Melodien aus Autorendrucken und Liederblättern by Joachim StalmannReview by: Robin A. LeaverNotes, Second Series, Vol. 54, No. 4 (Jun., 1998), pp. 907-911Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900068 .

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Book Reviews Book Reviews

1996). Such a paragraph structure is, how- ever, ideal only for narrative bibliogra- phies, in which commentaries on items are provided. Very few are given in Musica in scena, and they are nearly all for volume 3. For example, in 6:462, Leo Treitler, "Wozzeck and the Apocalypse: An Essay in Historical Criticism," Critical Inquiry 3 (1976-77): 251-70 (trans. Virgilio Bernar- doni for La drammaturgia musicale, ed. Bianconi [Bologna: II Mulino, 1986], 309- 31), is termed "important, above all for the profundity and wealth of the analyses" ("importante, soprattutto per la profondita e la ricchezza dell'analisi").

The index of works helpfully names the composer or choreographer after the title. The index of persons lists each page upon which a name is found, but unfortunately does not distinguish between discussions and mere mentions of individuals. The ma- jor problem with these indexes is that they do not include either the bibliography or the illustrations!

Musica in scena is beautifully embellished with 358 color and 267 black-and-white il- lustrations, all of which are reproduced on glossy plates. On average, each volume has eleven groups of plates, with nine to ten illustrations in a group. Each group depicts a subject that is discussed in the volume. Yet the authors apparently had no knowl-

1996). Such a paragraph structure is, how- ever, ideal only for narrative bibliogra- phies, in which commentaries on items are provided. Very few are given in Musica in scena, and they are nearly all for volume 3. For example, in 6:462, Leo Treitler, "Wozzeck and the Apocalypse: An Essay in Historical Criticism," Critical Inquiry 3 (1976-77): 251-70 (trans. Virgilio Bernar- doni for La drammaturgia musicale, ed. Bianconi [Bologna: II Mulino, 1986], 309- 31), is termed "important, above all for the profundity and wealth of the analyses" ("importante, soprattutto per la profondita e la ricchezza dell'analisi").

The index of works helpfully names the composer or choreographer after the title. The index of persons lists each page upon which a name is found, but unfortunately does not distinguish between discussions and mere mentions of individuals. The ma- jor problem with these indexes is that they do not include either the bibliography or the illustrations!

Musica in scena is beautifully embellished with 358 color and 267 black-and-white il- lustrations, all of which are reproduced on glossy plates. On average, each volume has eleven groups of plates, with nine to ten illustrations in a group. Each group depicts a subject that is discussed in the volume. Yet the authors apparently had no knowl-

edge of the illustrations, since they do not mention them. Many depict stage settings (225) or provide portraits (154). Most of the rest show dancing (68), costumes (49), theatrical views that do not focus on the stage (39), or nontheatrical entertainments (18). The information provided about il- lustrations will not satisfy scholars. For example, the only source listed for two costumes in Handel's Orlando and a scene from his Siroe is "G. Costa (Milano)," presumably a commercial supplier (l:xi; for illustrations in 1:352). The original sources, designers, and engravers are not named.

Musica in scena is, in sum, a great treasure trove, which contains narrative, conceptual, analytical, tabular, bibliographical, and il- lustrative material for virtually every West- ern music genre that was conceived with viewers in mind. Twenty years earlier, its ancestor, Storia dell'opera, devoted six vol- lumes to the genre introduced by the Flo- rentine Camerata around 1600. In the new set, this genre has been "compressed" into three incisive volumes so that other genres can be fully explored in volumes 4-6. I dare not speculate upon what an edition published twenty years hence might ex- plore.

LOWELL LINDGREN

Massachusetts Institute of Technology

edge of the illustrations, since they do not mention them. Many depict stage settings (225) or provide portraits (154). Most of the rest show dancing (68), costumes (49), theatrical views that do not focus on the stage (39), or nontheatrical entertainments (18). The information provided about il- lustrations will not satisfy scholars. For example, the only source listed for two costumes in Handel's Orlando and a scene from his Siroe is "G. Costa (Milano)," presumably a commercial supplier (l:xi; for illustrations in 1:352). The original sources, designers, and engravers are not named.

