The Traditional Music of Britain and Ireland by James Porter; Irish Folk Music: A SelectedDiscography by Deborah L. SchaefferReview by: David DoddNotes, Second Series, Vol. 47, No. 2 (Dec., 1990), pp. 391-392Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/941979 .

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Book Reviews Book Reviews

As interest in popular music rose in the 1960s, so did the number of journals de- voted to the various aspects of the field. Following the journals came two periodical indexes, Popular Music Periodicals Index (1973-76) and Jazz Index (1977-83); in ad- dition, the editors of Music Index decided in the late seventies to include more pop- ular music journals. The demise of PMPI and JI left the researcher without adequate indexing of periodicals in the popular and jazz fields. This need has been partially filled by the annual POMPI: Popular Music Peri- odicals Index. In the first issue, which covers October 1984 through September 1986, editors Chris Clark and Andy Linehan have indexed sixty-eight journals devoted to popular music and jazz, emphasizing those that originate in the United Kingdom and are received at the National Sound Archive of the British Library. All feature articles and interviews are indexed completely, short items and obituaries partially; most reviews are excluded. Subject headings are derived from in-house files and from The New Grove Dictionary of American Music.

Although this publication holds the promise of good things to come, its limited focus restricts its usefulness. Twenty-one of the journals it covers are already in- dexed in Music Index. Omitted, on the other hand, are American Music, Jazz Forum (In- ternational Jazz Federation), Mississippi Rag, Popular Music and Society, and Village Voice, to name only a few of the periodicals nec- essary for research in popular music or jazz. Even with the limitations of coverage, POMPI will be a welcome addition to those libraries whose clientele need access to this material.

Patricia Havlice's Popular Song Index is particularly well known to librarians who most often locate songs in collections. The third supplement, which covers collections published between 1979 and 1987, as well as a few titles published prior to 1979, is essential for any music reference collec- tion.

LINDA M. FIDLER

Bowling Green State University

The Traditional Music of Britain and Ireland. By James Porter. (Music Re- search and Information Guides, 11; Garland Reference Library of the Hu-

As interest in popular music rose in the 1960s, so did the number of journals de- voted to the various aspects of the field. Following the journals came two periodical indexes, Popular Music Periodicals Index (1973-76) and Jazz Index (1977-83); in ad- dition, the editors of Music Index decided in the late seventies to include more pop- ular music journals. The demise of PMPI and JI left the researcher without adequate indexing of periodicals in the popular and jazz fields. This need has been partially filled by the annual POMPI: Popular Music Peri- odicals Index. In the first issue, which covers October 1984 through September 1986, editors Chris Clark and Andy Linehan have indexed sixty-eight journals devoted to popular music and jazz, emphasizing those that originate in the United Kingdom and are received at the National Sound Archive of the British Library. All feature articles and interviews are indexed completely, short items and obituaries partially; most reviews are excluded. Subject headings are derived from in-house files and from The New Grove Dictionary of American Music.

Although this publication holds the promise of good things to come, its limited focus restricts its usefulness. Twenty-one of the journals it covers are already in- dexed in Music Index. Omitted, on the other hand, are American Music, Jazz Forum (In- ternational Jazz Federation), Mississippi Rag, Popular Music and Society, and Village Voice, to name only a few of the periodicals nec- essary for research in popular music or jazz. Even with the limitations of coverage, POMPI will be a welcome addition to those libraries whose clientele need access to this material.

Patricia Havlice's Popular Song Index is particularly well known to librarians who most often locate songs in collections. The third supplement, which covers collections published between 1979 and 1987, as well as a few titles published prior to 1979, is essential for any music reference collec- tion.

LINDA M. FIDLER

Bowling Green State University

The Traditional Music of Britain and Ireland. By James Porter. (Music Re- search and Information Guides, 11; Garland Reference Library of the Hu-

manities, 807.) New York: Garland, 1989. [xxix, 408 p. ISBN 0-8240-6623- 5. $50.00.] Irish Folk Music: A Selected Dis- cography. Compiled by Deborah L. Schaeffer. (Discographies, 31.) Westport, Conn.: Greenwood Press, 1989. [x, 180 p. ISBN 0-313-25312-9. $39.95.]

James Porter's selective bibliography cites works published between 1700 and 1989, emphasizing "publications in the field over the past one hundred years or so" (p. xiii). The 1,739 entries contain evaluative an- notations, and the author indicates those works considered to be standards.

Items are organized into four broad cat- egories: reference works, journals, music collections, and research publications. Within the categories of music collections and research publications, items are ar- ranged geographically by region within the British Isles-England, Ireland, Isle of Man, Scotland, and Wales-or placed under the heading "General."

Porter supplies two indexes, one for sub- jects and geographic locations, and one for names. The subject index provides access by instrument and by musical genre, al- though the cross-referencing is not com- plete. If you look under "Tin whistle" or "Pennywhistle," you will be directed to see "Whistle"; but if you look under "Violin" you will receive no help in locating the pre- ferred term, "Fiddle."

