The Oxford Student's Harmony. A Practical Approach to Creative Musicianship by EdwinSmith; David RenoufReview by: Arthur DanielsNotes, Second Series, Vol. 23, No. 1 (Sep., 1966), pp. 57-58Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/895148 .

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mining a first publication and of dating a particular copy, taking into considera- tion, among other things, copyright en- tries, prevailing currency, publishers' plate numbers, watermarks, type of printing, advertising, and postal districts. Much specific information of general usefulness is given, including a review of the copy- right histories of eight countries and of international agreements, and notes on a few individual composers and publishers. In a "Special message to music librarians" (pp. 63ff.), Mr. Fuld expresses his sur- prise at the lack of attention so far paid to both first printings of orchestral parts and to first editions of many standard "classical" works, especially those of the nineteenth century. He presents a five-

mining a first publication and of dating a particular copy, taking into considera- tion, among other things, copyright en- tries, prevailing currency, publishers' plate numbers, watermarks, type of printing, advertising, and postal districts. Much specific information of general usefulness is given, including a review of the copy- right histories of eight countries and of international agreements, and notes on a few individual composers and publishers. In a "Special message to music librarians" (pp. 63ff.), Mr. Fuld expresses his sur- prise at the lack of attention so far paid to both first printings of orchestral parts and to first editions of many standard "classical" works, especially those of the nineteenth century. He presents a five-

page list of works for which he hopes librarians will search their shelves in the hope of turning up a first printing. There is also a short list of composers and au- thors for whom he could find no bio- graphical information. In addition, those libraries with holdings of early sheet mu- sic will certainly want to compare their editions with the entries in the main listing.

World-Famous Music is a scholarly, well- documented, interesting book which de- serves a place in all public and college libraries, as well as in research and pri- vate collections.

RUTH HILTON Cornell University

page list of works for which he hopes librarians will search their shelves in the hope of turning up a first printing. There is also a short list of composers and au- thors for whom he could find no bio- graphical information. In addition, those libraries with holdings of early sheet mu- sic will certainly want to compare their editions with the entries in the main listing.

World-Famous Music is a scholarly, well- documented, interesting book which de- serves a place in all public and college libraries, as well as in research and pri- vate collections.

RUTH HILTON Cornell University

The Oxford Student's Harmony. A Practical Approach to Creative Musicianship. By Edwin Smith and David Renouf. Book I. London: Oxford University Press [1965]. [3, 138 p., music, 8vo; $5.00]

The Oxford Student's Harmony. A Practical Approach to Creative Musicianship. By Edwin Smith and David Renouf. Book I. London: Oxford University Press [1965]. [3, 138 p., music, 8vo; $5.00]

This text, subtitled "A Practical Ap- proach to Creative Musicianship" and dedicated to the students of the Notting- ham College of Education, has "been planned to encourage a practical and cre- ative approach in colleges and schools where harmony is studied in class. They [i.e., the two volumes which comprise the complete text] aim to establish fun- damental concepts in harmony and style and to provide for the enjoyable ac- quisition of skill in improvisation, sight- reading, harmonization, and transposi- tion." The first volume covers a harmony vocabulary roughly equivalent to the con- tents of a first year harmony course: triads and their inversions, the dominant and supertonic sevenths and their inver- sions, non-harmonic tones, cadences, and phrase structure. Also included is an in- teresting chapter on the pentatonic scale, illustrated by numerous folk songs. It must be emphasized that the entire first volume, with the exception of the chap- ter on pentatonic melody, is concerned with the major mode only. The last ex- ample in the volume (an English folk tune which fluctuates between E-flat Major and C Dorian) forms, in the au- thors' words, "a bridge to Book Two, in which we discuss other forms of scale."

The subject matter of the book is dis- tributed over seven chapters, the first

This text, subtitled "A Practical Ap- proach to Creative Musicianship" and dedicated to the students of the Notting- ham College of Education, has "been planned to encourage a practical and cre- ative approach in colleges and schools where harmony is studied in class. They [i.e., the two volumes which comprise the complete text] aim to establish fun- damental concepts in harmony and style and to provide for the enjoyable ac- quisition of skill in improvisation, sight- reading, harmonization, and transposi- tion." The first volume covers a harmony vocabulary roughly equivalent to the con- tents of a first year harmony course: triads and their inversions, the dominant and supertonic sevenths and their inver- sions, non-harmonic tones, cadences, and phrase structure. Also included is an in- teresting chapter on the pentatonic scale, illustrated by numerous folk songs. It must be emphasized that the entire first volume, with the exception of the chap- ter on pentatonic melody, is concerned with the major mode only. The last ex- ample in the volume (an English folk tune which fluctuates between E-flat Major and C Dorian) forms, in the au- thors' words, "a bridge to Book Two, in which we discuss other forms of scale."

