OF

JOUR9?NAL THE

AMERICAN
MUSICOL
SOCIETY

THE HYMNS OF COSTANZO FESTA:

A STYLE STUDY . . . . . . Glen Haydon
VARIATION:
THE I 6TH-CENTURY
A NEW HISTORICALSURVEY . . ImogeneHorsley
ANTONIO VALENTE, NEAPOLITAN KEYBOARD
PRIMITIVE . . . . . . . JosephA. Burns
AN ENGLISH LITURGICAL PARTBOOK OF THE
17TH CENTURY . . . . . . Wyn K. Ford
A ROYAL MANUSCRIPT: ENSEMBLE CONCERTOS OF
J. C. BACH . . Edwin J.Simon
. . . .
MOZARTANDATTWOOD . . . . ErichHertzmann
THE MUSICOFLulu:A NEWANALYSIS. . George Perle
OFORALTRADITION.
THE RELIABILITY . MantleHood
ANEw EQUIDISTANTI 2-TONE
TEMPERAMENT. . . . Mieczyslaw Kolinski
SUPPLEMENT TO DOCTORAL DISSERTATIONS IN
MUSICOLOGY
. . . . ..Helen Hewitt
REVIEWS * ABSTRACTS * NOTICES
REPORTS* ORGANIZATION* MEMBERS

VOLUME XII SUMMER-FALL 1959 NUMBERS 2-3

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 JOURNAL OF THE
AMERICAN MUSICOLOGICAL SOCIETY
VOLUME XII SUMMER-FALL 1959 NUMBERS 2-3

EDITORIALBOARD
David G. Hughes, Editor-in-Chief
George S. Dickinson William S. Newman
Charles Warren Fox Gustave Reese
Helen Hewitt CharlesSeeger
William G. Waite
Otto E. Albrecht,BusinessManager
This doubleissueeditedwith the assistanceof CharlesWarrenFox

CONTENTS
THE HYMNS OF COSTANZOFESTA: A STYLE STUDY . Glen Haydon 10o5
THE I6TH-CENTURYVARIATION:
A NEW HISTORICALSURVEY . . . . ImogeneHorsley 118
ANTONIO VALENTE, NEAPOLITAN KEYBOARD
PRIMITIVE. Joseph A. Burns 133
AN ENGLISH LITURGICAL PARTBOOKOF THE
CENTURY .
........ Wyn K. Ford 144
I7TH
A ROYAL MANUSCRIPT:
ENSEMBLE CONCERTOSOF J. C. BACH . . . Edwin J. Simon 161
MOZARTANDATTWOOD. ...... . Erich Hertzmann 178
THE MUSICOFLulu: A NEW ANALYSIS. . . . George Perle 185
THE RELIABILITYOF ORALTRADITION. . . .Mantle Hood 201
A NEW EQUIDISTANT 12-TONE TEMPERAMENT Mieczyslaw Kolinski 210o
SUPPLEMENT
(1960) TODOCTORAL DISSERTATIONS IN
MUSICOLOGY . .......... Helen Hewitt 215
REVIEWS
By Rembert Weakland, Gilbert Reaney, F. E. Kirby, John R.
White, Milton Steinhardt,Glenn Watkins, Caldwell Titcomb,
J. MerrillKnapp,Henry G. Mishkin,Edwin J. Simon,Donald
Mintz, EmanuelWinternitz,and BrunoNettl . ..... 225
PUBLICATIONS RECEIVED . ........... 26I
ABSTRACTS . . . . . . . . . . . .. . . 263
COMMUNICATIONS ............ . 269
NOTICES . 271
REPORTS . 271
PROGRAM OF THE TWENTY-FIFTH ANNUAL MEETING . . . . . 274
ORGANIZATION . . . . . . . . . . . . .. 277
MEMBERS . . .... 280
INDEX TO VOLUME XII . . . . . . . . . . . .. 285

