This paper reports music scholars' experiences with and perspectives on commercial textbooks and Open Educational Resources and situates these within the context of music instruction in higher education. Interviews with twenty-one music scholars in various subdisciplines explored the course materials they assign and their motivations or obstacles with respect to integrating open or affordable resources in their courses. Participants articulated a variety of concerns about both commercial and open course materials and spoke to institutional support for creating or adopting open and affordable course materials. Analysis of the interviews reveals tension around audience and gatekeeping, the value of music scholars' labor, and institutional support.

Reviewed by: Theatres of Belief: Music and Conversion in the Early Modern City ed. by Marie-Alexis Colin, Iain Fenlon, and Matthew Laube Paul G. Feller-Simmons Theatres of Belief: Music and Conversion in the Early Modern City. Edited by Marie-Alexis Colin, Iain Fenlon, and Matthew Laube. (Collection "Épitome musical.") Turnhout: Brepols, 2022. [ 312 p. ISBN 9782503598871 (paperback), €70; ISBN 9782503598888 (e-book), €55.] Music examples, tables, illustrations, index. The essay collection Theatres of Belief is the result of a collaborative project between a transnational group of musicologists who share interest in the convergence of religion, sound, and early modern urban spaces. Eleven chapters by different authors provide multiple case studies drawn from cities located in Europe and the Americas between the sixteenth and eighteenth centuries. These studies showcase a variety of approaches to religious confession, conversion, and soundscape. A leading thread of this volume is interactions between sound and confessionalization in the early modern world. In this regard, the authors' tendency to eschew the overarching narratives that have conflated local experience with universal developments related to religious change is a potentially generative model. Many chapters demonstrate how confessionalization traversed dynamic and distinctly localized trajectories. For instance, Philip Hahn considers the incremental introduction of Lutheran music culture in Ulm following its Reformation in 1531. The chapter advances that the city became an exemplary case of a long, acoustic Reformation. Lutheran theologians tried to introduce church [End Page 395] musical practices in a way that conflicted with Ulm's Zwinglian history and thus repeatedly found resistance. Hahn then challenges a unidirectional model for the cultural development of the Reformation that has tended to sideline the realities of sacred music in many regions of central Europe. In discussing the distinction between opposition to musical performance in urban and rural areas surrounding Ulm, Hahn addresses issues of sonic conversion between social boundaries. In a state of pluriform religious cultures, sacred music served to "experience and express religious belonging" (p. 169). Alexander Fisher also explores the role that sound and music played in the strategies of conversion of confessional spaces in southern Germany. Fisher focuses on sonic conversions within worship spaces and the reconfiguration of space particularly delimited by bell signals, processions, and popular singing. Whereas Protestants demarcated confessional boundaries through the sounding of sermons in the vernacular and congregational singing, Catholics responded by producing orthodox songs for the laity and reconfiguring church architecture. As Hahn shows to be the case in Ulm, Fisher demonstrates that polemics surrounding the control of the soundscape were rooted in confessional politics that functioned as markers of social identity. For example, while processions in Catholic locations such as Munich sacralized the public space, they could also serve as a medium of religious confrontation and negotiation. The sonic conversion of physical structures and the interdependence of landscape and soundscape features most strongly in Iain Fenlon's contribution. He provides a chronological exposition of the Christianization of Cordova, Spain, through architectural, ritual, and musical conversions between the fifteenth and sixteenth centuries. In the wake of the reconquista, the construction of a cathedral and royal chapel on the site of the old mosque and the reorganization of the liturgy and music chapel forcefully changed the urban soundscape. Echoing ideas developed by Hahn and Fisher, Fenlon proposes that public music and ritual were functional to displaying Catholic identity and monarchical loyalty in Cordova. In this instance, polyphony performed by the musical forces of the cathedral's chapel gained growing importance in processions throughout the sixteenth century. This "spectacular display of civic and religious belief" (p. 60) thus provided a sonified distinguishability to Catholic devotional identity. Emilio Ros-Fábregas also illustrates how sonic practices identify a Catholic community, albeit in the form of networks interconnected through devotional practices. His chapter focuses on a 1661 publication of Jesuit spiritual exercises dedicated to the Blessed Sacrament based on the traditions of Perpignan and Barcelona. The source provides details about the music that accompanied these exercises and includes an unexpected reference to Juan de Palafox y Mendoza that leads Ros-Fábregas to propose a further connection to Madrid. The chapter frames the source as a key to understanding the extent of the international...

