chai, and of the Zuni Indian "Buffalo

Dance" are exceptionally illuminating

and demonstrate quite convincingly
the comprehensive usefulness of the
theoretical framework that the au-
thors offer.
Because of its lucid and carefully
organized presentation on the one
hand and its solid scholarship and
abundant music examples on the oth-
er, this book should be of particular
value to students near the start of A gift, an award, a presentation
their theoretical study as well as to like no other-
more advanced readers. It is also per-
tinent to courses in music acoustics,
composition, analysis, Medieval and Mozart's THE IMPRESARIO
Renaissance music, contemporary ('Der Schauspieldirektor')
music, orchestration, and electronic
music. Appendixes present further in- A facsimile of the manuscript,
formation on the psychophysics of which is in the collection of the
sound (including electronic sound),
the raga systems of India, and extend- Pierpont Morgan Library in
ed concepts of tonal music. New York City. With in-
This is a first-rate and original piece troduction by J. R. Turner of
of work to which writers of sub- the Morgan Library staff; slip-
sequent theoretical texts on world case; sturdy sewn binding; and
musics may turn with profit and with astonishingly life-like music
pleasure.-David Ahlstrom, com- pages. $65.00 n2
poser and writer, San Francisco

The Unanswered Question: Six At all fine music stores.

Talks at Harvard. By Leonard
Bernstein. Cambridge, Massachu- IM'Music Department
setts: Harvard University Press,
OXFORD UNIVERSITYPRESS,INC.
1976. ii+428 pp. Illustrations, pho- 200 MADISON AVENVE,NEW YORK,N.Y. 10016
tographs, music examples, re-
cordings. Hard cover, $20.
m
The practice of publishing notes or
transcripts of class lectures can be
The NSM Sol/Fege
traced from Aristotle to such modern
scholars as Northrop Frye. In modern Music Kit
times, the practice exists due to either
the laziness or busyness of the partic- The NSM Sol/Fege Music Kit
ular professional, and, although there is designed for music, classroom
are admitted shortcomings in the pub- and special education teachers. It
lished result, the justification given is made to be reused many times
for the practice is the preservation of
without replacing. Each kit comes
the ideas of a gifted individual.
with staff board, black board,
The Unanswered Question is the
collection of the transcripts of six lec- symbols for rhythmic and melodic
tures written and delivered by Leon- concepts.
ard Bernstein when he was Charles
Eliot Norton Professor of Poetry at
Harvard University. Care was surely
taken with this publication. It is hand-
somely bound, illustrated with music
examples and photographs and with
charts taken from visual aids used in
the lectures, and accompanied by
three 33/3 rpm recordings of selected
passages of the text.
Bernstein took the title from
Charles Ives' 1908 composition and
framed his lectures around an at-
tempt to answer the question illustrat- $3.00 ppd
ed in this Ives work, which he re- Quantities less
phrased as "Whither Music?" and lat-
er as "Is great art still possible in our Write: NSM Company
century of death?" P. 0. Box 305
A common approach of all the lec- St. James L. I., N. Y. 11780
tures is the use of analogies between
linguistic and musical procedures (in J
mej/feb'77 19
keeping with the poetry chair). Bern-
stein refers continually to Noam
Chomsky's transformational gram- THE TUBA HANDBOOK
mar. In the first lecture, "Musical
Phonology," Bernstein discusses
by
sound itself and finds the harmonic
series to be the common origin of all
music, illustrative of the innate musi- J.KentMason
cal-grammatical competence we all A handy and comprehensive reference
possess. tool written in straightforward
language. The 13 chapters provide
In the second lecture, "Musical Syn- information and practical instruction
tax," Bernstein examines the Chom- specifically for the tuba. Clarifies
Written by a
many misconceptions.
skian concepts of surface structure professional tubist and educator.
(the sentence as spoken), the deep Includes:
structure (the transformation of the
words and their meanings that pro- RANGE DEVELOPMENT
duce the surface structure), and the TONE
super-surface structure (further trans- BREATHING
formations that turn the surface struc-
TUNING
ture into poetry), and applies them to
music. For Bernstein, the deep struc- LITERATURE