Published three times a year (Spring, Summer, Fall) by the American Musicological
Society at the William Byrd Press, 1407 Sherwood Avenue, Richmond, Va. Office of the
Editor-in-Chief, Department of Music, Harvard University, Cambridge 38, Mass. Office
of the Business Manager, Hare Building, University of Pennsylvania, Philadelphia 4, Pa.
COPYRIGHIT 1960 BY THE AMERICAN MUSICOLOGICAL SOCIETY

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 MEMBERSHIP
Membership and student membershipin the American Musicological
Society include a subscriptionto the JOURNAL. Application forms may
be obtained from the Secretary, Miss Louise E. Cuyler, 802 Burton
Tower, University of Michigan, Ann Arbor, Mich., or the Treas-
urer, Otto E. Albrecht, 2o4 Hare Building, University of Pennsylvania,
Philadelphia4, Pa. Annual dues: member,$6.50;student member,$450o.

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TEXT PUBLICATIONS IN PRINT

Communicationsregarding back issues of the JOURNAL, as well as the
Society's Bulletins and Papers, should be addressed to the Business
Manager.Prices to membersare given in parentheses.
Bulletins $1.50 ($1) each. Available: Nos. I (935), 2 (1936), 3 (1937),
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MUSIC PUBLICATIONS IN PRINT

Orders should be sent to Galaxy Music Corporation,2 2 Broadway,
New York 23, N. Y.
JohannesOckeghem. Collected Works. Ed. D. Plamenac.Vol. I (sec-
ond, corrected edition): Masses I-VIII. $16.50 ($ I.oo). Vol. II:
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REVIEWS
Copies of publicationsfor review in the JOURNAL
Shouldbe sent to the
office of the Editor-in-Chief,Department of Music, Harvard Univer-
sity, Cambridge38, Mass.

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254 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
for the 'second subject' section . . . is could have received considerable support
achieved by exploring the subsidiary keys from a discussion of Schubert's tendency
of F# minor, Bb major and B minor." This to create a special sub-style for the Anac-
suggests that the three keys mentioned are reontic poets.
of equal importance, which the most Mr. Brown gives us virtually no infor-
cursory glance at the score will show not mation about the political and social con-
to be the case. ditions under which Schubert lived; Met-
The discussion of aspects of the tonal ternich appearsonly once in the index and
motion in Harfenspieler III (Wer nie sein Franz I not at all. No doubt this can be
Brot mit Thrdnen ap), second setting (D. justified, but one cannot help remember-
480) affords an example of the limitations ing how Einstein's learned yet casual re-
of Mr. Brown's approach. He says merely, marks illuminate the scene. In this respect,
"Its tonality is unbelievable for its period," a difficult question must be raised: Ought
and then quotes eight measures beginning Mr. Brown have considered himself obliged
with the upbeat to measure4, brace 2, page to take issue with Walther Vetter's Marx-
188 of the fourth volume of Series XX of ist nonsense, or was he justified in simply
the Gesamtausgabe.He does not say that ignoring the existence of Vetter's book?
the first four measuresof the example con- For all its faults, Mr. Brown's book is
stitute the end of the second stanza of the valuable. For the English-speakingreader,
poem and that the following measures are it cannot be considered a replacement for
the beginning of a kind of coda for which Alfred Einstein'sSchubert book, but rather
Schubert uses the first and last lines of the a complement to it.
first stanza of the poem. (This procedure DONALDMINTZ
is at least partially justified by the fashion Cornell University
in which Goethe says the Harper sings the
song.) Now the first modulation in Mr.
Brown's example is a transposition of the Anthony Baines. Woodwind Instru-
modulation in the corresponding part of me'nts and their History. London:
the first stanza. The rest of the example Faber and Faber, Ltd.; New York:
and the following measures return to A W. W. Norton & Co., Inc., 1957-
minor, the key in which the song begins,
and touch again on F# minor, the other 382 pp.
principal key of the song. (It is especially THIS BOOKis a joy frombeginning to end,
unfortunate that the example ends before the fruit of scrupulousand at the same
A minor is firmly established.) All this time far-reachingscholarship revealing
materially affects the way the passage commandof the materialandaboundingin
in question is heard, and all this is ignoredmany originalideas.Moreover,one has to
by Mr. Brown. Further, the tonal structure admirehow a topic reachingfrom pre-
of the song is not only extremely inter- historyto our timesand incorporatingin-
esting in itself but could possibly also be strumentsof the Orient, Africa and the
used to cast some light on Schubert's Americasis clearly organizedin twelve
handling of recapitulationsin some of the well-balancedchapters.
large scale sonata-principle movements of There aretwo mainparts,the first deal-
the last instrumental works. ing with the moderninstruments, the sec-
Admittedly, the temptation to turn a ond with the ancestors.The first part has
book on Schubert into a history of Ger- a generalintroductionexplainingthe prob-
man literature from Klopstock to Heine lems of fingering,basic acousticphenom-
must be resisted. At the same time, such ena, problemsof tonguingand breathing,
a book shouldsurely containsubstantially woodwindtransposition, and the problem
more literary information than Mr. Brown of pitch. Then, the singletypes of instru-
gives us. (In this respect as in others, Al- ments (flute, oboe, clarinet,bassoon) are
fred Einstein'slittle Schubertbook is a treatedin severalchapters,with a special
model.) Indeed, Mr. Brown's defense of chapteraddedon reedsandreed-making as
Schubert's literary taste and knowledge an introductionto the chapterson the reed