Discos Fuentes is the most important record company in the history of music production in Colombia. It holds the largest collection of phonorecords produced in the country. These sound recordings have been an essential part of the soundscape of Colombia and Latin America in the twentieth and twenty-first centuries. But a catalogue raisonné does not exist for this collection. Before undertaking the creation of one, it is important to realize the implications that an archive of this kind might have upon the history of music. This paper examines Michel Foucault’s idea of archive and applies it to the Discos Fuentes collection. It is not an easy task, because Foucault rarely dealt with concrete cases of study in his writing nor with sound as a record. The preliminary results are encouraging in this regard and promise to serve as a critical foundation for the development of the catalog.

Reviewed by: Second piano sonata, opus 82: “Being and non-being create each other.” by Horațiu Rădulescu, and: Third piano sonata, opus 86: “You will endure forever.” by Horațiu Rădulescu, and: Fourth piano sonata, opus 92: “Like a well . . . older than God.” by Horațiu Rădulescu, and: Fifth piano sonata, opus 106: “Settle your dust, this is the primal identity.” by Horațiu Rădulescu, and: Sixth piano sonata, opus 110: “Return to the source of light.” by Horațiu Rădulescu Tristan McKay Horațiu Rădulescu. Second piano sonata, opus 82: “Being and non-being create each other.” Edited by Kyle Rowan and Ian Pace. Daillens, Switzerland: Lucero Print, 2020. Lucero Print, 2020. [vi, 22 p. $36] Horațiu Rădulescu. Third piano sonata, opus 86: “You will endure forever.” Edited by Kyle Rowan and Ian Pace. Daillens, Switzerland: Lucero Print, 2020. Lucero Print, 2020. [xv, 51 p. $36] Horațiu Rădulescu. Fourth piano sonata, opus 92: “Like a well... older than God.” Edited by Kyle Rowan and Ian Pace. Daillens, Switzerland: Lucero Print, 2020. Lucero Print, 2020. [xi, 27 p. $36] Horațiu Rădulescu. Fifth piano sonata, opus 106: “Settle your dust, this is the primal identity.” Edited by Kyle Rowan and Ian Pace. Daillens, Switzerland: Lucero Print, 2020. Lucero Print, 2020. [xii, 63 p. $36] Horațiu Rădulescu. Sixth piano sonata, opus 110: “Return to the source of light.” Edited by Kyle Rowan and Ian Pace. Daillens, Switzerland: Lucero Print, 2020. Lucero Print, 2020. [x, 44 p. $36] If you are a classical pianist, composer, or scholar, you most likely have a shelf or two chock full of colorful cornerstones of the classical piano repertoire. You may have the iconic slate blue Henle Urtext editions of works by Mozart, Beethoven, and Bach (lovingly called blue bibles by my childhood teacher); you may have the midnight blue Durand editions of works by Debussy; the Boosey & Hawkes New Definitive Edition of Bartók’s Mikrokosmos in six dusty-rose volumes; or the complete works of Chopin edited by Paderewski with their classic buttery eggnog covers. If your work also involves living composers and the music of our time, you most likely have an unsight ly shelf or two overflowing with hastily printed sheet music, tattered handwritten manuscripts, and manila folders stuffed with pages held together by crumbling tape. If the purpose of a score is solely to facilitate a performance, then perhaps appearances have little to do with anything. But for a work to weather the passing of time [End Page 269] and to gain entry to the growing canon of contemporary piano repertoire, a cleanly notated and well-researched edition goes a long way. And on that note, we have something to celebrate: a beautiful new edition of the Second to Sixth Piano Sonatas by Romanian-French composer Horațiu Rădulescu (1942–2008), which were originally composed bet ween 1991 and 2007. This 2020 edition is edited by Kyle Rowan and Ian Pace and published by Lucero Print. The scores have a high print quality with crisp detailing on bright white paper and are staple bound with covers made from colorful cardstock (the whole set creates a rainbow). Each sonata is prefaced with an essay written by the illustrious pianist and musicologist Ian Pace, who worked closely with Rădulescu. The sonatas can be purchased directly from the Lucero Print website, which is managed by cellist Catherine Marie Tunnell, Rădulescu’s widow and the CEO of Lucero Print. Rădulescu’s spectral compositions subvert the Western preoccupation with formal elements and instead aim to create musical textures in a constant state of flux. When we think of spectral music, we often think of L’Itinéraire, the iconic European ensemble formed by French composers Tristan Murail (b. 1947), Hugues Dufourt (b. 1943), Gérard Grisey (1946–1998), Roger Tess-ier (b. 1939), and Michaël Lévinas (b. 1949). In a climate of social and political turmoil and changing technology, L’Itinéraire sought to address the dual realities of the human aesthetic experience and the acoustic nature of sound; the result is not a singular, monolithic...