Musica in scena is, in sum, a great treasure trove, which contains narrative, conceptual, analytical, tabular, bibliographical, and il- lustrative material for virtually every West- ern music genre that was conceived with viewers in mind. Twenty years earlier, its ancestor, Storia dell'opera, devoted six vol- lumes to the genre introduced by the Flo- rentine Camerata around 1600. In the new set, this genre has been "compressed" into three incisive volumes so that other genres can be fully explored in volumes 4-6. I dare not speculate upon what an edition published twenty years hence might ex- plore.

LOWELL LINDGREN

Massachusetts Institute of Technology

Melodien aus Autorendrucken und Liederblattern. Vorgelegt von Joachim Stalmann. (Das deutsche Kirchenlied, Abt. III: Die Melodien aus gedruckten Quellen bis 1680, Bd. 1: Die Melodien bis 1570, Teil 1.) Kassel: Barenreiter, 1993. [2 v. $454.] (Sole agent: Foreign Music Dist., Chester, NY 10918.)

Melodien aus Autorendrucken und Liederblattern. Vorgelegt von Joachim Stalmann. (Das deutsche Kirchenlied, Abt. III: Die Melodien aus gedruckten Quellen bis 1680, Bd. 1: Die Melodien bis 1570, Teil 1.) Kassel: Barenreiter, 1993. [2 v. $454.] (Sole agent: Foreign Music Dist., Chester, NY 10918.)

The need for a critical edition of the melodies of German Kirchenlieder was ac- knowledged at least as early as the middle of the nineteenth century. In the preface to his monumental anthology of sixteenth- century German hymn texts, Philipp Wack- ernagel suggested that his work needed to be supplemented by a suitable edition of the tunes associated with the texts of his anthology (Das deutsche Kirchenlied von der iltesten Zeit bis zu Anfang des XVII.Jahrhun- derts, 5 vols. [Leipzig: Teubner, 1864-77; reprint, Hildesheim: Olms, 1964], l:xvi). In his review of Wackernagel's first volume, Friedrich Chrysander endorsed this de-

The need for a critical edition of the melodies of German Kirchenlieder was ac- knowledged at least as early as the middle of the nineteenth century. In the preface to his monumental anthology of sixteenth- century German hymn texts, Philipp Wack- ernagel suggested that his work needed to be supplemented by a suitable edition of the tunes associated with the texts of his anthology (Das deutsche Kirchenlied von der iltesten Zeit bis zu Anfang des XVII.Jahrhun- derts, 5 vols. [Leipzig: Teubner, 1864-77; reprint, Hildesheim: Olms, 1964], l:xvi). In his review of Wackernagel's first volume, Friedrich Chrysander endorsed this de-

sideratum and stressed that such an an- thology of melodies should be the product of careful scholarly work (Jahrbiicher fiiur musikalische Wissenschaft 2 [1867]: 322-23). Later in the same year that the first volume of Wackernagel's anthology was issued, his publisher also issued Friedrich Hommel's Geistliche Volkslieder aus alter und neuer Zeit mit ihren Singweisen (Leipzig: Teubner, 1864), which was promoted as the musical "Supplement zu Philipp Wackernagel, das deutsche Kirchenlied." But this was not what Chrysander had in mind as an ap- propriate critical edition of melodies to complement Wackernagel's anthology of

sideratum and stressed that such an an- thology of melodies should be the product of careful scholarly work (Jahrbiicher fiiur musikalische Wissenschaft 2 [1867]: 322-23). Later in the same year that the first volume of Wackernagel's anthology was issued, his publisher also issued Friedrich Hommel's Geistliche Volkslieder aus alter und neuer Zeit mit ihren Singweisen (Leipzig: Teubner, 1864), which was promoted as the musical "Supplement zu Philipp Wackernagel, das deutsche Kirchenlied." But this was not what Chrysander had in mind as an ap- propriate critical edition of melodies to complement Wackernagel's anthology of

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NOTES, June 1998

texts; he dismissed it as hardly a "scientific work ... but only a confessional book of devotion" (ibid., 324).

It was another generation or so before genuinely scholarly anthologies of German hymn melodies began to appear: those of Wilhelm Baumker (Das katholischer deutscher Kirchenlied in seinen Singweisen, 4 vols. [Freiburg: Herder, 1883-1911; reprint, Hildesheim: Olms, 1962]), and Johannes Zahn (Die melodien der deutscher evangelischen Kirchenlieder, 6 vols. [Gtiterloh: Bertels- mann, 1889-1893; reprint, Hildesheim: Olms, 1963]). The two works were com- plementary: Baumker included melodies with German texts found in Roman Cath- olic sources from the earliest times until the end of the seventeenth century, and Zahn encompassed melodies found in Lutheran printed sources from the early sixteenth century until 1892. Both anthologies con- centrated on the original forms of the mel- odies and only gave sporadic attention to later variants. Even though they were scholarly works, both had a practical ori- entation. Baumker's anthology was struc- tured according to the church year, and was therefore related to Catholic usage of such hymnody, and the melodies in Zahn were organized according to their metrical forms, providing a practical tool for hym- nal editors searching for suitable tunes for new texts.