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 REVIEWS
instruments. All of the four chapters de-
voted to the basic instrumental types are
organized along parallel lines, explaining
first the general construction and the vari-
ous types of mechanism and proceeding to
special members of the family, yet each of
these chapters includes interesting side-
lights and pieces of concentrated informa-
tion not often found in books of this type;
for instance, to single out only two ex-
amples: "Wood versus Metal" in the Flute
Chapter, and "The Shawm to-day" in the
Oboe Chapter.
While the first part of the book is pre-
dominantly a valuable and concentrated
compilation of known information, the
second part goes its own way and is to be
regarded in more than one respect as an
important pioneering job going deeply into
the ancient world and into folk and art
music of the Occident and the Orient.
This second part comprises the follow-
ing chapters: The Primitive Flute World;
Early Reed Instrumentsand Double-Piping;
Medieval Wind Music; The Sixteenth Cen-
tury and the Consorts; The Eighteenth
Century; Mechanization. The chapter on
primitive instruments treats systematically,
among other things, of African, South East
Asian, and South American whistles; flute
bands and pan pipes; exotic forms such as
nose flutes and central-embouchure flutes.
The comparative diagram of various types
of central-embouchureflutes, by the way,
makes one wonder whether or not some
of the "fantastic" wind instruments in
Italian Renaissance paintings containing
musical allegories were not based less on
the painter'simagination than on imported
exotic specimens, perhaps preserved in the
curio cabinets of Italian courts.
The chapter on early reed instruments
begins with a few (and partially new)
cardinal observations on the controversial
age of reed pipes. One cannot resist quot-
ing at least one example of these precious
sentences condensing the results of multi-
farious archeological, ethnological and or-
ganological research: ".... reed instruments
have no bone pre-history stretching back a
hundred centuries before the dawn of civi-
lization, as the flutes have." Of special in-
terest not only to the organologist but also
to the historian of polyphony are the dis-
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255
cussions of the various kinds of early dou-
ble pipes. Here one of the important facts
that emerges by implication, though not
especially emphasized by the author, is
how much we can still learn about ancient
music and playing methods from present-
day Eastern techniques. Remarks such as
those on drone effects produced by double
pipes with an unequal number of holes
provoke thoughts about the mystery of
drone music in antiquity and about primi-
tive polyphony. Of similar value are the
side glances in the following chapter on
medieval instruments, from pipe-bourdons
in the troubadour period to the contempo-
rary fiddles and hurdygurdies. And when
the author, after describing the ease with
which two lightweight reed pipes can be
played at the same time by the same player,
concludes that "to play on two reed pipes
was the general rule, not only throughout
antiquity but well into the Middle Ages,"
the reviewer not only concurs but would
like to expand this statement to include
also the early Renaissance and perhaps
even later. Of this are witness numerous
angel concerts in painting and sculpture,
for instance that by Geertgen, 1490. And
still as late a sculpture as Pollaiuolo's
bronze tomb for Pope Sixtus IV, dated
usually about I49o, shows, in front of the
allegorical Musica, a double recorder of
two parallel unequal tubes. Manifestly
these are depictions of contemporary in-
struments and not archeological recon-
structions or copies of Roman tibiae. The
use of these early instrumentsreaches back
much further into the Renaissance than is
generally assumed, and the picture is only
blurred to some extent by Praetorius's
Syntagma, which is often taken as the final
panoramaand summary of the Renaissance
instrumentarium,when actually it draws a
cross-section through early 17th-century
practice, with only little and secondhand
information about the practice in Italy and
those Mediterranean regions which still
perpetuatedancient practices, and in which
ancient playing methods lived on more or
less disguised.
The chapter on the Middle Ages in-
cludes a classical "short encyclopedia" of
medieval wind instruments.