Reviewed by: Nikolay Myaskovsky: A Composer and His Times by Patrick Zuk Albrecht Gaub Nikolay Myaskovsky: A Composer and His Times. By Patrick Zuk. Woodbridge, Suffolk: Boydell, 2021. [xlviii, 533 p. ISBN 9781783275755 (hard-back), $99; ISBN 9781787448155 (e-book), price varies]. Illustrations, music examples, maps, index, bibliography. During the gestation of Patrick Zuk’s long-awaited biography of Russian/Soviet composer Nikolaĭ , Gregor Tassie anticipated Zuk and published a biography, Nikolay Myaskovsky: The Conscience of Russian Music (Lanham, MD: Rowman & Littlefield, 2014). Zuk dismisses the earlier work in his preface: “Tassie’s [book] contains little original research and relies heavily on standard Soviet publications of the composer” (p. xxx n. 33)—and ignores it thereafter. While Tassie’s book is problematic in many ways (see my review in Notes 72, no. 3 [March 2016]: 558–61), it does contain a fair amount of original research. Tassie, on his part, does not mention Zuk’s earlier articles at all, seminal though they are. Be this as it may, although Zuk’s book is in no way a response to Tassie’s, I could not help comparing the two as I read along. Like Tassie’s book—or even more so—Zuk’s is a biography focused on one composer and his environment. Unlike Tassie’s, Zuk’s is well written and competently edited, even though there are a few glitches, such as the consistent misspelling of Berkeley as “Berlekey.” Zuk does acknowledge literature in languages other than Russian and English, but when he elaborates on surveys of Soviet music by Western authors (pp. xxvii–xxix), Dorothea Rede-penning’s monumental and relatively recent Geschichte der russischen und sowjetischen Musik, vol. 2: Das 20. Jahrhundert (Laaber: Laaber-Verlag, 2008) goes unmentioned; if Zuk considers it insignificant, he should say so. Another no less striking omission is the collection of essays Neizvestnyĭ Nikolaĭ : d iz XXI veka ([The Unknown : A View from the Twenty-First Century], ed. Elena Dolinska [Moscow: Kompozitor, 2006]). Neither book appears in the bibliography. The narrative unfolds in strict chronological order. Identifying and correcting myths handed down from the Soviet [End Page 239] era is one of Zuk’s goals. This becomes apparent already in his description of the prerevolutionary St. Petersburg Conservatory (or “Conservatoire” in the uncompromisingly British style of his book) as a fossilized institution stifling creativity, with Anatoly Konstantinovich Lyadov receiving particularly harsh treatment. Trained as a military officer before studying music, was mobilized during the entire First World War and saw action on the front in Galicia. This chapter of Zuk’s narrative is most gripping, but the map on page xlviii should show the historical borders rather than the modern ones. The Fifth Symphony (1918), performed and printed in 1922, initiated the brief vogue that the composer internationally enjoyed in the 1920s and early 1930s. ’s contract with Universal Edition in Vienna, signed in 1925, was seminal in this, even though always remained distrustful of the “businesslike ways” of the publisher, represented by Abram Dzimitrowski, and of “the West” in general (pp. 240–44). Zuk’s description of the first fifteen Soviet years is bleak. Material need and hunger were pervasive, with only some relief during the time of the New Economic Policy (1924–29), and musical life in Moscow, where had settled in 1918, was accordingly meager. Zuk demonstrates that the famous Association for Modern Music, in which figured prominently, originated as some kind of Verein für musikalische Privataufführungen, and its outreach remained always limited (pp. 214–18)—unlike that of its antagonist, the Russian Association for Proletarian Music, which was one of the driving forces of the 1928–32 Cultural Revolution. The German invasion of Russia in 1941 caused new turmoil. While Soviet historiography paints a heroic picture of the composers in trans-Caucasian and, later, Central Asian evacuation, Zuk exposes the dire conditions under which the composers existed. Zuk sheds new light on ’s circle of friends. Soviet literature idealizes his lifelong friendship with Sergey Prokofiev; Zuk takes a more nuanced view. While the much older was a mentor to the rebellious prodigy during the early years, their relationship was reversed after resumption of contact in the 1920s...