The subject matter of the book is dis- tributed over seven chapters, the first

five of which are subdivided into sections on "melody" and "harmony;" chapters 6 and 7 deal with harmonic vocabulary only. An eighth and final chapter illus- trates various creative projects designed to exercise the student's skill in handling melody and harmony. Here the authors explain how to arrange simple folk tunes for recorder ensemble; they analyze short dances of Schubert and Beethoven and establish guidelines for scoring these pieces for piano, recorders, and percus- sion; they analyze examples of two-, three-, and four-part vocal music, ranging from simple chordal settings to those contain- ing elaborate imitative counterpoint, by composers such as Morley, Michael Este, Schiitz, Purcell, Handel, Mozart, and Menotti; they then furnish brief passages from vocal literature, to be extended by the student in imitation of the examples provided, and compared with the com- posers' own solutions. All of these proj- ects are to be adapted to the abilities of the students and all solutions are to be performed.

In some respects the earlier chapters of this book serve well to prepare the student for the successful completion of projects of this type. The sections on phrase struc- ture require him to furnish consequent phrases to the given antecedents; the third chapter provides him with a lucid

five of which are subdivided into sections on "melody" and "harmony;" chapters 6 and 7 deal with harmonic vocabulary only. An eighth and final chapter illus- trates various creative projects designed to exercise the student's skill in handling melody and harmony. Here the authors explain how to arrange simple folk tunes for recorder ensemble; they analyze short dances of Schubert and Beethoven and establish guidelines for scoring these pieces for piano, recorders, and percus- sion; they analyze examples of two-, three-, and four-part vocal music, ranging from simple chordal settings to those contain- ing elaborate imitative counterpoint, by composers such as Morley, Michael Este, Schiitz, Purcell, Handel, Mozart, and Menotti; they then furnish brief passages from vocal literature, to be extended by the student in imitation of the examples provided, and compared with the com- posers' own solutions. All of these proj- ects are to be adapted to the abilities of the students and all solutions are to be performed.

In some respects the earlier chapters of this book serve well to prepare the student for the successful completion of projects of this type. The sections on phrase struc- ture require him to furnish consequent phrases to the given antecedents; the third chapter provides him with a lucid

57 57

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introduction to poetic meters and to the problems involved in setting verse to mu- sic; keyboard drills, involving transpo- sition of basic chord progressions to all of the major keys, are provided through- out; and the text is liberally laced with musical examples designed to "whet the student's appetite" and to "fire his im- agination and inspire him to develop his own powers of expression."

But however much I appreciate the value of direct, practical, (not to men- tion "creative") applications of music theory, especially by the prospective class room teacher, I have serious reservations about the efficacy of this book as a basic harmony text, and I am not at all dis- armed by the following comments of the authors in their introduction:

The study of harmony, in particular, is often a drab affair. A preoccupation

introduction to poetic meters and to the problems involved in setting verse to mu- sic; keyboard drills, involving transpo- sition of basic chord progressions to all of the major keys, are provided through- out; and the text is liberally laced with musical examples designed to "whet the student's appetite" and to "fire his im- agination and inspire him to develop his own powers of expression."

But however much I appreciate the value of direct, practical, (not to men- tion "creative") applications of music theory, especially by the prospective class room teacher, I have serious reservations about the efficacy of this book as a basic harmony text, and I am not at all dis- armed by the following comments of the authors in their introduction:

The study of harmony, in particular, is often a drab affair. A preoccupation

with the demands of public examina- tions and an overemphasis on "rules" and prohibitions give rise to an arid approach where theory is divorced from practice, imagination is stifled, and a good deal of native talent goes unrec- ognized. In any good harmony text, "rules" are

derived from the common practice of composers and the student does occasion- ally require firm guidelines for such mun- dane procedures as proper voice leading and doubling. The information provided in this text for these procedures is en- tirely inadequate, as are the authors' discussions of root movement, six-four chords, and the preparation of the seventh in diatonic seventh chords, to name but a few areas where deficiencies are obvious.