One of the most remarkable things in
256 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
the chapter on the Middle Ages is Figure
49, a chronological scheme of European
woodwind instruments and their precur-
sors, which is actually a graph reaching
from the 9th century to Wagner and
symbolizing the rise and decline of each
instrument by a curve in which the hump
indicates approximately the period of the
instrument's employment in courtly and
professional music. This one page alone
equals a little handbook on the subject and
one can only regret that no similar graphs
exist for other groups of instruments. In
detail, the present reviewer wonders if the
life of the double pipe (on the basis of its
depictions in art) should not be extended
a little further, that is, into the I3th and
perhaps even into the 14th century; and
why the life curve of the bagpipe begins as
late as the 12th century: it is surely not
unreasonable to assume that popular and
peasant usage retained it between late an-
tiquity and the 13th century, and the many
different and elaborate forms of the bag-
pipe depicted in the Cantigas de Santa
Maria, in the second half of the I3th cen-
tury, indicate certainly a long and noble
past. And why does the curve of the bag-
pipe fade out at the beginning of the i6th
century, ignoring the demonic instruments
painted by Bosch, the inevitable pipers in
Breughel weddings, the various forms in
the Praetorius theatrum and the many
dainty musettes in the Fetes Champetres?
The main part of the medieval chapter
consists of a "short encyclopedia of me-
dieval instruments"and deals with the bag-
pipe and the bladder pipe, the bombarde,
the flageolets, the flute, hornpipe, panpipe,
pipe and tabor and shawm. Of all these,
the bagpipe receives the most detailed
treatment, and again two graphs provide an
invaluable survey, i.e., a table of the prin-
cipal Western bagpipes, indicating their
home regions, chanter keynotes, drone
pitch, and details of construction; and a
geographical sketch map of various folk
instruments (bagpipes, shawms, launeddas,
tabor pipes, and vertical flutes). (The
reader will probably assume that this
sketch map shows the distribution as
found today; but should this not be made
clear in the caption?)
The many novel remarks on the early
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bagpipe cannot fail to arouse curiosity
about the Guide to the Pitt Rivers Collec-
tion of bagpipes, which the author is pre-
paring.
Of special interest are the side glances
from bagpipe drones to the bourdon strings
in fiddles and hurdygurdies and the ac-
ceptance of metal drone pipes on the evi-
dence of medieval miniatures that show
them in gold or silver color and in the
shape of the trumpet. This touches on a
problem that is not only cardinal for the
historian of early musical instruments,but
at the same time of the utmost complex-
ity: the question of the factual reliability of
pictorial representation,or in other words,
the evaluation of visual evidence, that is,
the interpretation of the instruments and
players and ensembles which we find in
painting and sculpture--often our principal
source of information in periods when
scores did not exist or were customary
only for certain branches of music. The
author does not formulate his credo, but,
as a real pioneer, shows himself quite aware
of the intricacies of the situation and the
resulting pitfalls for the historian. When
he enumerates the great Gothic wind in-
struments that enter upon the scene with
the pipe and tabor, superior flageolets and
flute; also the expanding-bore reed instru-
ments, the shawm and the Western bag-
pipe, he asks the critical question: "We say,
mainly on the evidence of pictures and
carvings, that they came in with the
Gothic. But were they all really so new?"
And he continues by guessing "that they
had been lurking on Western soil for some
time before the earliest-known depiction
and literary mention of them in the 12th
century; for folk instrumentsdo not grow
up overnight." The point in question here
is not so much the critical interpretation
of the pictures and their deviation from
"realistic"representation for allegorical or
theological reasons or because of the fan-
tasy of the painter; it is rather the critical
evaluation of the absence of pictures and
the lesson to be drawn from such absence,
especially for periods as rich in figurative
arts as the Middle Ages in the Occident. If
