Reviewed by: Teaching Music History with Cases: A Teacher's Guide by Sara Haefeli Elizabeth A. Kramer Teaching Music History with Cases: A Teacher's Guide. By Sara Haefeli. (Modern Musicology and the College Classroom.) New York: Routledge, 2022. [116 p. ISBN 9780367672539 (hardcover), $47.96; ISBN 9781003130482, $19.96).] Illustrations, bibliography, index. Sara Haefeli's Teaching Music History with Cases: A Teacher's Guide is a tour de force that extends far beyond a case-study approach to teaching music history. Haefeli exhibits thorough and critical understanding of traditions of music history pedagogy and today's approaches to learning. Student centered from beginning to end, she engages critical pedagogy, higher-order learning, diversity and inclusion, universal design, inquiry, project-based learning, and assessment. A robust argument for a case-study approach to teaching music history, the book is also a call for a music history of contextualized musical practices that is disseminated by an active, collaborative, creative, critical, and healing "new, critical musicological pedagogy" (p. 7). Although I will focus on the author's argument for a case-study approach, my review starts with Haefeli's broader vision for building a music history that teaches musicological inquiry and does not "harm" students (p. 2). For Haefeli, the culprit is the chronological and mostly canonic music survey that struggles to teach musicological skills and tokenizes its noncanonic additions. Haefeli's early experiments with case studies as a means to engage all her students have developed into full-scale music curriculum reform at her home institution. Speaking for her faculty colleagues, she writes, "We recognize that music history is non-monolithic, and thus our modular approach . . . acts as a shortcut for students who desire to see themselves in the historical record" (p. 23). Playing out in context of this wider curricular shift, Haefeli's case-study journey frames the book's ideas about and tips for a case-study approach. Haefeli opens chapter 1, "Introduction," with a critical evaluation of her students' learning before she switched to a case-study approach: although her class was "entertaining," students found assignments and assessments inauthentic and felt unprepared to work in diverse musical settings (p. 1). Sensing that the problem stemmed from her curricular design, she discovered that "a case study format decenters the authority of the professor and, through Socratic questioning, empowers students to discover the answers for themselves" (p. 2). Used for decades in prominent business, law, and medical schools, case studies work with problems that require real-life solutions. Haefeli shows the relevance of case-study methodology to music history, arguing that the facts of music history are more meaningful when contextualized and that most musicological research amounts to case studies. She finds case studies "an ideal way to teach [End Page 553] musicological disciplinary practices in addition to historical knowledge about music" (p. 5). Conceptualizing case studies within Friedrich Nietzsche's famous monumental, antiquarian, and critical approaches to history ("Vom Nutzen und Nachteil der Historie für das Leben" [(On the Use and Abuse of History for Life) Leipzig: E. W. Fritzsch, 1874]), Haefeli preemptively responds to potential criticism of her approach as excessively political (pp. 5–7): in her mind, case studies have the more "expansive" goal of teaching students "how knowledge is constructed" and creatively deconstructed (p. 7). Haefeli offers several arg uments for a case-study approach, starting with student engagement. Drawing on her previous work, she challenges the "bucket" understanding of education common to college students (Sara Haefeli, "From Answers to Questions: Fostering Student Creativity and Engagement in Research and Writing," Journal of Music History Pedagogy 7, no. 1 [2016]: 1–17). Haefeli champions an "ice cube" model of learning, and she acknowledges that the ambiguous "melting" and "refreezing" of her ice-cube-inspired case-study process may be uncomfortable for students accustomed to the "bucket" approach (p. 10). The ice cube case-study process, however, creates "an ideal condition for learning" if one attends to appropriate emotional engagement (p. 10). Furthermore, a case-study approach supports the higher-order learning of Benjamin Bloom's taxonomy, twenty-first-century diversity and inclusion, and universal design. At the chapter's end, Haefeli reflects that relinquishing a lecture...