These two valuable anthologies remain the primary sources for any serious re- search into German hymn melodies. Not- withstanding their continued usefulness, with the passing of time the limitations of both Baumker and Zahn have become problematic. On the one hand, more sources have come to light in the century that has followed their first publication, as the contributions to such scholarly publi- cations as the Jahrbuch fir Liturgik und Hymnologie, issued since 1955, demonstrate. Therefore, the information on quite a number of melodies and their sources in Baumker and Zahn either has to be sup- plemented or corrected by more recent lit- erature. On the other hand, contemporary research has a more acute interest in vari- ant forms and interrelationships between different melodies than was pursued by ei- ther Baumker or Zahn.

Around thirty-five years ago the ambi- tious research and publication project Das

deutsche Kirchenlied (DKL) was begun. Ef- fectively, the object was to replace both Baumker and Zahn with a new multi- volume anthology of hymn melodies, in- terconfessional and comprehensive in scope. The primary editors were Konrad Ameln (Lutheran), Markus Jenny (Re- formed), and Walther Lipphardt (Roman Catholic), who were leading members of the International Arbeitsgemeinschaft fur Hymnologie-originally the workgroup Ameln created to write the entry "Lied, C. Das Kirchenlied," for Die Musik in Geschichte und Gegenwart (Kassel: Barenreiter, 1960) -the society that assumed oversight of the Jahrbuch fur Liturgik und Hymnologie from 1960. A team of hymnologists was enlisted to investigate hymnological collections around the world. The first task was to identify printed sources that include mel- odies with associated German texts pub- lished before 1801, and the second to tran- scribe the melodies found in these sources. A primary emphasis was placed on com- piling a critical bibliography of sources on which the critical edition of the melodies would be based. This bibliography was eventually published in series B of Re- pertoire International des Sources Musi- cales (RISM): Das deutsche Kirchenlied [DKL]: Kritische Gesamtausgabe der Melodien, edited by Konrad Ameln, Markus Jenny, and Walther Lipphardt (Band 1, Teil 1: Verzeichnis der Drucke [RISM B/VIII/1]. Kas- sel: Barenreiter, 1975), and the index vol- ume edited by Markus Jenny (Band 1, Teil 2: Verzeichnis der Drucke Register [RISM B/VIII/2]. Kassel: Barenreiter, 1980).

The bibliography was originally planned to form the first volume of DKL and should have been followed by subsequent volumes containing the melodies in some form of chronological sequence; however, research was protracted, there were numerous de- lays, and Lipphardt's death in January 1981 brought progress to a standstill. Even- tually the project was resurrected and re- constituted under the auspices of the newly formed Gesellschaft zur wissen- schaftlichen Edition des deutschen Kirch- enlieds [GEdK]. The project has been re- structured to comprise three main sections: the RISM bibliography of sources, with its index volume, now form Abteilung I of DKL; Abteilung II, when published, will comprise volumes of melodies found in

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Book Reviews

manuscript sources, to be issued under the editorial direction of Max Liitolf; Abteilung III will include melodies found in printed sources published before 1681, under the general editorship of Joachim Stalmann. The volumes under review are the first to appear in Abteilung III.

Unlike Abteilung I, which has prefatory material in English and French in addition to the German, introductory material in Abteilung III is given only in German. Since there is some complexity in the way these volumes are organized, and because they cannot be used effectively without an understanding of the reconstructed project, it is necessary to outline here the constituent elements.

The organizational structure of Ab- teilung III of the project is as follows: a = sources published by individuals; b = broadsides; c = anthologies of multipart settings; d = liturgical books; and e hymnals. The melodies in groups a-d are given in chronological sequence; those in group e (by far the greatest section) are first classified geographically, then arranged chronologically within each subsection: ea = middle and north German hymnals; eb = StraBburg hymnals; ec = Wittenberg hymnals I (ed.J. Walter); ed = Nuremberg hymnals; ee = Wittenberg hymnals II (pub. J. Klug); ef = Konigsberg hymnals; eg = hymnals of the Bohemian Brethren; eh = Constance and Zurich hymnals; ei =

Leipzig hymnals I (pub. Schumann); ek = Leipzig hymnals II (pub. Bapst); el = Bonn hymnals; em = Frankfurt hym- nals; en = Augsburg hymnals; eo = Palatine and Zweibrticken hymnals; ep= Electoral Palatine hymnals.

