DebussyV1, Istex, Corpus, bibRecord, 001A19

A New Dictionary of Music

Identifieur interne : 001A19 ( Istex/Corpus ); précédent : 001A18; suivant : 001A20

A New Dictionary of Music

Auteurs :

Source :

Music educators journal [ 0027-4321 ] ; 1958-11.

RBID : ISTEX:96AB4C0AD7B71A5B1BCBE886CCD77B3D64234EF7

English descriptors

Teeft :
- Acoustical studies, Additional ballads, Additional volumes, American balladry, American education, American folklore, American folklore society, American schools, Arthur jacobs, Associate professor, Ballad tunes, Bibliography, British broadsides, British isles, British origin, Brown collection, Carolina folklore, Concert manager, Copyright date, Dean howerton points, Dryden press, Duke university press, Early publication, Elementary school, English title, Erich leinsdorf, Exciting fare, Faithful lovers, Family opposition, Famous composers, Fascinating section, Folk ballads, Folk materials, Folk tunes, Full score, General music, General music classes, George howerton, Graduate work, Great improvement, Hand page, Handy reference, Hazel morgan, Helpful bibliography, Horizon press, Inexpensive source, Ingenious device, Intelligent discussion, Irving kolodin, Journalistic pieces, Life member, Main part, Major interest, Major themes, Malcolm laws, Many contributions, Many graduate students, Melody instruments, Menc publications, Miscellaneous ballads, Modern ballad, Modern discs, More times, Music center, Music editor, Music education, Music education bibliography, Music education source book, Music educators, Music lover, Music lovers, Music teachers, Musical compositions, Musical institutions, Musical scales, Musical taste, Native american, Northwestern, Northwestern school, Northwestern university, Northwestern university school, Notable contributions, Numerous divisions, Numerous references, Numerous times, Opera themes, Other composers, Other schools, Other texts, Particular field, Particular gospel, Past half century, Penguin books, Penguin reference books, Perplexing things, Pertinent materials, Phillip schinhan, Pocket book, Previous collections, Price list, Principal operas, Professional loss, Professor schinhan, Profound knowledge, Program annotator, Psychological aspects, Quick reference, Reference works, Research studies, Research worker, Reviews briefly, Rhythm instruments, Rudolph fellner, Saturday review, Scholarly work, Secondary curriculum, Secondary schools, Small volume, Social psychology, Source book, Standard repertoire, Standard works, Thumbnail sketch, Traditional song, Understandable discussion, Unfaithful lovers, Valuable addition, Various scales, Various textbooks, Various types, Wedding march, Welcome addition, Welcome degree, West pico blvd, York philharmonic orchestra concerts.

Url:

https://api.istex.fr/document/96AB4C0AD7B71A5B1BCBE886CCD77B3D64234EF7/fulltext/pdf