Performing Arts Libraries Scott Stone (bio) One might question the inclusion of an essay about more general performing arts librarianship in the Music Library Association's (MLA) journal, Notes. Why focus on performing arts other than music, such as dance and theater, when our primary purpose is centered on music? Look no further than our recent decisions to have two joint conferences—in 2021 and 2023—with the Theatre Library Association to see that our members are not only interested in these disciplines, but that our professional work is closely aligned. This interest isn't surprising when we examine the employment of MLA members. In 2016, Jon Sauceda and Joe Clark surveyed MLA membership about personnel characteristics, which included how many of members have job responsibilities that primarily focus on music. This survey uncovered the fact that 40 percent of MLA membership did not solely focus on music in their professional work.1 This was an increase of 9 percent from just seven years earlier when Susannah Cleveland and Mark A. Puente surveyed MLA membership and found that 31 percent of the respondents did not solely focus on music in their work.2 As this demonstrated shift away from subject-expert library workers to generalists continues, we should anticipate needing to work with a broader range of arts-related subjects and continue to familiarize ourselves with these areas.3 My own professional career began as a music librarian who was then tasked with liaising with the Dance and Theater departments after my first year on the job. At first, I was resistant to being "pulled away" from solely focusing on my first interest—music—but I soon experienced the joy (and challenges) of getting to know these two other disciplines. In addition to the newly discovered personal interest in these other art forms, [End Page 280] I feel that the knowledge I've gained by working with them has made me better able to work with all information seekers. This essay's intent is to focus on two related fields that many academic performing arts librarians frequently hold in their portfolio in addition to music: dance and theater. I will briefly explore the history of these two subjects in academic libraries in the United States, look at current work in the field, and attempt to forecast where the field will head in the near future. While there is also a rich history of archives held by professional theater and dance companies, containing a vast array of materials from paper objects like director's notebooks, programs, and business paperwork to ephemera like costumes, stage models, and props, this will not be explored in this essay due to space constraints. a brief history of performing arts librarianship in the united states Theater Librarian Organizations, Professional Development, and Publications The Theatre Library Association (TLA) is the primary conduit for learning about and discussing theater in the realm of libraries in the US. This organization was founded in 1937 (for comparison, MLA was founded in 1931) during a meeting of curators of theater collections from New York Public Library (NYPL), Harvard University, Columbia University, Princeton University, and the Museum of the City of New York.4 Its mission is to support "librarians and archivists affiliated with theatre, dance, performance studies, popular entertainment, motion picture, and broadcasting collections."5 George Freedley, the first librarian and curator for theater at NYPL, is credited with spearheading the creation and early development of not only TLA but also the entire field of theater librarianship.6 Since the creation of TLA, other efforts and organizations have risen to advance the field of theater librarianship. In 1959, Freedley taught an experimental workshop as part of Columbia's library school titled "Theatre Literature and Librarianship."7 This was so successful that it became a regular course offering beginning in 1961, and anecdotal evidence suggests that other similar courses have been irregularly taught in several [End Page 281] US and Canadian institutions since then.8 While TLA does not have its own regularly occurring conference, they have other events that have evolved over time, such as: a plenary as part of the annual conference of the American Society for Theatre Research (ASTR...