for many centuries of Christianart "realis-
tic" instrumentsoccur mainly in the hands
of King David and his entourage, and if
 REVIEWS
only with the sudden rise of painted pleads for the revival of the cromorne in
angel concerts in the I3th and I4th cen-
turies the painted heavens invite instru-
mental music (growing and ever-growing
orchestras), these facts do not reflect di-
rectly the actual development of instru-
ments or growth of ensembles, and one
cannot interpret these visual sources with-
out taking into account the situation in
which the figurative arts operated. For a
long time, art was predominantly religious
art, and the artist was restricted to religious
subjects, and even there to authorized
forms of representation; and from the
viewpoint of the modem organologist it
is just a lucky accident that the holy scrip-
tures take notice of at least some instru-
mentalists such as Tubal-cain, the royal
psalmist, and the apocalyptical Elders. An-
other question again is to what extent the
organologist may fill gaps in the visual
sources by looking for analogies between
early medieval instrumental practice, for
example, and folk music of today. Mr.
Baines does not hesitate to do this, as he
shows us in many conclusions throughout
his book; and the present reviewer com-
pletely agrees. Art history, including that
of music, should, more often than it custo-
marily does, take into account the unequal
pulsation of inventive life in the different
dwelling places of man: centers of creative
energy, courts and towns fermenting with
competition and consequently with novel-
ties; and quiet, remote mountain valleys
where a hundred years are like a single day,
and shepherds play pipes similar to those
heard by Theocritos.
The chapter on the i6th century and
the consorts, which actually embraces also
the l7th century, includes valuable com-
ment on two famous inventories, that of
the Accademia Filarmonica (Verona, I569),
and that of the Berlin Hofkapelle (1582);
on consort playing and the fashionable
pastime of division playing (with a char-
acteristic example of divisions from Giro-
lamo della Casa, 1584); reproductions of
woodcuts from Praetorius'sSyntagma, re-
sized to show the instruments at approxi-
mately the same scale throughout (a help-
ful precaution no previous author has
taken); and an exact cross section through
the top end of the cromorne. The author
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257
school classes and for family consorts, since
"it is as easy to blow as the recorder," in
fact "the equivalent among the reed instru-
ments to the recorder among flutes." The
cornetto, despite its fingerholes, is actually
no woodwind instrument, but-in Bes-
saraboff'sterminology-a "lipvibratedaero-
phone;" yet Mr. Baines had good reasons
for including its description in his analysis
of 16th- and 17th-century practice. And
anyone who has heard a cornetto played
by a good player will heartily share the
regret of the author that this art has not
been handed down to us because of the
break that occurred as late as the i9th
century. The author, by the way, calls
the instrument "cornett" to distinguish it
from the modem valved cornet; but "cor-
nett" is neither Italian nor English. Would
it not be more practical, phonetically and
otherwise, to call it by its real Italian
name "cornetto" as the reviewer has done
in his writings and in his classes?Or should
one introduce the German "Zink" into
English?
The description of the cornetto curvo
(p. 259) might perhaps have mentioned
that instruments of this type were not al-
ways made of wood, but some (and very
beautiful ones), of ivory: several collec-
tions (e.g., the Bayrisches National Mu-
seum in Munich and the Crosby Brown
Collection at the Metropolitan Museum of
Art in New York) possess such instru-
ments.
In the discussion of the mysterious
Schryari or Schreier pfeifen mentioned by
Praetorius, Mr. Baines, more cautious than
Curt Sachs, refuses to take the tapering
exterior as a sure sign of a contracting bore.
In the discussion of the consorts, one
wonders why no mention has been made
of Praetorius's important rules for com-
bining the different sizes of woodwinds
into homogeneous groups and into "Ac-
corts"or "Stimmwerke." Here the repro-
duction of the tabulationin Praetorius's
Organographia(p. 14) would greatly
help the readerto understandthe actual
practiceof performance.
One of the most valuableand thought-
provokingfeaturesof this book is the way