DOI: 10.2307/3388946

Links to Exploration step

ISTEX:96AB4C0AD7B71A5B1BCBE886CCD77B3D64234EF7

Le document en format XML

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<meta-value> THE FRANK C. BROWN COLLECTION OF NORTH CAROLINA FOLKLORE. Volume IV. The Music of the Ballads. Edited by Jan Phillip Schinhan. (Durham, North Carolina: Duke University Press), 1957. xxxviii, 420 pp. $7.50. Those interested in American folklore will be delighted to see this collection of 517 folk tunes which over a period of some six years has been painstakingly transcribed from the wax cylinders and manuscripts in the Frank C. Brown collection. The folk tunes here presented are the melodies associated with the texts of “Folk Ballads of North Carolina” which appeared in 1952 as Volume II of the notable “Frank C. Brown Collection of North Carolina Folklore.” Twenty-six additional ballads with text and music have been added beyond those appearing in Volume II. The three additional volumes of the projected seven-volume set on North Carolina folklore are scheduled for early publication. In his preface, Professor Schinhan describes the difficulties encountered in transcribing from wax cylinders impressed as early as 1912-cylinders that had been played numerous times for students, lost in transit to the Library of Congress and/or carelessly transcribed to modern discs. There follows a fascinating section on the nature and interpretation of the tunes themselves, a helpful bibliography of related sources, and then the main part of the book itself which consists of the folk tunes and their variants classified as of British origin or native American. Appendices contain an analysis of the ballad tunes and the various scales upon which they were founded. AMERICAN BALLADRY FROM BRITISH BROADSIDES: A Guide for Students and Collectors of Traditional Song. By Malcolm Laws, Jr. (Philadelphia: The American Folklore Society), 1957. 315 pp. This scholarly work is a survey of living American Balladry which has had its origins in printed journalistic pieces sold throughout the British Isles and its colonies and later appearing in one form or another in America. The text includes descriptions of the ballads according to type (War, Sailors and the Sea, Crime and Criminals, Family Opposition to Lovers, Lovers' Disguises and Tricks, Faithful Lovers, Unfaithful Lovers, and Humorous and Miscellaneous Ballads), an account of their origin in Britain and their distribution in America, an analysis of their relation to previous collections, and a discussion of their forms and variants. No ballad has been included which has not been actively sung within the past half century in either the United States or Canada. The author gives us only the lyric for each ballad but for those who are curious about the tunes to which they were sung (many a modern ballad is sung to a very old tune), numerous references to sources are included in the text. As a source of folk materials for American schools this collection should prove rich and fruitful. AND RECORDS RECOMMENDED BOOKS FOR THE ELEMENTARY SCHOOL. GENERAL MUSIC AND THE SECONDARY CURRICULUM: RECOMMENDED RECORDS AND BOOKS. JAZZ IN MUSIC EDUCATION. RHYTHM INSTRUMENTS. (2858 West Pico Blvd., Los Angeles: Children's Music Center.) These four catalogs are of more than passing interest to music educators. The material listed is selected with care and discrimination and, in the case of the catalogs for elementary and secondary schools, is classified into numerous divisions in order to facilitate quick reference to pertinent materials. Issued periodically, these two booklets are kept current and up to date. “Jazz in Music Education” is more than a catalog. Fifteen pages are devoted to a concise, thumbnail sketch of the development of jazz which is unusually good. “Rhythm Instruments” is a price list of rhythm and melody instruments suitable for general music classes. Page 82 . i $3 ?:,L i. rao 'I? BIBLIOGRAPHY OF RESEARCH, School of Music, Northwestern University. Hazel B. Morgan, editor. With introduction by George Howerton, dean, School of Music, Northwestern University. (Evanston, Ill.: Northwestern University), 1958. 47 pp. and paper cover. $1.00. Hazel Morgan, associate professor of music education, Northwestern University, Evanston, Illinois, life member of the Music Educators National Conference, is known for her many contributions to music education, significant among which was her work as the editor of the MENC publications, the “Music Education Source Book” and “Music in American Education” (Source Book II). The Bibliography of Research, which Mrs. Morgan has compiled, is a handy reference containing forty-seven pages of theses, projects, and dissertations completed at Northwestern School of Music, a classified cross-reference index, and a list of studies in progress. The publication focuses attention on what has been accomplished in graduate work at Northwestern and, it is hoped, will encourage other schools to do likewise. It does not conflict with but rather supplements such MENC publications as the “Bibliography of Research Studies in Music Education,” or the forthcoming Selected “Music Education Materials-a Bibliography.” out in his foreDean Howerton points word that considerable academic and professional loss has been experienced by many graduate students, owing to lack of knowledge of studies already available, in the particular field of investigation. The compilers feel that the Bibliography fills this need by indicating the various types of dissertations, theses, and projects developed at Northwestern University. The material listed is available for examination at the library of Northwestern University School of Music or through inter-library loan. The Bibliography may be procured by writing the concert manager, School of Music, Northwestern University, Evanston, Illinois. OPERA THEMES AND PLOTS. By Rudolph Fellner. With a Preface by Erich Leinsdorf. (New York: Simon and Schuster), 1958. 