This restructuring, which is in essence relatively simple and straightforward, nev- ertheless has the effect of increasing the complexity, as there are now three layers of reference for each source. When DKL was originally planned, each source was given a DKL siglum constructed from ab- breviations of either its place of publica- tion, title, editor/publisher, format, or a combination of these elements, together with the year of publication. Thus the DKL siglum for Johann Leisentritt's Geistliche Lieder (Bautzen, 1567) is given as Leis 1567 in the RISM bibliography (Abt. I), but in the volumes of Abteilung III this is ex- panded to include, where necessary, ref-

erence to the part of the volume of the source (e.g., I or II) and page number(s) (Bl. = Blatt = page) in which the melody appears. The source for melody A327 is therefore given as Leis 1567-I Bl. 9.

When the bibliography was accepted for publication in the RISM B series, each source was also assigned a siglum that con- formed to the RISM series, that is, the year of publication with a superior number for the specific source. Thus the RISM siglum for Leisentritt's hymnal is 156705. In the RISM bibliography, which now constitutes Abteilung I, both RISM and DKL sigla are attached to each source. But in Abteilung III each source is first given its GEdK siglum, comprising the letter of the rele- vant section of the overall structure a-e, together with a number representing the position of the source in a chronological sequence. The GEdK siglum for Leisen- tritt's hymnal is a53. In each case, the GEdK siglum is then followed by both the other sigla, first the RISM siglum, then the DKL siglum. At first sight this tripli- cation appears confusing, until the logic of each is understood. Then it becomes clear that each siglum supplies distinctive infor- mation about the particular source: the GEdK siglum identifies the type of publi- cation, and, in the case of the hymnals of section e, also their geographical origin; the DKL siglum gives some account of the identity of the sources without having to consult the bibliography of Abteilung I; and the RISM siglum reveals where de- tailed bibliographical information can be found. Both the RISM and DKL sigla are somewhat enigmatic at present, however, because some sources have only come to light since the RISM bibliographical vol- umes were published. Thus the source for melody B78 is given as RISM 156418, but when one consults RISM B/VIII/1 there is no such entry either in the main body of the bibliography or in its "Nachtrage und Korrecturen," or in the similar appendix in RISM B/VIII/2. At some point, a supple- ment to Abteilung I will be published, but until then users will have to resign them- selves to a level of frustration when dealing with the sources of some of the melodies in these volumes.

In addition to the three sigla, the con- fessional orientation of each source is identified by the simple letter code that

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NOTES, June 1998

is employed in the RISM bibliography: B = Bohemian Brethren; E = "Evange- lisch," that is, those sources that cannot be identified as either Lutheran or Reformed; K = Catholic; L = Lutheran; R = Re- formed; T = "Taufer," that is, Baptist and Mennonite.

Band 1 of Abteilung III, when complete, will contain melodies published before 1570. Teil 1 includes melodies in the first two sections of the overall scheme: a, sources published by individuals, and b, broadsides. Teil 1, edited by Karl-Gunther Hartmann and Hans-Otto Korth, with the assistance of Jiirgen Grimm and Robert Skeris, is in two parts: Notenband, contain- ing the melodies, and Textband, containing the critical commentary. The Notenband will be considered first.

In the Notenband, each melody is given an uppercase letter corresponding to the section to which its source belongs-thus distinguishing it from its source, which is indicated by the respective lowercase letter -and a number that indicates its position in the chronological sequence in which they appear. Thus the melodies in the first sec- tion are numbered A1-A508, covering the years 1481 to 1569, and those in the second section are numbered B1-B81, covering the years 1496 to 1567. Following the number, the three sigla for the source of the melody-GEdK, RISM, and DKL-are given, together with the letter conveying the confessional identity of the source. Thus the first melody is headed: Al ala 148101 Th StraB um 1481 Bl. [13] K. Each melody appears in modern notation, but the original clef and initial notation are included before the first modern clef. Any anomalies in the notation, as well as mark- ings for the ends of the lines in the original imprint, are indicated above the staff. A useful reference feature also appears above the staff: the number of notes in the mel- ody, marked at multiples of ten. This allows the specific notes to be identified in the commentary in the Textband. Underneath the staff is underlaid the text that appears with the melody in the primary source, and its author, if known, is given in parentheses at the end. If the melody is closely asso- ciated with another voice part in the orig- inal source, then both parts are given (e.g., A7-A9); there is at least one melody given with its three-part setting (A243); similarly

some four-part settings are given in full (e.g., A211 and A347A). The layout is extremely clear, with well-balanced and uncluttered pages.