in which the instrumentsare always re-
 258 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
lated to their music, with numerous musi- aulos, the Phorbeia (capistrum) might have
cal examples, reaching from South African been explained or at least mentioned.
tunes and Sicilian zampognarimusic to the Among the places where fine early cor-
characteristic insolent clarinet tune in the nettos are preserved (p. 238), the Bayrisches
third movement of Mahler's Third Sym- National Museum, Munich, and the Crosby
phony and to Stravinsky's Rite of Spring. Brown Collection in the Metropolitan Mu-
The book also gives due credit to many seum, New York might have been men-
outstanding players, and explains or at tioned, both of which have beautiful speci-
least mentions their special art and methods mens of ivory. Athanasius Kircher's Mu-
(Miihlfeld, Wunderer, Kamisch, R. Kelly, surgia and his Phonurgia Nova might have
Joseph Marx). been mentioned for their interesting re-
Another interesting problem, touched in marks on construction of instruments as
passing, concerns the various national at- well as for their attempts in acoustical
titudes towards woodwinds, i.e., in the theory, since Kircher's treatises seem to
chapter on the oboe, the quick acceptance have been not without influence on Lon-
of the Boehm flute in France is contrasted don woodwind makers.
with the longlasting reluctance of German In view of the bewilderingly variegated,
players to adopt Boehm's invention; while unlimited, confused and confusing organo-
at the same time, in bassoon construction, logical terminology in so many places,
the French remained conservative towards languages and centuries, it is no mean feat
radical German redesigning. Does not this that the book is singularly free from mis-
make one dream of a psychological treatise prints and misspellings.The printer is even
on national characteristics as reflected in well supplied with German Umlauten, in
their predilection for wind-timbrep and fact occasionally oversupplied ("Inns-
playing methods, of a modem Stendhal briick," p. 238.)
who would recognize the idiosyncrasiesof Much thought and labor of love have
nations in their preference for timbres and gone into the wealth of illustrations.
key systems in woodwinds, and, for that Thirty-two excellent plates (after photo-
matter, in all musical instruments? Into graphs) show instruments and reeds; one,
such a "timbre-psychology" the remarks a plantation near Cannes, supplying canes
of Bernard Shaw would fit well-quoted to reed makers; another, a group of wind
by Mr. Baines-on the unique tone of the players of the Vienna Philharmonic Or-
German clarinet reeds that give to certain chestra. Plate XX includes an especially
passages in Der Freischiitz "a passion and interesting X-ray photograph (made by
urgency surprising the tourist used to the eminent connoisseur Eric Halfpenny)
Egerton, Lazarus and Clinton," while "in of a treble cornetto. Seventy-eight illu-
the Parsifal Prelude, or the second move- strations in the text include constructional
ment of Beethoven's Fourth Symphony, details, pictures of reeds, tools of reed
one misses the fine tone and dignified makers, diagrams of keywork, fingering
continence of the English fashion." charts and a profusion of musical examples.
A few minor corrections and improve- The book has three valuable appendices:
ments are suggested for any later edition: (1) a list of the old London makers and
The caption of Plate XXI calls one of suppliers, extracted from the more com-
the illustratedinstrumentsa "basssordano," prehensive compilation made by R. Morley
though the text in several places uses the Pegge; (2) an analysisof parlour pipes (the
right name "sordone" or "sordun."In the Northumbrian Small-pipe, the Irish Union
discussions of the construction and tone, pipe and the Scottish Lowland pipe); (3)
color of some instruments,especially in the practical notes on maintenance. There is
section on consort sizes in the I6th cen- also a selective bibliography, a glossary of
tury, it would have been helpful to the terms that is a model of the art of brief
reader to refer to the regals and to certain yet precise definition, and a good index.
organ stops, particularly since these per- The book is handsomelyproduced; much
petuate the timbre of several early wood- expert care has been given to a congenial
wind instruments.In the discussion of the layout of the text and to the adequate in-