354 pp. $5.95. One of the most perplexing things about listening to opera is that of following the plot. One may have the story in hand, he may even be following the libretto, but how can one tell whether he is five minutes ahead or ten minutes behind the music? Rudolph Fellner has hit upon an ingenious device to remedy this listener's affliction. He places all the major themes on the left hand page numbered in order of their appearance. Opposite is the story of the opera, together with numbers in parentheses so that one merely glances across the book and, presto, there is the tune being sung or played and one can listen without further worry about whether he is approaching the Wedding March in “Lohengrin” or has missed it altogether. “Opera Themes and Plots” presents to the reader thirty-two of the principal operas in the standard repertoire. While not as satisfactory as the full score Mr. Fellner's book still is a great improvement over many of the standard works on opera and opera listening. THE SOCIAL PSYCHOLOGY OF MUSIC. By Paul R. Farnsworth. (New York: The Dryden Press), 1958. 304 pp. $4.50. Dr. Farnsworth has long been an active, influential and highly respected research worker in the psychological aspects of music. Keeping somewhat aloof from involvement in any one school of psychology, he approaches the subject with a welcome degree of objectivity and a thorough grasp of the literature of the field. In the preface, he reviews briefly the various textbooks on the psychology of music and explains his own reasons for adopting a relativistic, culturally oriented point of view. The book is written in non-technical language and will interest both psychologist and musician. In his organization of this publication, Dr. Farnsworth passes over many of the acoustical studies found in other texts as not being particularly pertinent to the title. Instead, we are introduced to the social psychology of musical scales, intervals, and melody. He discusses music as a language, the nature of musical taste (to which he has made notable contributions), aspects of measurement of musical taste and abilities, and applications of music to therapy asd industry. While each chapter will provide the reader with a clear and understandable discussion of the subject heading, the more serious student will welcome the carefully chosen and numerous annotated references at the close of each chapter. This book preaches no particular gospel. It is a reasoned, scholarly, and musically intelligent discussion of a subject which should be of major interest to all music teachers. THE COMPOSER AS LISTENER. Edited with an introduction by Irving Kolodin. (New York: Horizon Press), 1958. 300 pp. $5.75. Irving Kolodin, music editor of the “Saturday Review” and program annotator for the New York Philharmonic Orchestra concerts, has collected and brought together in the pages of this book selected writings of famous composers on the works of other composers, on their own compositions, and on audiences and critics. Some composers, of course, have served at one time or another as critics themselves. (Berlioz, Schumann, Wolf, Wagner, Debussy). But whether or not they may have written for publication, they write from a viewpoint that is the result of a blend of keen musical insight coupled with technical know-how and frequently passionate eloquence. Composers, like critics, areinot,'entirely free from bias and prejudice. In fact they are among the most outspoken in their opinions and judgments. Yet their analyses cannot fail to be illuminating and stimulating, for it is grounded upon a profound knowledge of the materials of music. This is a book for music lovers and for teachers. It is a stimulating adventure into a world quite different from the traditional “guide to music.” And Irving Kolodin has provided for his readers a rich and exciting fare of carefully selected comments and essays on the subject of music. A NEW DICTIONARY OF MUSIC. By Arthur Jacobs. (Baltimore: Penguin Books, Inc.), 1958. 416 pp. 95c. This welcome addition to the Penguin Reference books provides the student and music lover a handy and inexpensive source of information that is commendable because it is relatively comprehensive. For such a small volume it compares favorably in number of entries with reference works costing ten or more times as much. That each definition cannot be exhaustive in a pocket book is patent. Entries include composers, living and dead, musical compositions (by English title), English and foreign musical terms, performers and conductors and well-known musical institutions. The. book seems to be abreast of its copyright date, too. All in all, a valuable addition to the field. Music Educators Journal </meta-value>
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