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In the next three chapters Trench comes into his own sphere as moral teacher. C

In the next three chapters Trench comes into his own sphere as moral teacher. Chapter Four, “The Poetry, Wit, and Wisdom of Proverbs,” describes how the moral insight of the proverbs is enhanced/made attractive by clever and colorful expression. The stories behind the proverbs, a tactic introduced in Chapter T wo, become more frequent and longer in the ³nal two chapters, “The Morality of Proverbs” and “The Theology of Proverbs,” as Trench surges to his conclusion that proverbs, so full of good sense and teaching, should be used more in preaching and other public situations (136–37). Despite the existence of some coarse proverbs, Trench stresses that by far the larger number are capable of undergoing more inten- sive scrutiny to perceive deeper meanings. (“This method of looking in proverbs for an higher meaning than any which lies on their surface…” [130]. His suggestion here is like the several layers of interpretation that medieval scholars of the Bible pursued: the literal, the allegorical, the moral, and the anagogical.) With its emphasis on the power of proverbs to instruct, Proverbs and Their Lessons becomes a companion to an earlier work in the supplement series: “Children and Proverbs Speak the T ruth”: T eaching Proverbial T ruth to Fourth Graders. David R. MAYER Nanzan University VAN TONGEREN, MARK C. Overtone Singing: Physics and Metaphysics of Harmonics in East and West. The Harmonic Series No. 1. Amsterdam: Fusica, 2002. xxiv + 271 pages. Musical examples, maps, photos, line drawings, graphs, bibliography, index, notes to CD, 33-track CD. Paper }29.50, US$34.95; ISBN 90-807163-2-4. Hardcover }42.50, US$44.95; ISBN 90-807163-1-6. Using overtone singing as both a music genre and a performance technique, Mark van Tongeren weaves a successful musical ethnography that pivots on sound to engage in a cross-cultural and multi-disciplinary study of music. Van Tongeren’s style of writing is jargon-free; technical terms are adequately explained through the clever use of margin space, which also contains references to CD tracks and lists additional sources. This book strategically intersperses ethnographic description with a personal ³eld journal. Perhaps more importantly, the book brims with vary- ing information drawn from van Tongeren’s experiences as both a researcher and a performer of overtone singing. In this way, van Tongeren takes his readers through the physics of overtones to the technicalities of sound production, from the musical cultures of the T uvans and Sardinians to the use of overtones by contemporary European-American music practitioners. Overtone Singing contains seven chapters organized into ³ve parts. Part 1 outlines the physics of sound and the harmonic series, in which van Tongeren carefully explains the tech- niques of producing vocal overtones through detailed description and graphic representa- tions, borrowing ideas from ethnomusicologists, such as Hugo Zemp and Trân Quang Hai; Track 15 on the accompanying CD features van Tongeren in a demonstration of the ³ve ele- mentary techniques described in Chapter 1 (18–23). Acknowledging that existing vocabulary used to describe the organization of multiple sounds (such as heterophony) reveals an under- lying emphasis on audible sounds at the expense of minimizing the harmonic spectrum of a single sound, van Tongeren introduces the important concept of “paraphony.” Paraphony points toward a way of thinking about and describing sounds that takes into account both “the harmony and the melody that is potentially present in a tone or periodic sound, as well 142 BOOK REVIEWS as...the acoustic and psycho-acoustic effects that create the impression of other tones that are not really melodies, and not really harmonies either” (38). Part 2 is an ethnography of overtone singing in T uva, otherwise known as khöömei. Van Tongeren successfully grounds khöömei as an indigenous expressive form, in and through which T uvans relate to their physical environment. Chapter 3 is broadly divided into two sections. The ³rst part examines traditional aspects of khöömei practices (49–81) and the latter traces the devel- opment of khöömei into an art form, from historical cultural interactions to the contemporary practices of music ensembles (81–116). Through the use of participant-observation technique, biographical approaches, and references to published sources, van Tongeren shows the vitality of overtone singing in T uvan, and strategically weaves sound examples from the accompanying CD into his narrative. The description of “Three Children and a Bull” is a good example of the effec- tive merging of academic sources, ethnographic interpretation, musical description, visual image, and ³eld recording to produce a succinct picture of the social signi³cance of overtone