Reviewed by: Musical Journeys: Performing Migration in Twentieth-Century Music by Florian Scheding Tristan Paré-Morin Musical Journeys: Performing Migration in Twentieth-Century Music. By Florian Scheding. (Music in Society and Culture.) Woodbridge, Suffolk: Boydell, 2019. [x, 196 p. ISBN 9781783274611 (hardback), $95; ISBN 9781787446601 (e-book), price varies.] Music examples, bibliography, index. No single book could possibly account for the diversity of responses to migration and displacement and to their impact on twentieth-century music. The careers of prominent figures at the center of countless standard music histories (Igor Strav insky, Arnold Schoenberg, Béla Bartók, etc.) were shaped by their experiences as migrants. In Musical Journeys, Florian Scheding has chosen to focus on three comparatively unfamiliar composers—Hanns Eisler (1898–1962), Mátyás Seiber (1905–1960), and István Anhalt (1919–2012)—to address what he considers a lack of attention, in musicology, to migratory communities and to the act of migration itself. In the introduction, Scheding describes his project as “a humble and, in some ways, unambitious book that tells little stories and works outwards from them, linking them with wider themes” (p. 7). The reader should not be fooled by the author’s modesty: the “wider themes” are thoughtful, detailed, and provocative reconsiderations of the migratory experience, mobility, place and space, diaspora, cosmopolitanism, nationalism, identity, and memory. One of the main purposes of Musical Journeys is to continually problematize the dialectics of individuality versus collectivity. Although the book builds on the experiences of three migrants, Scheding discusses their individual identities as part of larger networks of musicians, while making sure to present these networks as heterogeneous in order to avoid essentializing migrant communities. The theoretical framework of the book is for the most part very much grounded in migration studies, with regular references to recent and classic texts, in particular the writings of Hannah Arendt and Edward W. Said. In chapter 1, “Angels in Paris,” Scheding draws from Michel Foucault’s concept of heterotopia to highlight the cultural spaces of displacement and of migratory networks as heterogeneous spaces. He examines the genesis of Hanns Eisler’s Deutsche Sinfonie in the context of mid-1930s Paris (as “migrant capital”) and draws similarities to the works of other migrants: Klaus Mann, Lion Feuchtwanger, and Walter Benjamin, who highlight heterotopia and mobility as central to the migratory experience. Scheding shows how Eisler resisted immobility in his travels and his music. Despite its title, the Deutsche Sinfonie is paradoxically a highly mobile work that transcends the national and that presents German culture as diasporic. For instance, Scheding positions Eisler’s use of dodecaphony as an “effectively displaced and profoundly migratory idiom” (p. 34). Such analyses of particular musical techniques as part of migratory culture are recurrent in Musical Journeys, as Scheding illustrates how composers adapt and reflect on national styles and on styles of fellow migrants (such as Schoenberg). Scheding presents migration as “a process that may transcend national borders, but not engagement with the national itself” (p. 47). Chapter 2, “Facing the Nation,” shows Mátyás Seiber’s evolving engagement with the Hungarian nation and nationalism. Scheding writes a fascinating account of Seiber’s long migratory journey from his native Budapest, where his integration of elements from Hungarian folklore was influenced by the guidance of Zoltán Kodály, to Frankfurt in the Weimar Republic, where Seiber’s promotion of [End Page 225] jazz was met with attacks amidst growing anti-Semitism and calls for ethnic purity, up to his migration to England in 1935, where the dichotomy between traditionalist and progressive currents in Seiber’s music reached its peak. Scheding’s discussion of characteristic works for each stage of Seiber’s migration illustrates the influence on his music of changing national politics. As Scheding shows, even when Seiber eschewed folklorist elements, and decades after his departure from Hungary, responses to his music remained marked by xenophobia and nationalism. The chapter then shifts back to Eisler. Challenging the idea that the composer’s move to East Berlin was a return home after years of migration, Scheding argues that his artistry remained that of a migrant, and that works such as Eisler’s 1949 anthem for the...