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 REVIEWS
sertion of the many line cuts, tables and
musical examples into the text, and to the
practical organization of the appendices.
EMANUELWINTERNITZ
Metropolitan Museum of Art
Yale University
Jan Philip Schinhan, ed. The Music
of the Ballads. (The Frank C. Brown
Collection of North Carolina Folk-
lore, Vol. IV.) Durham, N. C.: Duke
University Press, 1957.xliv, 420 pp.
OvER500oo tunes, most of them transcribed
from recordings made by Frank C. Brown,
folklorist and eminent collector of North
Carolina folklore, are here presented with
analysis and a searching introduction on
methodology and style. Schinhan has done
what most editors of folk song collections
directed at the scholar should have done
but did not. He has made painstakingno-
tations with the methods of modern ethno-
musicology; he has compared the tunes
with identical and variant versions in al-
most ioo other collections of British and
British-American balladry, thus in effect
creating a concordance (which has, since
publication, been partially superseded by
Bertrand H. Bronson, The Traditional
Tunes of the Child Ballads, Vol. I,
i959);
and he has supplied each tune with a de-
tailed analysis in abbreviated form. With
these features, The Music of the Ballads is
certainly the most "musicological" collec-
tion of British-American folk music pub-
lished. Moreover, it seems destined to be-
come a model for future publications, if
only because the analytic and comparative
features have been so presented as to
create no obstacle to those who wish to
use the tunes without having to stumble
over verbal material. It is indeed surpris-
ing that the large number of tune collec-
tions in this area of the world have not
included any prepared with an equal de-
gree of seriousness, and that those which
have made attempts at analysis have hardly
gone beyond conventional mode-labeling.
Schinhan emerges as a distinguished pio-
neer in a neglected field of work. How-
ever, it can hardly be expected that a
pioneer effort could be regarded without
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259
some reservations even by those who ad-
mire it most.
The organization of this entire series of
volumes might have been improved if the
materialsin Vol. II (ballad texts) and Vol.
IV (music) had been combined. In the
volume here discussed we find, with a
few exceptions, that each of the tunes has
only the first stanza of text underlaid. The
ballad story is introduced in each case, but
the development and conclusion of each
plot is frustratingly far away in Vol. II.
On the other hand, the tunes in Vol. IV
are arranged exactly as are the texts in
Vol. II. Given the need for separating
words and music, with all its disadvan-
tages, the editors could have made a virtue
out of necessity and arranged the tunes
somehow according to musical relation-
ships. Of course it has never been possible
to make definitive assertions about the
genetic relationship among folk tunes, but
Schinhan has already presented the reader
with a great deal of very well done and
accurate reporting of related tunes in other
collections; thus it might not have been too
difficult to group the tunes in his col-
lection in some way by musical traits,
rather than presenting them in accordance
with the relationship of the texts, without
even having the texts there. The notes on
tune relationships,their degree of proxim-
ity indicated by one, two, or three aster-
isks, are a very valuable service indeed, and
only in very few cases can Schinhan's
conclusions be seriously disputed.
In the analyses of the tunes themselves,
scales and modes are emphasized. On the
whole, Schinhan has been careful to avoid
the pitfalls due to a bias from the point of
view of Western theory. The key signa-
tures, for example,do not necessarilyfollow
the usual order of sharpsand flats; only the
tones actually appearingin each melody are
accounted for. The scales are classified by
number of tones and distribution.Rhythm
and meter, however, have been neglected
in the analysis,as has melodic contour. Oc-
casional doubts arise concerning the struc-
tural analysis.A letter scheme (e.g., ABA1B1
CDC'A) is followed by a reduction to sim-
pler terms: AA1BA2, which in turn is often
given a name, in this case, "Reprisenbar."
This leads the reader to ask what criteria