singing in Tuva (54–56). Indeed, the aural imagery produced by the bull’s bellow in the accompanying soundtrack (Track 22) further enhances the narrative. Certain aspects in this chapter would have been made more effective with some musi- cal description. For instance, in accessing the musicality of Tuvan throat singers, it would be helpful for readers to have more knowledge of traditional melodies and newly composed tunes (56–57). Similarly, in his description of the musician, Kara-ool Tumat, it is not clear what van Tongeren means by songs having “a very authentic ring” in contrast to others that are “newly composed” by the musician (59). The processes of learning singing in Tuvan soci- ety is well placed, though it would have been nice to know more about the creativity of the best throat singers with musical analysis (69–72). Building on Chapter 3, the next chapter contextualizes overtone singing in Mongolia, Tibet, Sardinia, and South Africa, among other places. Focusing on overtone singing and its associations with epic storytelling and spiritual dimensions, van Tongeren presents a cross- cultural perspective of music, from overtone singing and nationalism in Tuva and Mongolia, to the signi³cance of epic performances in the Altai Republic, to the chanting of sutras by Tibetan Buddhist monks. Another good example of ethnographic writing is van Tongeren’s description of the Mongolian throat singer, Nergui (125–26). Van Tongeren voices Nergui’s initial unawareness of the relationship between his vocal style and that of a famous Tuvan singer, and it transpired that perhaps Nergui may have learned it from a Tuvan sound record- ing while he was in Germany. Such ethnographic technique demysti³es Tuvan and Mongolian throat singing and ³rmly establishes it as a global cultural phenomenon. More importantly, it reveals the role of the ³eldworker and individuals in producing cultural meanings. Part 3 explores the musical innovations on overtone singing by artists, scholars, and musicians in Europe and America. This provides a good point of contrast to traditional prac- tices of overtone singing and offers illuminating case studies on individual creativity and the role of music in the process of reinterpreting traditions. Y et, such contrast does not bifurcate overtone singing into “traditional” or “modern.” Instead, van Tongeren suggests a continu- um along which to view the socio-musical signi³cance of overtone singing today, from tradi- tional ritual uses to contemporary new age music. In the section, “The Stepchild of European Music,” van Tongeren sets out to examine the historical conditions that led to the marginal- ization of sound color in the classical Western music tradition (198–200). While he does make some good points, this section is sometimes speculative and could have been strengthened through the use of existing studies in this area. Parts 4 and 5 provide a good conclusion to this study on overtone singing. Part 4 extends the concept of sound as music to the relationship between sound and embodiment, while Part 5 theorizes overtone singing broadly and pro- poses a framework for a cross-cultural study on music and society with a focus on sound. BOOK REVIEWS 143 This book makes a signi³cant contribution to interdisciplinary research and teaching in music. It is suitable for the music specialist who may like to use some ideas in class, and the interested lay reader who is intrigued by the expressive phenomenon of overtone singing. LEE Tong Soon Emory University Atlanta JAPAN DETTMER, HANS ADALBERT, Editor. Acta Sieboldiana VIII. Ein nachgelassenes Manuskript Ph.F . von Siebolds zu “Nippon” Abteilung VII: Das Mogami T okunai zugeschriebene Ainu-Wörterbuch. Wiesbaden: Otto Harrassowitz Verlag, 2002. Part 1, xiviii + 734 pages. Frontispiece. Part 2, vi + 453 pages. Facsimile, illustrations. Both parts, hardcover }145/sFr 245.–; ISBN 3-447-0-4360-1 This book has appeared in a series of publications of the Faculty of East Asian Studies, Ruhr- Universität Bochum (Germany). It consists of two volumes totalling 1185 pages of text, including 127 pages at the end with a photocopy of the orginal document Wörterbuch der Aino Sprache zusammengetragen von Mogami T oknai. This is one of the manuscripts belonging to the Siebold Archive. The Siebold Archive, also known as the Sieboldiana Collection, houses a voluminous corpus of materials dating from the Edo and Meiji periods. The documents stem from the estates of the German researcher Philipp Franz von Siebold (1796–1866) and his son Alexander (1846–1911). In 1966 the collection came to Bochum, where it was completely recorded on micro³lm in 1983 to ensure its future existence. In order to enable access to the documents a catalog was compiled and published in 1989 as part III of the publication series Acta Sieboldiana. With the publication of the catalog, details uploads/Geographie/ book-reviews-142.pdf