Reviewed by: Well of Souls: Uncovering the Banjo's Hidden History by Kristina R. Gaddy Travis D. Stimeling Well of Souls: Uncovering the Banjo's Hidden History. By Kristina R. Gaddy. New York: W. W. Norton, 2022. [xvii, 284 p. ISBN 9780393866803 (hardcover), $30; ISBN 9780393866810 (ebook), price varies).] Illustrations, bibliography, index. Well of Souls: Uncovering the Banjo's Hidden History. By Kristina R. Gaddy. New York: W. W. Norton, 2022. [xvii, 284 p. ISBN 9780393866803 (hardcover), $30; ISBN 9780393866810 (ebook), price varies).] Illustrations, bibliography, index. It has been nearly thirty years since the publication of folklorist Cecelia Conway's African Banjo Echoes in Appalachia: A Study of Folk Traditions (Knoxville: University of Tennessee Press, 1995), which launched a new wave of scholarly and musical interest in the Afro-Caribbean origins of the banjo as well as its continued role in Black musical life. Conway's work shined a light on many important Black banjo players; brought practitioners, scholars, and enthusiasts together in the Black Banjo Gatherings she hosted in 2005 and 2010; and inspired a wide range of Black musicians—including Pulitzer-Prize–winner Rhiannon Giddens (who provides a foreword to this book)—to reclaim the banjo as a tool for contemporary musical expression. Landmark books such as Laurent Dubois's The Banjo: America's African Instrument (Cambridge, MA: Belknap, 2016) and Robert Winans's edited collection Banjo Roots and Branches (Urbana: University of Illinois Press, 2018); Hannah Mayree's Black Banjo Reclamation Project; and major albums by Giddens, Leyla McCalla, Amythyst Kiah, and Kaia Kater have firmly established the banjo as both the product of and an essential expressive tool in the Black Atlantic. Moreover, as old-time music has enjoyed a widespread revival among millennial and Gen Z musicians, these scholarly and creative engagements with the Black banjo have contributed to a grassroots effort to challenge White supremacy in string-band communities and to address the legacies of minstrelsy and structural racism in country music, more generally. Kristina R. Gaddy's Well of Souls: Uncovering the Banjo's Hidden History adds to this growing body of work by providing a compellingly written synthesis of leading research on the banjo's history, offering a text that has the potential to be widely influential on the popular understanding of the banjo's remarkable story. In Well of Souls, Gaddy traces the banjo's development in the Caribbean as her primary focus, noting that "the banjo is a uniquely American instrument, crafted by people of African descent. It is structurally different from any African instrument" (p. xvi). Arguing that "the banjo can help us explore the way in which African cultures transformed in the Americas and transformed the Americas" (p. xvi), Gaddy sets out to trace the origins of the banjo from 1687 to the 1850s, focusing on documented examples of various spike lutes used in the Caribbean and Atlantic North America. She takes readers on a journey to settings all around the Caribbean, from Suriname to New Orleans, as well as to England and English colonies in North America. Cast in three "movements," the book focuses first on the banjo's emergence in Jamaica, Martinique, and other Caribbean locations prior to the Haitian revolution, followed by movements centered on the postrevolution Caribbean and the antebellum US. Each chapter highlights the banjo's development in [End Page 346] a single location, but Gaddy deftly connects the networks of exchange that carried ideas, material objects, and music and dance repertories between those places. Leaning heavily on diaries, journals, and artistic renderings, Gaddy extends the scholarship on the banjo's origins by moving into the realm of the speculative. Informed by the work of historian Saidiya V. Hartman (Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval [New York: W. W. Norton, 2019]), Gaddy listens for possibility in the gaps. She acknowledges the implicit ethnocentrism of most of the primary sources in her study and works to counterbalance the dominance of naïve and biased Euro-American voices by raising questions about the lived experiences of instrument makers, musicians, dancers, and passersby. Because primary sources are so often silent in this regard, Gaddy imagines what crudely described dance steps might have looked...