ture of music is the chain of possible CARE & MAINTENANCE

and desirable combinations of music BUYING TUBAS & MOUTHPIECES
elements. A difference he draws be- HISTORY
tween music and language is that mu- PLUS MUCH MORE!
sical surface structure is already mu-
sic, while verbal surface structure 105 pages of text, photos, and
must be further transformed into po- illustrations. High quality printing and
binding. Bulk discount available.
etry. "Musical Semantics," the third $10 prepaid, postpaid.
lecture, continues the analogy be-
ORDER FROM:
tween language and music in dis-
cussions of metaphor and repetition J. Kent Mason
in music. Bernstein concludes that all The Tuba Handbook
musical transformations lead to meta- P.O. Box 74, Station F,
TORONTO, CANADA, M4Y 2L4
phoric results.
(or your local dealer)
The last three lectures-"The De-
lights and Dangers of Ambiguity,"
"The Twentieth Century Crisis," and
"The Poetry of Earth"-explore
trends of modern music: the turn
_
_ _
with Beethoven away from the con-
tainment of chromaticism-within-dia- _
tonicism (which is linked to a similar
move toward free expression in litera-
ture with the poetry of Gerard Manly
Hopkins and Dylan Thomas) and the
_
efforts of tonal composers guided by __
Stravinsky and nontonal composers
led by Schoenberg to "salvage" mu-
_l
sic. This survey of modern trends _
draws from Bernstein a tentative an-
swer to the unanswered question-all _s
music is ultimately tonal even when it
is "untonal."
_R
Much of The Unanswered Question __
is quite intriguing and is presented by
a man obviously well versed not only
_l
in music but in literature and linguis-
tics as well. The ideas surely offer B__
_l
food for thought. A problem with the
content, as Bernstein himself freely
admits throughout the lectures, is
_
that the approach is informal and
pseudo-scientific. Literaryterms such =_
as "metaphor" and "meaning" are
used loosely. Within the lecture for-
mat, Bernstein indulges in some pure-
ly subjective observations-"The _rm_
opening bars of this [Mahler's] Ninth rvt=
Symphony are an imitation of the l311s
arrhythmia of his failing heartbeat." ___
Also, the analogies between language
and music are sometimes unclear and

mej/feb'77 21
often self-defeating. For instance, in
his discussion of Beethoven's Sixth Fellowshipof LuttonMusic
Symphony, Bernstein urges the stu- Personnel Service
dents to rid themselves of thoughts
of flowers, thunderstorms, Disney
t Christ,an If you are available for a teaching posi-
tion in Music, let us serve you. We have
nymphs, and other nonmusic notions for MusicTeacherswith degrees in all
when listening to the symphony- music;ans calls
phases of Applied Musicand MusicEduca-
though his lectures are based upon a tion in the Public Schools, Colleges, Uni-
connection between music and non- versitiesand Conservatories.
music notions. C. A. Luttun, Director
The major problem with The Unan- for informationwrite: B. Lutton, Co-Director
swered Question as a book is its for- ga ArthurKatterjohn,FCM State National Bank Plaza
mat. For whom is it intended? The Wheaton College Suite 405
Wheaton, II.60187 Evanston, Illinois 60201
transcripts are complete with Harvard
(312) 864-1005
in-jokes, parenthetical remarks, and
calls for breaks. Will the interested
layperson, musician, student, or
teacher wade through these? Though
some of the music examples are Xfbibv
played and discussed by Bernstein on
the recordings that are included, OTTO LUENING
most are not, and the text contains
notations such as "(At this point Bee- DUETS (ca. 14 minutes) (P66471) 2 Recorders. $3.50
thoven's Symphony No. 6 in F Major, ELEGY (4 minutes) (P6893) Violin Solo. $2.50
Opus 68, is played.)." In short, the ENTRANCE AND EXIT MUSIC (3 minutes) (P66007)
text may prove difficult to follow for 3 Trumpets, 3 Trombones, Cymbal. $4.00
all but the most well-equipped read- EVANGELINE (P66643) Opera in 3 acts. Vocal Score. $15.00
er. FANFARE FOR A FESTIVE OCCASION(3 1/2 minutes) (P66011) $6.00
In spite of all the effort that went 3 Trumpets, 3 Horns, 3 Trombones, Bells, Cymbal, Timpani
into its publication, The Unanswered INTRODUCTIONAND ALLEGRO (2 1/2 minutes) (P66013)
Question does not succeed as a Trumpet in C and Piano. $3.50
book. It exists, in the tradition of lec- LYRIC SCENE (7 minutes) (P66008) Flute Solo and Str. Orch. $7.50
ture transcripts, as a documentation MEDITATION (3 1/2 minutes) (P66413) Violin Solo. $1.50
of the ideas of a gifted man.-JA PRELUDE TO A HYMN TUNE BY WILLIAMBILLINGS
[] (10 minutes) (P6598) Orchestra. $3.50
book browsing SONATA NO. 1 (11 minutes) (P66414) Violin Solo. $3.00
SONATA NO. 2 (14 1/2 minutes) (P66415) Violin Solo. $4.00
STRING QUARTET NO. 2 (9 minutes) (P66521). $4.00
TRIO (5 1/2 minutes) (P66417) Trumpet, Horn, Trombone. $4.00
for a cormplete listing, pleaoe see our Contemporary Music Catalogue
C. F. PETERS CORPORATION
373 PARK AVENUE SOUTH * NEW YORK, NEW YORK 10016

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Haydn: Chronicle and Works; Vol-
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1795. By H. C. Robbins Landon.
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