Reviewed by: The Segovia Manuscript: A European Musical Repertory in Spain, c. 1500 ed. by Wolfgang Fuhrmann and Cristina Urchueguía Manuel Erviti and Rachel Carpentier The Segovia Manuscript: A European Musical Repertory in Spain, c. 1500. Edited by Wolfgang Fuhrmann and Cristina Urchueguía. (Studies in Medieval and Renaissance Music, 20.) Woodbridge, Suffolk: Boydell, 2019. [xxviii, 349 p. ISBN 9781783274635 (hardcover), $99; ISBN 9781787445512 (e-book), price varies.] Inventory with commentary, music examples, facsimiles, bibliography, index. The edited volume The Segovia Manuscript: A European Musical Repertory in Spain, c. 1500 has been long and eagerly awaited. The project originated as a pair of panels at the 18th Congress of the International Musicological Society in Zurich in 2007 and was, to my understanding, always intended for publication, but various delays forestalled the completion of the book for over a decade. The Segovia manuscript holds a special place in the field of Renaissance musicology. It is a crucial source for anyone concerned with the major composers of the late fifteenth century, especially Obrecht. Anyone whose research requires engagement with Segovia will know that much of the contents of the present volume has circulated informally for years, languishing in footnotes under the publication date “forthcoming.” At long last it has arrived, and it was well worth the wait. Looming large behind this book are two substantive pieces of scholarship that merit reference. The first is Norma Klein Baker’s doctoral dissertation “An Unnumbered Manuscript of Polyphony in the Archives of the Cathedral of Segovia: Its Provenance and History” (PhD diss., University of Maryland, 1978), which was the first scholarly treatment of the manuscript since the work of Higinio Anglés. While the present volume offers many refinements and correctives to Baker’s conclusions, her work provided a launching point for further study and remains a fundamental starting place for engagement with the manuscript. The other piece is an article by Joshua Rifkin with an extended discussion regarding Segovia and the transmission of its repertoire (“Busnoys and Italy: The Evidence of Two Songs,” in Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, ed. Paula Higgins [Oxford: Clarendon Press, 1999], 505–71). Many of the arguments advanced in the present volume are in dialogue with Rifkin’s discussion, and readers would be advised to have the earlier chapter to reference. The chapters of this edited volume retain the independent quality of individual papers on a panel. Together they do not form a single, comprehensive explanation of the manuscript, which remains “recalcitrant in disclosing all its mysteries” (p. 6). Rather, the contributions address various aspects of the manuscript’s origins, contents, copying, dating, and historiography from differing perspectives. In addition to [End Page 211] the nine prose chapters, Fuhrmann’s new inventory (chap. 10) is now the best reference for the manuscript’s contents and concordances, with accompanying detailed commentary. A number of new discoveries are worth reporting for their significance. The first has to do with the copyist, who, as Rob Wegman has now shown by means of a careful analysis of his texting practices, was a native Flemish speaker. Foremost, the scribe uses Flemish shorthand abbreviations available only to a native speaker—and uses them fluently, without second thought (p. 202). Furthermore, he spells Dutch nearly perfectly, writes Flemish composer names as the seemingly authoritative “Hobrecht,” “Ysaac” (although there remains the problem of a large handful of music misattributed to Isaac [see Fuhrmann, 101]), and even some diminutive formulations that could suggest personal acquaintance (Wegman, 203). By contrast, the poor French texts and odd spellings of composer names betray a lack of familiarity with that language (see Honey Meconi, 178n38); for instance, he consistently writes “Loysette” (instead of Loyset) Compère and “Josquin des Preß.” That the copyist also transforms “Juan” to “Johannes” in his Juan de Anchieta ascriptions complicates any consistent picture of how our scribe approaches foreign-name attributions. Equally important is Leofranc Holford-Strevens’s observation that the scribe was a terrible Latinist—possibly so bad that it is difficult to imagine him a cleric (p. 166), although this is a point that others are able to overlook (see Fuhr-mann, 99 and 116). What is clear is...