Books Recently Published Compiled by James Procell and Matthew Ertz This column is compiled quarterly from a variety of sources, including publisher and vendor websites and announcements. If you are an author or editor of a recently published music book and would like to request its inclusion in a future column, please send a message to music.library@louisville.edu. ENGLISH Abraham, Adam. Attack of the monster musical: a cultural history of Little shop of horrors. London: Methuen Drama, 2022. ix, 237 p. ISBN 9781350179318. Agamennone, Maurizio, Daniele Palma, and Giulia Sarno, eds. Sounds of the pandemic: accounts, experiences, perspectives in times of COVID-19. Abingdon: Routledge, 2023. xiii, 295 p. ISBN 9781032060248. Albiez, Sean, and David Pattie, eds. The Velvet Underground: what goes on. New York: Bloomsbury Academic, 2023. x, 299 p. ISBN 9781501338410. Alim, H. Samy, Jeff Chang, and Casey Philip Wong, eds. Freedom moves: hip hop knowledges, pedagogies, and futures. Oakland: University of California Press, 2023. xxvi, 448 p. ISBN 9780520382787. California series in hip hop studies; 3 Anthony, Brendan. Music production cultures: perspectives on popular music pedagogy in higher education. Abingdon: Routledge, 2023. xxii, 298 p. ISBN 9780367517649. Perspectives on education in audio and music production Antović, Mihailo. Multilevel grounding: a theory of musical meaning. London: Routledge, 2022. vii, 158 p. ISBN 9780367467388. SEMPRE studies in the psychology of music Aquilina, Shaun. Musical theatre for the female voice: the sensation, sound, and science, of singing. Abingdon: Routledge, 2023. 105 p. ISBN 9781032261614. Arrandale, Karen. Edward J. Dent: a life of words and music. Woodbridge: Boydell & Brewer, 2023. xvii, 543 p. ISBN 9781783272051. Music in Britain, 1600-2000 Bagińska, Agnieszka. Literature, music, theatre?: the performative aspect of Rammstein's musical activity. Berlin: Peter Lang, 2022. 339 p. ISBN 9783631810064. Studies in the new humanities; 4 Bailey, Trenton. Do you remember? Celebrating 50 years of Earth, Wind & Fire. Jackson: University Press of Mississippi, 2023. ix, 263 p. ISBN 9781496843098. American made music series Balic, Vito, Vincent Besson, and Ennio Stipcevic, eds. Venice, Schiavoni and the dissemination of early modern music: a companion to Ivan Lukacic. Turnhout: Brepols, 2022. 288 p. ISBN 9782503601953. Collection "Épitome musical" Barnes, Stella. Everything I need to know I learned from country music: life lessons on love, heartbreak, and more from America's favorite songs. New York: Castle Point Books, 2022. 142 p. ISBN 9781250283542. Barney, Katelyn, ed. Musical collaboration between indigenous and non-indigenous people in Australia: exchanges in the third space. New York: Routledge, 2023. xiii, 160 p. ISBN 9781032265049. SOAS studies in music Barrett, G. Douglas. Experimenting the human: art, music, and the contemporary posthuman. Chicago: The University [End Page 177] of Chicago Press, 2023. 220 p. ISBN 9780226823355. Bate, Seth. Winfield's Walnut Valley Festival. Charleston: The History Press, 2022. 175 p. ISBN 9781467146050. Batstone, Leah. Mahler's Nietzsche: politics and philosophy in the Wunderhorn Symphonies. Woodbridge: Boydell Press, 2023. xii, 189 p. ISBN 9781837650019. Baumann, Franziska. Embodied human-computer interaction in vocal music performance. Cham: Springer, 2023. xii, 81 p. ISBN 9783031179846. Springer series on cultural computing Baumgartner, Michael, and Ewelina Boczkowska, eds. Music, authorship, narration, and art cinema in Europe: 1940s to 1980s. New York: Routledge, 2023. xi, 237 p. ISBN 9781138238039. Music and sound on the international screen Bentley, Charlotte. New Orleans and the creation of transatlantic opera, 1819-1859. Chicago: The University of Chicago Press, 2022. 256 p. ISBN 9780226823089. Opera lab Berglund, Carl Johan, Barbara Crostini, and James A. Kelhoffer, eds. Why we sing: music, word, and liturgy in early Christianity: essays in honour of Anders Ekenberg's 75th birthday. Leiden: Brill, 2023. xiii, 612 p. ISBN 9789004522039. Supplements to Vigiliae Christianae; 177 Bishop, Paula J., and Jada Watson, eds. Whose country music? Genre, identity, and belonging in twenty-first-century country music culture. Cambridge: Cambridge University Press, 2023. xiii, 308 p. ISBN 9781108837125. Bono. Surrender: 40 songs, one story. New York: Alfred A. Knopf, 2022. 563 p. ISBN 9780525521044. Borg, Bobby, and Britt Hastey. Personal finance for musicians. Lanham: Rowman & Littlefield, 2022. xi, 250 p. ISBN 9781538163290. Music pro guides Breihan, Tom. The number ones: twenty chart-topping hits that reveal the history of pop music. New York: Hachette Books, 2022. ix, 342...

