Tudors are at their best. These short, con- cise introductions give an extremely good overview of the given area. There is also an excellent though not extensive bibliog- raphy on the subject treated in each volume in which each entry is generally given a brief one-sentence annotation. The bibliog- raphies, while good, do not necessarily include all of "the key books of concern to students" in each of the areas. In any field that is developing as rapidly as this, an item which is considered basic today might well be obsolete tomorrow.

Within each volume, categories are sub- arranged into further divisions by styling, time period, diverse instrumentation and vocal technique, and so forth. Generally speaking, the Tudors have attempted to select recordings indicative of a style, re- gardless of convenient popular classifica- tions which may be applied to an artist or group. Each record album is numbered, and sometimes several related albums are grouped together in a discographical essay style. All relevant information to place an order is included. However, it might be best for the ordering librarian to double check the label and serial number. The Tudors state that they have given the "last known serial number," but you may find that you already own the same album under a previous serial number or indeed under a totally different manufacturer's name.

The volumes, for all their good points, do have several serious flaws. Approxi- mately one-third of each volume is identical to the others. Much of the introductory and prefatory material contains only slight editorial changes such as the exchange of

stores, problems associated with obtaining issues from small, independent labels may be a bit less difficult. Still, the librarian branching out into these areas should be prepared for many frustrations.

Each volume divides the larger topic into categories such as "Bluegrass Music," "Southwestern Music," "Sacred Music," and so forth, and it is in the preface or intro- duction to each of these sections that the Tudors are at their best. These short, con- cise introductions give an extremely good overview of the given area. There is also an excellent though not extensive bibliog- raphy on the subject treated in each volume in which each entry is generally given a brief one-sentence annotation. The bibliog- raphies, while good, do not necessarily include all of "the key books of concern to students" in each of the areas. In any field that is developing as rapidly as this, an item which is considered basic today might well be obsolete tomorrow.

Within each volume, categories are sub- arranged into further divisions by styling, time period, diverse instrumentation and vocal technique, and so forth. Generally speaking, the Tudors have attempted to select recordings indicative of a style, re- gardless of convenient popular classifica- tions which may be applied to an artist or group. Each record album is numbered, and sometimes several related albums are grouped together in a discographical essay style. All relevant information to place an order is included. However, it might be best for the ordering librarian to double check the label and serial number. The Tudors state that they have given the "last known serial number," but you may find that you already own the same album under a previous serial number or indeed under a totally different manufacturer's name.

The volumes, for all their good points, do have several serious flaws. Approxi- mately one-third of each volume is identical to the others. Much of the introductory and prefatory material contains only slight editorial changes such as the exchange of

the words "Black Music" for "jazz," or "jazz" for "grass roots music," while the substance of the sentence remains the same. The entire Directory of Labels and Starred Rec- ords (a total of forty-nine pages) is repeated verbatim in each volume. Although this repetition of material might have been done for each volume to stand alone, there is no listing of contents in each volume by label and serial number, a feature which can be extremely helpful and time saving when one is checking the holdings of one's own library. We are told that the starred records from all four volumes are listed in the directory, yet in several instances we find that this is simply not the case.

In any reference work, the indexes and appendices are extremely important. The Artists' Index to each volume has a rather simple method of using boldface type to refer to an artist or group's major phono- discs, that is, those items starred in the text. However, because of the type style or the color of the ink used, the boldfaced entries do not tend to stand out as clearly as one might hope. We also find several instances throughout the volumes of misspelled words and obvious typographical errors, but most of them should be apparent to the observant user.

Any work covering a subject this close to the event has the built-in disadvantage of being too close in time to evaluate and place the seminal works, artists, and re- cordings into an enduring perspective. At approximately $75 for the four-volume set, this represents a major purchase for most libraries. It is therefore unfortunate that these volumes were not more carefully put together. However, since we really do not have any other book or books which cover this subject at this time, larger academic libraries will need these volumes and most public libraries should probably have them as well. They can be very useful if ap- proached with caution.

ROBERT M. JONES University of Illinois

at Urbana-Champaign

the words "Black Music" for "jazz," or "jazz" for "grass roots music," while the substance of the sentence remains the same. The entire Directory of Labels and Starred Rec- ords (a total of forty-nine pages) is repeated verbatim in each volume. Although this repetition of material might have been done for each volume to stand alone, there is no listing of contents in each volume by label and serial number, a feature which can be extremely helpful and time saving when one is checking the holdings of one's own library. We are told that the starred records from all four volumes are listed in the directory, yet in several instances we find that this is simply not the case.

In any reference work, the indexes and appendices are extremely important. The Artists' Index to each volume has a rather simple method of using boldface type to refer to an artist or group's major phono- discs, that is, those items starred in the text. However, because of the type style or the color of the ink used, the boldfaced entries do not tend to stand out as clearly as one might hope. We also find several instances throughout the volumes of misspelled words and obvious typographical errors, but most of them should be apparent to the observant user.

Any work covering a subject this close to the event has the built-in disadvantage of being too close in time to evaluate and place the seminal works, artists, and re- cordings into an enduring perspective. At approximately $75 for the four-volume set, this represents a major purchase for most libraries. It is therefore unfortunate that these volumes were not more carefully put together. However, since we really do not have any other book or books which cover this subject at this time, larger academic libraries will need these volumes and most public libraries should probably have them as well. They can be very useful if ap- proached with caution.

ROBERT M. JONES University of Illinois

at Urbana-Champaign

* * * * * *

Tchaikovsky. The Early Years: 1840- 1874. By David Brown. New York: W. W. Norton, 1978. [348 p.; $20.00]

Tchaikovsky. The Early Years: 1840- 1874. By David Brown. New York: W. W. Norton, 1978. [348 p.; $20.00]

This is a preliminary report on a book in progress, the first volume of a projected three-volume biography. The author has

This is a preliminary report on a book in progress, the first volume of a projected three-volume biography. The author has

649 649

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