Reviewed by: Danielis Sartorii Musicalia Wratislaviensia by Tomasz Jeż Tomasz Górny Danielis Sartorii Musicalia Wratislaviensia. By Tomasz Jeż. (Fontes Musicæ in Polonia, vol. A/1.) Warsaw: Sub Lupa, 2017. [625 p. ISBN 9788365886118 (hardcover), PLN 45; also available as e-book.] Illustrations, bibliography, index. The life of Thomas Rehdiger (1540– 1576) was marked by traveling, meetings with intellectuals, and a passion for collecting. Despite his relatively early death before the age of thirty-six, Rehdiger managed to assemble an impressive collection of three hundred manuscripts of classical authors, six thousand books from diverse fields of learning, and a treasure trove of coins and mineral samples. He willed his collections to his younger brothers, Adam and Jacob, whom he also mandated to make those collections available to the general public. As a result, after decades of trying to overcome various stumbling blocks, the first public library in Wrocław (Breslau) came into being, named Bibliotheca Rhedigeriana (or Bibliotheca Rehdigeriana) to commemorate its originator and benefactor. The library was located in the so-called Auditorium Theologicum at Saint Elizabeth’s Church and was officially opened on 4 October 1661 (although Rehdiger’s collections had already been deposited there in 1589). Wrocław municipal authorities vowed never to divide them—any subsequent donations adjoining the library would lose their original names and be considered part of the Rhedigeriana. This was exactly what happened to a collection called Sartoriana, which included five manuscripts and 399 music prints, mostly Italian, from between 1606 and 1655. Traditionally, it has been associated with Daniel Sartorius (1612–1671), even though a significant part in creating that collection also could have been played by Ambrosius Profe (1589–1661), who was active in Wrocław and the nearby town of Jawor. Sartorius himself was a student of Saint Elisabeth School (Elisabetanum) in Wrocław between 1628 and 1630 and then went on to teach there from 1646 until 1667 (possibly longer, until 1670). Although there are no indications of any formal music-related posts he might have been appointed to, many documents (e.g., the epicedia written after his passing) point to his profound interest in music and the liberal arts. Sartoriana includes music manuscripts and many addenda to printed works written in Sartorius’s hand, which strongly suggest that the collection was used for musical practice, perhaps during private celebrations among Wrocław’s intellectual elite, such as the events hosted by the rector of Elisabetanum, Elias Maior (1587–1669), attended not only by Sartorius but also by Profe (Maior’s brother-in-law through his sister Maria) and numerous Silesian musicians. Sartoriana has a clear erudite flavor, and the collection forms a surprisingly coherent and well-rounded whole. Ninety percent of the prints originated from the Venice publishing houses of Alessandro and Giacomo Vincenti and Bartolomeo and Francesco Magni, [End Page 214] while the remaining works were printed in other Italian cities (Bologna, Florence, Rome, and Naples) or German and Austrian cities (Dresden, Frankfurt am Main, Freiberg, Ingolstadt, Leipzig, Ravensburg, and Innsbruck). The predominance of pieces in the seconda pratica is striking, which makes plausible an assumption that an interest in the new Italian style informed the selection of titles to add to the collection. An overwhelming majority of Sartoriana are works by a single composer, with only 5 percent being anthologies, which could speak to the musical maturity of the collectors. The collection includes numerous prints with pieces by Alessandro Grandi (20), Maurizio Cazzati (16), Orazio Tarditi (15), Ignazio Donati (14), Galeazzo Sabbatini (12), Giovanni Antonio Rigatti (11), and Giovanni Rovetta (11), but also by Claudio Monteverdi (9), Tarquinio Merula (7), Giovanni Legrenzi (7), and many others. Catholic religious music is amply represented in the collection through multiple and diverse arrangements of the Liturgy of the Hours, Masses, and church concertos. Numerous examples of madrigals and dramatic as well as purely instrumental music (e.g., canzonas, sonatas, fantasias, and dances) can also be found there. Sartoriana is thus an erudite compilation representative of the musical culture of Italy and could well have served teaching purposes, although the reason behind assembling it cannot be established with any certainty. Last but not least, a lion’s share of...