<p>This article is part of a special issue on the state of the profession in music librarianship.</p>

Reviewed by: Benjamin Britten in Context ed. by Vicki P. Stroeher and Justin Vickers Thornton Miller Benjamin Britten in Context. Edited by Vicki P. Stroeher and Justin Vickers. Cambridge: Cambridge University Press, 2022. [xxv, 400 p. ISBN 9781108496698 (hardcover), $110; also available as ebook (ISBN and price vary).] Illustrations, bibliography, index. Benjamin Britten in Context. Edited by Vicki P. Stroeher and Justin Vickers. Cambridge: Cambridge University Press, 2022. [xxv, 400 p. ISBN 9781108496698 (hardcover), $110; also available as ebook (ISBN and price vary).] Illustrations, bibliography, index. Benjamin Britten in Context, edited by Vicki P. Stroeher and Justin Vickers, is the latest installment in a series of collected volumes released by Cambridge University Press that involve a high number of contributions (in this case, forty) from highly reputable music scholars. This structure results in a clear advantage and disadvantage: the wide breadth gives the reader a range of perspectives on the composer's life and work. There is only so far each chapter can go in terms of depth, however, when they are limited to ten pages at most. The collection is organized into five parts on the following areas: Britten's close circle of collaborators and publishers, British musical life, the composer's connections with his contemporaries in Britain and abroad, his relationship with the performers of his music as well as figures from other artistic fields, and his connections to broader social, religious, and political issues. A major strength of this effort is its consistency, despite the diversity of its subjects, akin to turning over a jewel to examine one facet at a time. In part 1, "The Britten Circle(s)," Arnold Whittall covers the shifting landscapes of Britten's mentor figures, namely Frank Bridge and W. H. Auden, while expertly explaining why the composer needed their guidance in his formative years before striking out on his own. Both Vickers and Nicholas Clark discuss Britten's relationship with Peter Pears, unraveling the early years of their relationship while taking note of how their musical creativity, professional collaboration, and romance were all interwoven in a time when legal and social realities forced them to keep what was essentially a marriage [End Page 154] an open secret. While much attention has been given to Britten's reputation for shedding friends and collaborators, Lucy Walker provides a different perspective, in which his social circle was generally consistent and comfortably domestic. Christopher M. Scheer and Philip Reed strike new ground by casting a light on Britten's assistants and his publishers by presenting them not as conduits for the composer's genius but as specialists with their own agency and musical expertise, thus having a profound impact on the creation, dissemination, and preservation of his music. In consideration of Britten's wide range of musical activities, part 2, "British Musical Life," provides a cross section of music and its various uses, such as performance in concert halls and festivals, reception, and education in addition to its use in media such as film, radio, recording, and television broadcasts. Eric Saylor sets the stage by contextualizing Britten and his contemporaries within the Britain of their time. Mervyn Cooke's study on film music discusses the composer's belief in the movie theater as a fixture of the community, which endured to his later years. Cooke also fills in gaps in English opera coverage before, during, and after Britten to demonstrate that the latter's contributions were not made in a vacuum. Likewise, Vickers situates the Aldeburgh Festival of Music and the Arts within the environment of postwar music festivals, which were known for their distinctive repertoires based on the particular interests of their administrations. Alison Garnham covers Britten's relationship with the British Broadcasting Corporation, its patronage of British contemporary music, and how this relationship was affected by Britten's decision to leave Britain for the United States before the Second World War. Danielle Ward-Griffin puts forward an interesting thesis that diverts from the concern of the recording as a poor substitute for live performance, to instead suggest that producers, such as John Culshaw at Decca Record Company, sought to create an aural theater of the mind for listeners to allow them to fully...

