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Guitar Bibliography: an international listing of theoretical literature on clas

Guitar Bibliography: an international listing of theoretical literature on classical guitar from the beginning to the present = Gitarre-Bibliographie by Werner Schwarz; Monika Haringer; Siegfried Behrend Review by: Thomas F. Heck Fontes Artis Musicae, Vol. 32, No. 3 (Juli-September 1985), pp. 180-181 Published by: International Association of Music Libraries, Archives, and Documentation Centres (IAML) Stable URL: http://www.jstor.org/stable/23505798 . Accessed: 14/06/2014 15:03 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . International Association of Music Libraries, Archives, and Documentation Centres (IAML) is collaborating with JSTOR to digitize, preserve and extend access to Fontes Artis Musicae. http://www.jstor.org This content downloaded from 195.34.79.192 on Sat, 14 Jun 2014 15:03:31 PM All use subject to JSTOR Terms and Conditions 180 Comptes-Rendus / Besprechungen / Reviews Oscar Mischiati: Indici, cataloghi e avvisi degli editori e librai musicali italiani dal 1591 al 1798. (Firenze: Leo S. Olschki, 1984). In-4, 553 p. (Studi e testi per la storia della musica, 2). Le contenu de soixante-sept catalogues et an nonces d'éditeurs italiens entre 1591 et 1798 est ici reproduit, dont une dizaine seulement - parmi les plus anciens - avaient été précédemment publiés (notamment par Haberl, G. Thibault et C. Sarto ri). Les groupes les plus importants sont ceux des éditeurs vénitiens Vincenti (7 catalogues), Bortoli (23 catalogues, la plupart assez courts) et Mare scalchi-Canobbio (13 copieux catalogues). Il s' agit aussi bien de catalogues publiés à part que de listes jointes à des publications ou même de sources manuscrites. Certains reproduisent uni quement la production de l'annonceur (et éven tuellement de fonds qu'il a acquis), d'autres signalent les ouvrages mis en vente mais prove nant d'autres éditeurs. Les catalogues de quel ques auteurs-éditeurs n'ont pas été retenus. Le maniement de ce gros ouvrage est facilité par l'index détaillé par ordre alphabétique d'auteurs et d'oeuvres avec, s'il y a lieu, la référence au RISM. Les graphies des noms pro pres étant souvent estropiées dans les originaux, l'auteur les a ici normalisées. On proposera cependant quelques autres corrections: Saniewicz est Janiewicz, Alaira est Dalayrac, George est le chevalier de Saint-Georges. Tous les spécialistes des XVIIe et XVIIIe siècles auront un jour besoin de cet instrument de travail, qui leur permettra de compléter des listes d'oeuvres ou de dater une publication. Ou encore d'étudier la diffusion ou le prix des œuvres musicales. François Lesure François Lesure Werner Schwarz: Guitar Bibliography: an international listing of theoretical literature on classical guitar from the beginning to the present = Gitarre-Bibliographie. With the assistance of Monika Haringer. Foreword by Siegfried Behrend. (München: K. G. Saur, 1984). In-4, 32-257 p. Statistically, it is a significant achievement! Werner Schwarz has more than doubled our awareness of the literature on the guitar with the publication of this impressive new book-length bibliography. It cites (but without annotation) over 4,700 discrete items, ranging in size from one-page reviews and "articlettes" to books and journals, old and new, devoted to the guitar. The only comparable precursor in the field was David Lyons' Lute, Vihuela, Guitar to 1800: a Bibliography (Detroit Studies in Music Bibliogra phy, no. 40, 1978). It may have served as a model in that it assigned a number to each entry and cited it only once, under a specific topic or subject heading. It then listed authors' names and refer ence numbers in an alphabetical index at the back of the text. Working within his self-imposed cutoff date ("to 1800"), Lyons was able to compile 1,966 entries under twenty-eight topical subdivisions, like "Composers/Performers-General Biogra phy," or "Construction," or "Editions." By contrast, Schwarz all but eliminates refer ences to the lute (although retaining literature on the Spanish lute, or vihuela, presumably because of its guitar-like shape?), removes the "to 1800" time limit, and most impressively, increases the number of entries to 4,705. But he also more than doubles the subdivisions as well, with an almost unbelievable sixty-two ! There are both theoretical and practical conse quences to "slicing the pie" into sixty-two pieces. At the theoretical level, the more subject head ings there are from which to choose, the more difficult it becomes to select the best one for a given article or book. This applies equally to the editor's assigning items to headings and to the user's retrieving them. Indeed, many contribu tions to the "theoretical