Reviewed by: Eugène Bozza: A Thematic Index by Lois Kuyper-Rushing David Floyd Eugène Bozza: A Thematic Index. By Lois Kuyper-Rushing. (Music Library Association Index and Bibliography Series, vol. 42.) Middleton, WI: Music Library Association and A-R Editions, 2020. [xxxvi, 581 p. ISBN 9780895798879 (paperback), $150.] Indexes. Eugène Bozza: A Thematic Index by Lois Kuyper-Rushing is the first comprehensive thematic catalog of the music of Eugène Bozza (1904–1991). It offers both [End Page 91] a stepping-stone to future investigations of Bozza’s life and work and a reassessment of Bozza as much more than a composer of wind chamber music. The book, available exclusively in paperback, is a substantial volume in both its content and impact. Creating a detailed, accurate, and comprehensive thematic catalog for Bozza—a prolific composer who often reused melodies and rearranged works with new instrumentations, sometimes under new titles—is a lengthy, circuitous, and difficult task, and one which necessitates a dedicated scholar to carry it through to completion. The author, Lois Kuyper-Rushing, is singularly qualified for such an undertaking, considering her experience researching Bozza’s music. Two highlights of her previous work include a doctoral dissertation, “A Thematic Index of the Works for Woodwinds by Eugene Bozza (b. 1905)” (DMA diss., Louisiana State University, 1989), which was the first to comprehensively document this portion of the composer’s oeuvre, as well as an article detailing archival research in France that led to the discovery of several unpublished works (“Reassessing Eugène Bozza: Discoveries in the Bibliothèque Municipale de Valenciennes Archive,” Notes 69, no. 4 [June 2013]: 706–20). Overall, the index is a success. Its greatest strengths are the thoroughness of the indexing for unpublished and undated works, the novel inclusion of references to thematic similarities, and the biographical sketch of Bozza. The index, however, also has some issues. The impact of occasional typos in entries and minor errors in the notation of the incipits is relatively insignificant to the work as a whole. The more significant issues are the errors in cross-referencing between entries and the lack of a general index. Despite these oversights, its strengths as a contribution to the scholarship generally outweigh its weaknesses. Preceding the thematic index is a biographical sketch that offers both a well-rounded presentation of Bozza’s life and a look at the relationships between the events of his life and his compositional output. Bozza, primarily known in the United States for his woodwind chamber music, in fact composed for a wide variety of ensembles and genres throughout his career. His works include symphonies, vocal music, concertos, etudes, and an abundance of solo and chamber works for brass, strings, piano, percussion, and yes, woodwinds. Although most often remembered as a composer, he was also a violinist and conductor. From 1939 to 1948, Bozza served as the conductor of the Opéra-Comique in Paris. Having held a leadership role in the Opéra-Comique during the Nazi occupation, he faced intense scrutiny from the Parisian arts establishment after the war, and it is suggested in historical research that his termination in 1948 may have been a consequence of this. In 1950, he was appointed director of the École nationale de musique in Valenciennes, where he remained until his retirement in 1975. He continued to live in Valenciennes until his death in 1991. The preface to the index explains the structure of the catalog and the contents of a standard entry. The index lists 298 distinct pieces, 258 of which are “dated and/or published” and 40 of which are undated. They are organized chronologically and assigned “KR” (Kuyper-Rushing) numbers. KR 1 to KR 258 are the dated and/or published works, and KR 259 to KR 298 are the undated works. Each entry includes the title as it appears on the source, brief version descriptions where multiple versions exist, the instrumentation, the names or number of movements, the dates for composition and publication, the author of any lyrical or spoken text, dedications, and any general notes needed to add clarity. [End Page 92] The incipits provided for each entry are transcribed from manuscripts and...