Reviewed by: Sounds Beyond: Arvo Pärt and the 1970s Soviet Underground by Kevin C. Karnes Aleksandra Drozzina Sounds Beyond: Arvo Pärt and the 1970s Soviet Underground. By Kevin C. Karnes. Chicago: University of Chicago Press, 2021. [xii, 216 p. ISBN 9780226801902 (hardback), $35; ISBN 9780226815404 (e-book), price varies.] Music examples, illustrations, bibliography, index. Today, Arvo Pärt may still appear as a solitary mystical composer—a deeply religious individual who persevered amidst the atheist surroundings in the USSR in the 1970s. In Sounds Beyond, Kevin C. Karnes examines the underground physical spaces that gave rise to the rich soundscape—the spaces where Soviet musicians organized experimental events and supported each other's novel artistic endeavors. These spaces, away from the prying eyes of various state committees, allowed the artists to discuss, collaborate, and more importantly, share new works with the Soviet audience. In reconstructing these spaces, Karnes draws on archival documents and oral history, in particular focusing on the festival events of 1976–79. Underscoring key figures and events within these years, he presents a vivid picture of the "alternative musical culture" in which Pärt was able to take his initial tintinnabuli stylistic steps (p. 5). A remarkable event took place in October 1977: A group of students [End Page 618] organized a Festival of Contemporary Music at the Student Club of the Riga Polytechnic Institute that was "dedicated to the 60th anniversary of the Great October Socialist Revolution" (p. 3). This festival might have been billed as a Soviet celebration, but it was juxtaposed with sacred repertoire. Here Pärt premiered Missa syllabica (1977)—the Ordinary of the Latin Mass for unaccompanied chorus. Karnes highlights the event's unique program, given the time and place of the performance, and explores exactly how this and later events were made possible in the preperestroika USSR. The result was the recognition that Pärt did not operate by himself but was part of a collective that operated away from the central cities of Moscow and St. Petersburg. This physical distance provided the artists with certain freedoms. Pärt recalls that during his studies at the Tallinn Music School and the Tallinn Conservatory in the 1950s and early 1960s, In a large city like Moscow every organization—schools included—were full of party functionaries, people watching everything that was going on, potential informants. In our Tallinn a similar structure was in place, but luckily it was not so efficient as in Moscow. And lessons with [Heino] Eller took place not in the Conservatory but at his home, where the walls had neither ears nor eyes—for there were also informants among the students. (Enzo Restagno, Arvo Pärt in Conversation, trans. Robert Crow [Champaign, IL: Dalkey Archive Press, 2012], 11) Music—particularly textless music—can function as a subject deemed less susceptible to ideological influences due to its nature. Karnes outlines the captivating rise of discotheque culture in the republic of Latvia and how this culture contributed to the creation of safe spaces where Pärt and others could test out their new works. The name Hardijs Lediņš is not often heard alongside Pärt, yet he played an integral part by allowing the composer to share his very first pieces that were representative of tintinnabuli style. Lediņš began his career as a DJ in the winter of 1975: as a second-year student of architecture at the Riga Polytechnic Institute (RPI) he performed at a disco held in the school's Student Club (p. 34). Within a year, his discotheques had become highly popular and had begun to draw attendees from outside the Latvian capital. According to Sergei Zhuk, more than three hundred discos were active in Latvia at that time (p. 35). At a discotheque in April 1976, Pärt played Sarah Was Ninety Years Old, a wordless work with an Old Testament title (p. 34). How was this possible amidst highly constrictive atheist surroundings? Lediņš's discotheques functioned as educational spaces first and as dancing events second. An early undated program lists eleven topics to be addressed at the event, including "1. A look at history/Development of music to the 20th century. 2. Musical experiments...