The author's brief preface explains the scope of the work and deals with the prob- lems inherent in the terminology of tradi- tional music ("folk music," "vernacular mu- sic," or "popular music"). Porter explains his inclusion of such North American works as Francis O'Neill's The Dance Music of Ire- land (1907), considered by the author "to be part of Ireland's or Scotland's rather than the United States' or Canada's musical tra- dition since the material was mostly gath- ered directly from immigrants" (p. xii).

The introduction by Porter, who is pro- fessor of music and folklore in UCLA's De- partment of Ethnomusicology, describes the history of collecting, studying, and per- forming traditional music in the British Isles.

Deborah L. Schaeffer's Irish Folk Music: A Selected Discography focuses on recordings

manities, 807.) New York: Garland, 1989. [xxix, 408 p. ISBN 0-8240-6623- 5. $50.00.] Irish Folk Music: A Selected Dis- cography. Compiled by Deborah L. Schaeffer. (Discographies, 31.) Westport, Conn.: Greenwood Press, 1989. [x, 180 p. ISBN 0-313-25312-9. $39.95.]

James Porter's selective bibliography cites works published between 1700 and 1989, emphasizing "publications in the field over the past one hundred years or so" (p. xiii). The 1,739 entries contain evaluative an- notations, and the author indicates those works considered to be standards.

Items are organized into four broad cat- egories: reference works, journals, music collections, and research publications. Within the categories of music collections and research publications, items are ar- ranged geographically by region within the British Isles-England, Ireland, Isle of Man, Scotland, and Wales-or placed under the heading "General."

Porter supplies two indexes, one for sub- jects and geographic locations, and one for names. The subject index provides access by instrument and by musical genre, al- though the cross-referencing is not com- plete. If you look under "Tin whistle" or "Pennywhistle," you will be directed to see "Whistle"; but if you look under "Violin" you will receive no help in locating the pre- ferred term, "Fiddle."

The author's brief preface explains the scope of the work and deals with the prob- lems inherent in the terminology of tradi- tional music ("folk music," "vernacular mu- sic," or "popular music"). Porter explains his inclusion of such North American works as Francis O'Neill's The Dance Music of Ire- land (1907), considered by the author "to be part of Ireland's or Scotland's rather than the United States' or Canada's musical tra- dition since the material was mostly gath- ered directly from immigrants" (p. xii).

The introduction by Porter, who is pro- fessor of music and folklore in UCLA's De- partment of Ethnomusicology, describes the history of collecting, studying, and per- forming traditional music in the British Isles.

Deborah L. Schaeffer's Irish Folk Music: A Selected Discography focuses on recordings

391 391

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NOTES, December 1990 NOTES, December 1990

of Irish music from the late 1960s to the spring of 1987, most of which are still available, according to the author.

Each entry includes main artist, title, year of release, record label and number, other artists, producers, instruments, and con- tents. Song titles are listed as they appear on the recording, with no attempt made to provide uniform headings. The level of detail about the bands and their personnel is a high one usually reserved for jazz dis- cographies, and provides a fascinating look at the careers of the musicians much like Peter Frame's famous rock "family trees."

of Irish music from the late 1960s to the spring of 1987, most of which are still available, according to the author.

Each entry includes main artist, title, year of release, record label and number, other artists, producers, instruments, and con- tents. Song titles are listed as they appear on the recording, with no attempt made to provide uniform headings. The level of detail about the bands and their personnel is a high one usually reserved for jazz dis- cographies, and provides a fascinating look at the careers of the musicians much like Peter Frame's famous rock "family trees."

Schaeffer evaluates the bands and de- scribes their sound. She also evaluates in- dividual recordings, making the discogra- phy potentially useful to libraries seeking to build collections in this genre. The book includes indexes by artist and title, a short glossary of musical terms in English and Irish, and a directory of suggested sources for obtaining recordings in the United States. The author is clearly a fan of this music, and her enthusiasm comes across wonderfully.

DAVID DODD Oakland, California

Schaeffer evaluates the bands and de- scribes their sound. She also evaluates in- dividual recordings, making the discogra- phy potentially useful to libraries seeking to build collections in this genre. The book includes indexes by artist and title, a short glossary of musical terms in English and Irish, and a directory of suggested sources for obtaining recordings in the United States. The author is clearly a fan of this music, and her enthusiasm comes across wonderfully.

DAVID DODD Oakland, California

INSTRUMENTS AND INSTRUMENTAL MUSIC INSTRUMENTS AND INSTRUMENTAL MUSIC

A Practical Guide to Historical Per- formance: The Renaissance. Ed. by Jeffery T. Kite-Powell. New York: Early Music America (250 W. 54 St., Suite 300, New York, N.Y. 10019), 1989. [iv, 236 p.]