Where there are later variant forms of a melody, they are also given in full under the same number with the addition of an alphabetical suffix. Usually there are only one or two variant forms, but some mel- odies have more. For example, the Latin melody Christe qui lux that first appeared with a German text in 1523 (B12) is also given in four variant forms, dating between 1531 and 1555 (B12A-B12D), and the melody Jesus Christus unser Heiland, der von uns of 1524 (B14) also appears in five later variants dating between 1524 and 1567 (B14A-B14E).

The Textband is divided into two sections: first, descriptions of the printed sources, and second, commentaries (Kritische Be- richte) on the melodies in the Notenband. The descriptions of the printed sources in section a appear under the respective name of the individual who produced the source. Where appropriate, details of literature where information on this person can be found are included. Then follows infor- mation on each source, in the sequence of the GEdK sigla, but in each case, as with the melodies in the Notenband, the other two sigla are also given, together with the identifying letter indicating the confes- sional background of the source in ques- tion. Also given are details of any prelim- inary materials and descriptions of the type of notation, such as GN = gothic notation, or WMN = white mensural notation. Then all the melodies found in the source are listed according to their GEdK numbers, including those that have yet to be pub- lished in subsequent volumes of the critical edition. Melodies published for the first time are given in bold type, so that it is easy to identify the "new" melodies. At the end of each entry is listed relevant literature in which discussions of the source can be found. The same pattern is followed for the sources of section b, and also for sec- tions c-d even though their melodies have yet to appear in print, presumably in Band 1, Teil 2.

Most of the Textband is taken up with the Kritische Berichte, in which commentary is given on each melody and any existing vari- ants. Each melody appears according to its

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Book Reviews Book Reviews

GEdK number, and, yet again, the three sigla of its source are given, together with the identifying letter indicating its confes- sional background. Next is given the first line of the associated text, together with a reference to a modern source in which it can be found, usually Wackernagel's Das deutsche Kirchenlied. Then the heading un- der which the melody originally appeared is given in full, after which the character- istics of the melody are discussed. These descriptions range in length from a brief sentence or two to several pages. Where necessary, the discussion includes details of the various differences in notation found in later sources.

The valuable reference material found at the end of the Textband includes a finding list giving the GEdK equivalents of the RISM sigla, a first line index of associated texts, and a bibliography of essential lit- erature.

The importance of these two part- volumes-even though they represent a small sampling of the yet-to-be-completed critical edition of melodies-is apparent from the very first page of the Notenband. Melody A2 is one that can be found neither in Baumker nor Zahn because its source, a Cologne imprint of 1503, only came to light during the last half century. What is significant is that the melody, assigned to a Marian text, is a variant of the Wir glauben all an einen Gott melody, originating in the early fifteenth century but widely used in Lutheran hymnals from 1524.

Without a doubt, these part-volumes mark the beginning of a new, foundational

GEdK number, and, yet again, the three sigla of its source are given, together with the identifying letter indicating its confes- sional background. Next is given the first line of the associated text, together with a reference to a modern source in which it can be found, usually Wackernagel's Das deutsche Kirchenlied. Then the heading un- der which the melody originally appeared is given in full, after which the character- istics of the melody are discussed. These descriptions range in length from a brief sentence or two to several pages. Where necessary, the discussion includes details of the various differences in notation found in later sources.

The valuable reference material found at the end of the Textband includes a finding list giving the GEdK equivalents of the RISM sigla, a first line index of associated texts, and a bibliography of essential lit- erature.

The importance of these two part- volumes-even though they represent a small sampling of the yet-to-be-completed critical edition of melodies-is apparent from the very first page of the Notenband. Melody A2 is one that can be found neither in Baumker nor Zahn because its source, a Cologne imprint of 1503, only came to light during the last half century. What is significant is that the melody, assigned to a Marian text, is a variant of the Wir glauben all an einen Gott melody, originating in the early fifteenth century but widely used in Lutheran hymnals from 1524.