ARTHUR DANIELS Oakland University, Mich.

with the demands of public examina- tions and an overemphasis on "rules" and prohibitions give rise to an arid approach where theory is divorced from practice, imagination is stifled, and a good deal of native talent goes unrec- ognized. In any good harmony text, "rules" are

derived from the common practice of composers and the student does occasion- ally require firm guidelines for such mun- dane procedures as proper voice leading and doubling. The information provided in this text for these procedures is en- tirely inadequate, as are the authors' discussions of root movement, six-four chords, and the preparation of the seventh in diatonic seventh chords, to name but a few areas where deficiencies are obvious.

ARTHUR DANIELS Oakland University, Mich.

BRIEFLY NOTED BRIEFLY NOTED Vocal and Instrumental Music in Print. By Jed H. Taylor. New York, London: The Scarecrow Press, Inc., 1965. [iv, 166 p.; $4.00]

Instead of the comprehensive coverage suggested in its title, this volume offers us 1,067 editions, issued by 136 American and European publishers, covering solo concert literature and pedagogical ma- terial for most instruments, including voice, but excluding organ. Thirteen fac-

ulty members of Mansfield (Pa.) State College selected the editions, assigning to them one of four levels of difficulty, "as part of a self-evaluation study of the college in preparation for re-accreditation for undergraduate work and to request accreditation for graduate work." One

hopes that these editions will be com-

plemented at Mansfield State by compara- ble holdings in miniature scores, chamber music parts, historical editions, treatises, books about music, and recordings. If this is the case, the decision to publicize only the solo and pedagogical materials is a wise one, reflecting a very great need by music teachers everywhere. At the same time, it is disheartening to survey a mu- sic collection that includes no operatic vocal scores, and only a handful of single arias and anthologies; one concerto and

Vocal and Instrumental Music in Print. By Jed H. Taylor. New York, London: The Scarecrow Press, Inc., 1965. [iv, 166 p.; $4.00]

Instead of the comprehensive coverage suggested in its title, this volume offers us 1,067 editions, issued by 136 American and European publishers, covering solo concert literature and pedagogical ma- terial for most instruments, including voice, but excluding organ. Thirteen fac-

ulty members of Mansfield (Pa.) State College selected the editions, assigning to them one of four levels of difficulty, "as part of a self-evaluation study of the college in preparation for re-accreditation for undergraduate work and to request accreditation for graduate work." One

hopes that these editions will be com-

plemented at Mansfield State by compara- ble holdings in miniature scores, chamber music parts, historical editions, treatises, books about music, and recordings. If this is the case, the decision to publicize only the solo and pedagogical materials is a wise one, reflecting a very great need by music teachers everywhere. At the same time, it is disheartening to survey a mu- sic collection that includes no operatic vocal scores, and only a handful of single arias and anthologies; one concerto and

the Schirmer Nineteen Sonatas as the only Mozart piano music; three Bart6k edi- tions, three Prokofiev, two Stravinsky, one Finney, no Stockhausen, and no Boulez. If this sad condition reflects badly on Mansfield State and on our music pub- lishers, it reflects even more ominously on music librarians, whose duty it is to facilitate a wider dissemination of good music.

The compiler, who is Acquisitions Li- brarian at Mansfield State, has classified entries by instruments or instrumental groups, with a composer index at the end. Typographical errors unfortunately run to about one for every dozen entries (much of this high average is due to the consistent mis-spelling of violoncello). A few of us may find the book a handy expedient in our work with certain read- ers who come to the library looking for repertory but who are too busy to use publishers' lists and have difficulty with the card catalogue. The main purpose of this volume is as a selection guide, how- ever, and while many good editions are listed, the total resources would not appear to amount to a model which other libraries should set out to copy.

DONALD W. KRUMMEL The Newberry Library

the Schirmer Nineteen Sonatas as the only Mozart piano music; three Bart6k edi- tions, three Prokofiev, two Stravinsky, one Finney, no Stockhausen, and no Boulez. If this sad condition reflects badly on Mansfield State and on our music pub- lishers, it reflects even more ominously on music librarians, whose duty it is to facilitate a wider dissemination of good music.

The compiler, who is Acquisitions Li- brarian at Mansfield State, has classified entries by instruments or instrumental groups, with a composer index at the end. Typographical errors unfortunately run to about one for every dozen entries (much of this high average is due to the consistent mis-spelling of violoncello). A few of us may find the book a handy expedient in our work with certain read- ers who come to the library looking for repertory but who are too busy to use publishers' lists and have difficulty with the card catalogue. The main purpose of this volume is as a selection guide, how- ever, and while many good editions are listed, the total resources would not appear to amount to a model which other libraries should set out to copy.

DONALD W. KRUMMEL The Newberry Library

58 58

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