This handbook, the work of nineteen specialist contributors, is the latest in that peculiar series of guides for the perplexed that was launched in 1977 with Edward Kottick's The Collegium: A Handbook (Sto- nington, Conn.: October House), and has continued with Timothy McGee's Medieval and Renaissance Music: A Performer's Guide (Toronto: University of Toronto Press, 1985) and Performing Medieval and Renais- sance Music: An Introductory Guide by Eliza- beth Phillips and John-Paul Jackson (New York: Schirmer Books, 1986). These books are evidently designed to aid the hapless junior faculty member who has just been informed by the Department chair, "Jones, next year you're directing the Collegium." "Ka-what?" thinks Jones, and runs to the card catalogue or the online terminal. This must happen frequently, to judge by the size of the literature that the problem has generated. There is even a dissertation on the subject: Alice Petersen, "A Guide to the Development and Direction of an Early Music Performance Program" (Ball State University, 1980).

Early Music America, a lobbying orga- nization dedicated to the propagation of early-music activities in the United States at all levels, here laudably nurtures the grass

A Practical Guide to Historical Per- formance: The Renaissance. Ed. by Jeffery T. Kite-Powell. New York: Early Music America (250 W. 54 St., Suite 300, New York, N.Y. 10019), 1989. [iv, 236 p.]

This handbook, the work of nineteen specialist contributors, is the latest in that peculiar series of guides for the perplexed that was launched in 1977 with Edward Kottick's The Collegium: A Handbook (Sto- nington, Conn.: October House), and has continued with Timothy McGee's Medieval and Renaissance Music: A Performer's Guide (Toronto: University of Toronto Press, 1985) and Performing Medieval and Renais- sance Music: An Introductory Guide by Eliza- beth Phillips and John-Paul Jackson (New York: Schirmer Books, 1986). These books are evidently designed to aid the hapless junior faculty member who has just been informed by the Department chair, "Jones, next year you're directing the Collegium." "Ka-what?" thinks Jones, and runs to the card catalogue or the online terminal. This must happen frequently, to judge by the size of the literature that the problem has generated. There is even a dissertation on the subject: Alice Petersen, "A Guide to the Development and Direction of an Early Music Performance Program" (Ball State University, 1980).

Early Music America, a lobbying orga- nization dedicated to the propagation of early-music activities in the United States at all levels, here laudably nurtures the grass

roots, the student-cum-amateur operations that spread enlightenment and foster de- mand. Jeffery Kite-Powell, who directs the Early Music Ensemble at Florida State Uni- versity, has explicitly called for suggestions to improve this first edition. So what fol- lows is somewhat in the nature of an open letter to the editor.

First, change the title. If the book is meant to instruct the fledgling collegium director, put the word collegium up front, so that Jones will find it easily in the catalogue. "Historical performance" is a mealy- mouthed expression, once optimistic, now pharisaical.

Second, don't emulate the Famous Writ- ers School. You remember the Famous Writers School: in return for your joiner's fee, you received monthly "packets" of miscellaneous advice that attempted hig- gledy-piggledy to cover everything from punctuation ("the period, or full stop, comes at the end of a sentence and signals the completion of a thought") to negotiating with your agent ("only one with a proven track record in placing best sellers is enti- tled to more than the standard twenty per- cent"). Affirm your practical aim and can the philosophy. One of the best parts of this book is the last, your own, dealing with the mechanics of starting and running the or- ganization, with valuable supplementary advice from other professionals about copyright law, publicity, and programs. The worst aspect is the tendency on the part of many contributors to dilate irresponsibly about "performance practice"-a.k.a. "style

roots, the student-cum-amateur operations that spread enlightenment and foster de- mand. Jeffery Kite-Powell, who directs the Early Music Ensemble at Florida State Uni- versity, has explicitly called for suggestions to improve this first edition. So what fol- lows is somewhat in the nature of an open letter to the editor.

First, change the title. If the book is meant to instruct the fledgling collegium director, put the word collegium up front, so that Jones will find it easily in the catalogue. "Historical performance" is a mealy- mouthed expression, once optimistic, now pharisaical.

Second, don't emulate the Famous Writ- ers School. You remember the Famous Writers School: in return for your joiner's fee, you received monthly "packets" of miscellaneous advice that attempted hig- gledy-piggledy to cover everything from punctuation ("the period, or full stop, comes at the end of a sentence and signals the completion of a thought") to negotiating with your agent ("only one with a proven track record in placing best sellers is enti- tled to more than the standard twenty per- cent"). Affirm your practical aim and can the philosophy. One of the best parts of this book is the last, your own, dealing with the mechanics of starting and running the or- ganization, with valuable supplementary advice from other professionals about copyright law, publicity, and programs. The worst aspect is the tendency on the part of many contributors to dilate irresponsibly about "performance practice"-a.k.a. "style

392 392

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