Reviewed by: Malcolm Arnold: The Inside Story by Anthony Meredith Ryan Ross Malcolm Arnold: The Inside Story. By Anthony Meredith. Market Harborough, Leicestershire: Book Guild, 2022. [xii, 524 p. ISBN: 9781914471490 (hardcover), £19.95.] Bibliography, plates, index. My first reaction when I learned of this book was a raised eyebrow. Here is another volume devoted to the life of Sir Malcolm Arnold (1921–2006), by my count the fourth since 1994 (see Piers Burton-Page, Philharmonic Concerto: The Life and Music of Sir Malcolm Arnold [London: Methuen, 1994]; Paul R. W. Jackson, The Life and Music of Sir Malcolm Arnold: The Brilliant and the Dark [Burlington, VT: Ashgate, 2003]; and Anthony Meredith's earlier collaboration with Paul Harris, Malcolm Arnold, Rogue Genius: The Life and Music of Britain's Most Misunderstood Composer [Norwich, Norfolk: Thames/Elkin, 2004]). Moreover, it is the second involving Meredith and similarly registers at over five hundred pages. Why the need for this latest tome? What does it offer that the others did not? The clue lies in its subtitle, "Inside Story." Now that Arnold's longtime caretaker, Anthony Day, has passed away (2019), Meredith wants to "set the record straight" about the composer's later years. He claims to advocate for Arnold's living daughter, Katherine, and the injustices she was forced to endure at the hands of those responsible for her aged father's welfare. This is a sad account, primarily concerned with the exploitation of an astonishingly talented composer whose chronic mental illness nonetheless colored his career, ruined his two marriages, hampered relationships with his children, and finally left him an enfeebled shell of his former self. Boiled down to essentials, it is a story that needed to be told. Unfortunately, Meredith's narrative is marred by questionable musical judgments, loose documentation, and especially a vindictiveness which undermines his message. The publication gives the impression of a frustrating paradox: the author seems one of a very few who are privy to his information, but he is too close to the subject for the delicacy it demands. Meredith's earlier book is a life-and-works account that, by his own description, substantially ends in 1996, with only glimpses into Arnold's later life. By contrast, the bulk of Malcolm Arnold: The Inside Story concerns itself with events following the dissolution of the composer's second marriage in 1975 and the mental episodes in the late 1970s that profoundly affected the rest of his life. Roughly the first three chapters concern earlier times (with occasional discussion of relevant music). But the heart of the book concentrates on four successive stages in Arnold's remaining years, with the last being by far the longest. They are his move to London (from Dublin) and hospitalization following psychotic episodes; his time at St. Andrew's Hospital in Northampton for further care; his stint with tavern owner Brian Charlton; and finally, the roughly two decades as Anthony Day's charge. In the latter three periods especially, Meredith focuses on a distinctive pattern: questionable choices made for Arnold's well-being by those responsible for him and their frequent failure to involve Katherine and other family members in the decision-making. Meredith brings a wealth of biographical detail to back up some incriminating questions. What were the medical treatments Arnold received at St. Andrew's? Why did the staff there allow Arnold to frequently stray from the premises and [End Page 637] eventually into the arms of the unscrupulous, inheritance-seeking Charltons? Even more pointedly, how could the Great Britain Court of Protection have sanctioned this change of custody? The reader comes away convinced that the mentally fragile Arnold did indeed suffer neglect, exploitation, and even abuse in these circumstances. With his account of the long Anthony Day era, Meredith's narrative becomes contentious. The stage is set for this in the preface, where he blames Day for the "myths and legends, fictions and fantasies" that have persistently characterized Arnold's later years (p. ix). He admits to having relied heavily on Day for information found in Malcolm Arnold, Rogue Genius, but that he became troubled by factual weaknesses and indelicacies he had taken on trust (p. x). Consequently...