Without a doubt, these part-volumes mark the beginning of a new, foundational

musicological resource. Its scope and ex- ecution will make Das deutsche Kirchenlied a much used source for reference and re- search in the twenty-first century. The scholarship displayed is prodigious and its execution superlative, even though the or- ganization and use of multiple sigla appear labyrinthine when first encountered. The wealth of information not readily accessible elsewhere is invaluable, notwithstanding the fact that at present only two part- volumes are available. However, the frus- tration of its incompleteness will steadily diminish as more volumes appear in print. In the meantime, one will need to continue to use both Biumker and Zahn with these part-volumes. But even when the project is completed, Biumker and Zahn will not be rendered totally redundant; their different organizing principles will make them use- ful tools to be used in conjunction with Das deutsche Kirchenlied, while their chronolog- ical coverage of sources extends beyond the terminal date of 1680 adopted for Abteilung III of the project.

These two part-volumes may therefore represent the firstfruits of the fulfillment of Chrysander's hopes expressed during the last century, though it will not be com- pleted until the next century. Although it has taken a long time to get this far, one hopes that the pace of publication of sub- sequent volumes will now accelerate.

ROBIN A. LEAVER Westminster Choir College of Rider University,

Princeton

musicological resource. Its scope and ex- ecution will make Das deutsche Kirchenlied a much used source for reference and re- search in the twenty-first century. The scholarship displayed is prodigious and its execution superlative, even though the or- ganization and use of multiple sigla appear labyrinthine when first encountered. The wealth of information not readily accessible elsewhere is invaluable, notwithstanding the fact that at present only two part- volumes are available. However, the frus- tration of its incompleteness will steadily diminish as more volumes appear in print. In the meantime, one will need to continue to use both Biumker and Zahn with these part-volumes. But even when the project is completed, Biumker and Zahn will not be rendered totally redundant; their different organizing principles will make them use- ful tools to be used in conjunction with Das deutsche Kirchenlied, while their chronolog- ical coverage of sources extends beyond the terminal date of 1680 adopted for Abteilung III of the project.

These two part-volumes may therefore represent the firstfruits of the fulfillment of Chrysander's hopes expressed during the last century, though it will not be com- pleted until the next century. Although it has taken a long time to get this far, one hopes that the pace of publication of sub- sequent volumes will now accelerate.

ROBIN A. LEAVER Westminster Choir College of Rider University,

Princeton

REFERENCE REFERENCE

Music Reference and Research Mate- rials: An Annotated Bibliography. 5th ed. By Vincent H. Duckles and Ida Reed. New York: Schirmer Books, 1997. [xviii, 812 p. ISBN 0-02- 870821-0. $45.]

This is the first edition of "Duckles" to be compiled wholly without a direct con- tribution by Vincent Duckles himself, and as such its publication marks a small, but potentially significant, event in the history of music bibliography. The absence of the original compiler has provided the editor

Music Reference and Research Mate- rials: An Annotated Bibliography. 5th ed. By Vincent H. Duckles and Ida Reed. New York: Schirmer Books, 1997. [xviii, 812 p. ISBN 0-02- 870821-0. $45.]

This is the first edition of "Duckles" to be compiled wholly without a direct con- tribution by Vincent Duckles himself, and as such its publication marks a small, but potentially significant, event in the history of music bibliography. The absence of the original compiler has provided the editor

of the new edition with an excellent op- portunity to reassess the book's purpose and organization. Criticisms of the latter have surely always existed, but published dissent about the work's raison d'etre is of more recent date, centering particu- larly around the fourth edition of 1988, and its 1994 revision. Donald Krummel commented in Notes 46 (September 1989): 65, that "we need something new and dif- ferent to be said about our reference books," and Karl Kroeger forthrightly asked in Fontes artis musicae 42 (1995): 191, "isn't it perhaps time to consign this volume

of the new edition with an excellent op- portunity to reassess the book's purpose and organization. Criticisms of the latter have surely always existed, but published dissent about the work's raison d'etre is of more recent date, centering particu- larly around the fourth edition of 1988, and its 1994 revision. Donald Krummel commented in Notes 46 (September 1989): 65, that "we need something new and dif- ferent to be said about our reference books," and Karl Kroeger forthrightly asked in Fontes artis musicae 42 (1995): 191, "isn't it perhaps time to consign this volume

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