literature," as the entries in this book are characterized, would be well situated in any of several of Schwarz' categories, and arguably are mis-classified as things now stand. For example, the first two parts of Andrew Charlton's six-part serialized essay on the princi ples of ornamentation for guitarists, entitled Em bellishment in Renaissance and Baroque Music, in: Soundboard IX/4 (1982/83), p. 335-39 and X/l (1983), p. 32-35, are found in this bibliography as item 0676, under the heading "History: the Guitar in the Sixteenth Century." But they, and their companion articles in the series, have really nothing to do with the guitar as such in the sixteenth century. They might better have been classed under "Guitar Playing/Technique," in the catch-all subsection entitled "The Left Hand (Fingerings, Positions, Barrée, Ornamentation, Phrasing, Damping, Vibrato)," if not under the subsection "Interpretation." Yet they are cross referenced in neither of the latter sections. The third article in Charlton's series, and presumably the last available for inclusion in this bibliogra This content downloaded from 195.34.79.192 on Sat, 14 Jun 2014 15:03:31 PM All use subject to JSTOR Terms and Conditions Comptes-Rendus / Besprechungen / Reviews 181 phy, is separately cited as item 3171 in the "Guitar Playing/Technique -General" section, again with no cross references to its predecessors back in 0676. The title is the same. Why does it lead such a separate existence? There are many other instances where similar classification questions arise; such questions are, quite simply, inevitable with so many headings. In the jargon of information science, the Schwarz subject headings are a classic case of the "preci sion ratio" increasing at the expense of the "recall ratio." At the practical level, given an author-title reference, it becomes very difficult to look it up or verify it in the present volume, simply because one does not know where to look among the subdivisions. Granted the existence of an author index at the back of the book, one still has to check item-by-item through the four-digit num bers following the author's name to locate a particular work by that author. It is exactly the situation we faced with the Lyons book, for which Lyons drew comparable criticism in 1979. As a practical suggestion, I would propose that the author-index in future editions of Guitar Biblio graphy (and any similar volumes) be converted to an author/short-title index, in order to transform cryptic tracings such as these : Leisner, David 1557, 1659, 2747 into something perhaps more intelligible at a glance, like these: Leisner, David 1557 Three perspectives . . . Henze 1659 Memoirs of a café guitarist 2747 Breathing life into music One further problem in the design of the present bibliography relates to the issue of sub jects or categories not represented in the sixty-two divisions established by Schwarz-countries, for example. There is no topical heading or subdivi sion for literature on the guitar in France, or in America, or in Russia-all quite current fields of research. And there is no additional subject indexing to help us find such literature. Hence the need for more detailed subject access in future editions-editions, incidentally, which this re viewer certainly encourages due to the admirable thoroughness of the present work. Conceptual and organizational issues aside, this volume by Schwarz still represents an amaz ingly rich bibliographic achievement. Its citations of the earliest literature on the guitar, dating from the 19th century, certainly outclass other chronologically-ordered lists currently available, including this reviewer's own bibliography for the "Guitar" article in the just-published New Grove Dictionary of Musical Instruments. And the Schwarz subdivisions, although needlessly numer ous, may yet serve a useful purpose in stimulating research in specific areas of guitar history, peda gogy, and technique. Thomas F.Heck Thomas F. Heck Arthur Wenk: Analyses of nineteenth-cen tury music. Second edition: 1940-1980 - Analyses of twentieth-century music. Supplement. Second edition. (Boston: Music Library Association, 1984). 2 vol., 83-132 p. (MLA Index and Bibliog raphy Series, Nr. 13 et 14). Ces deux bibliographies répondent à une utilité évidente: permettre aux étudiants et aux cher cheurs de retrouver aisément dans le flot récent des périodiques, mélanges, thèses et monogra phies les analyses musicales valables des œuvres du XIXe et du XXe siècles. Il s'agit dans les deux cas d'une nouvelle édition, une dizaine d'années ayant passé depuis la première. La recherche y est aisée: le classement est alphabétique par noms de compositeurs uploads/Management/ international-association-of-music-libraries-archives-and-documentation-centres-iaml.pdf