Reviewed by: Neglo celebramo, pañolo burlamo: La negrilla en España y en América by Leonardo J. Waisman Drew Edward Davies Neglo celebramo, pañolo burlamo: La negrilla en España y en América. By Leonardo J. Waisman. 3 vols. Published by the author, 2020. Available for download at https://conicet-ar.academia.edu/leonardowaisman (accessed 5 January 2023). In this three-volume work, possibly the most ambitious study ever undertaken of a villancico subgenre, Leonardo Waisman crafts a comprehensive yet nuanced overview of a distinct repertory of Hispanic baroque music: villancicos that feature stereotyped caricatures of Black men. Sometimes known as negrillas (among other terms) in Spanish, such villancicos tend to use racialized literary dialects and simplified musical language to depict Black Christian revelers heading to Bethlehem to adore the Christ child. A creative variant of the Adoration of the Shepherds episode in Luke, realized using popularizing elements from the Iberian theater traditions, the subgenre presents Black personages who play musical instruments and travel to Bethlehem to dance, often boisterously, to the Christ child who is sleeping in the manger. Well-known examples are "Ah siolo Flasiquiyo" by Juan Gutiérrez de Padilla (ca. 1590–1664) and "Los coflades de la estleya" by Juan de Araujo (1646–1712), the first two works of Latin American early music to enter major English-language music history textbook anthologies. Waisman bravely navigates the many types of racism present in this problematic early modern subgenre, in which the Black caricatures behave as interchangeable simpletons, the poetry contains remarks that might be considered offensive today, and the main point requires the Black caricatures to be of low social status in order to portray the humility of the circumstances of Christ's birth. The presence of Blackness also serves to underscore the Catholic Church's official universality. Waisman retains as positive an approach as possible, noting the joyfulness (alegría) of how the Black personages are cast, and thus avoiding a judgment of early modern material according to the social norms of today. That said, I believe this book needed to be written in Spanish, as English-language terminology may underscore the racist material more directly. As such, English-language authors since Robert Stevenson, who can be credited with reviving interest in the subgenre, have tended to appropriate if not hide behind Spanish-language genre, theater, and linguistics terminology. Diminutives used in Spanishlanguage terms such as negrilla, which some native Spanish speakers will connote as endearing rather than as [End Page 631] offensive, have little positive connotation that I can perceive in English. Of course, Waisman, a leading scholar of Latin American music, is well aware of these issues, and in fact he has centered the problematic racial content of the material and the discourse about it as a challenge to the scholar: "the horror of slavery and the camaraderie of the 'villancico Blacks' (negros de villancico) are its inescapable references, its irreducible poles, its extreme images. For the author, it has meant navigating between the Scylla of political correctness and the Charybdis of rationalizing racism. I hope I have avoided both" (1:2, all trans. mine). The first volume of Waisman's trilogy contains the main study, while the second and third serve as extended appendixes—the second a compilation of musical editions and the third a compilation of villancico texts, both drawn from sources throughout the Iberian peninsula and Latin America. In the study, Waisman takes a pragmatic approach, setting up the presence of Black caricatures in villancicos with chapters about the presence of African people in early modern Spain and the Americas and the linguistic elements that define the literary dialect, sometimes known as the habla de negros, that most of these villancicos use. Early in the text, Waisman presents an interesting graph (cuadro 2, p. 8) showing the distribution over time of texts in printed chapbooks at the National Library of Spain (BNE) with villancicos featuring stereotyped Black caricatures. The graph shows a clear growth of the subgenre across the seventeenth century with a peak in the 1690s, followed by a rapid decline in the first half of the eighteenth century. Waisman excels at the factual presentation of...