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Il Dizionario Enciclopedico Universale della Musica e dei Musicisti, spesso abbreviato con l'acronimo DEUMM, è un dizionario enciclopedico, in lingua italiana, che tratta di musica e musicisti. Concepito e diretto da Alberto Basso e pubblicato dalla UTET, è una fra le più vaste opere di consultazione dedicate alla musica, in particolare a quella di tradizione occidentale; comprende in tutto 22 volumi, suddivisi in quattro sezioni:
Il lessico[modifica | modifica wikitesto]La prima sezione comprende i termini musicali, i generi e le forme, le correnti e i periodi storici, gli strumenti, la danza, la metrica, l'acustica; vi sono poi numerose voci di carattere storico-geografico, dedicate a Paesi e città che presentano particolare interesse sotto il profilo delle rispettive tradizioni musicali. Di particolare rilievo sono le voci di carattere bibliografico: quelle relative alle fonti musicali manoscritte (Cancionero, Chansonnier, Liederbuch, Manoscritti; altre informazioni congeneri si trovano all'interno di voci come Cantiga e Romance) e quelle dedicate alle edizioni critiche di musiche del passato (Monumenti musicali e Musicologia), alle opere di consultazione (Dizionari) e alle pubblicazioni periodiche (Periodici musicali). Le biografie[modifica | modifica wikitesto]La seconda sezione comprende voci biografiche; vi sono trattati compositori, cantanti, strumentisti, costruttori di strumenti, librettisti, danzatori e coreografi, teorici, musicologi, critici musicali, scenografi, registi teatrali, nonché scrittori e drammaturghi le cui opere abbiano un certo rilievo nella storia della musica. Ai compositori più importanti sono dedicate voci più complesse, comprensive di note critiche, cataloghi delle opere in tabelle e apparati bibliografici. I titoli e i personaggi[modifica | modifica wikitesto]Concepita come completamento delle precedenti, la terza sezione consiste in un dizionario di titoli di opere musicali; le composizioni, anche di autori diversi, che hanno come protagonista un medesimo personaggio (il quale può essere storico, biblico, mitologico, fiabesco, letterario) sono raggruppate sotto il nome di quest'ultimo. Di ciascuna sono indicati i nomi degli autori, le date di composizione e di prima esecuzione o rappresentazione, l'editore e la data della prima pubblicazione a stampa; le voci dedicate ai lavori teatrali sono corredate di concisi riassunti dei rispettivi libretti. La sezione comprende due appendici: un elenco di arie, cori e altre pagine di cantate e opere teatrali; e il repertorio dei personaggi citati. Storia della musica e Cronologia[modifica | modifica wikitesto]La Storia della musica comprende quattro volumi, dei quali i primi tre sono opera di Alberto Basso e vanno dalle origini alla fine dell'Ottocento. Il quarto volume è dedicato al Novecento (autori Carlo Benzi, Stefano A. E. Leoni, e Andrea Lanza), al jazz (Maurizio Franco) e alla popular music (Franco Fabbri). La Cronologia occupa l'intero quinto volume. Il testo, compilato da più autori coordinati redazionalmente, consiste in un'elencazione di fatti musicali rilevanti considerati anno per anno, dal 1000 avanti Cristo al 2000 dopo Cristo. NOTES, September 1988 NOTES, September 1988 dimensions, this is an extremely conve- nient arrangement. The one way in which the main point of access is less than obvious concerns only those works discovered subsequent to the adoption of the original numbering sys- tem. Such works have been inserted where they belong by the dictates of musical logic but, necessarily, out of numerical order: RV 762, a violin concerto in E Major found in Manchester a dozen or more years ago, fol- lows RV 271, a violin concerto in E Major preserved in Turin ("L'amoroso") that ap- peared in Fuchs's early catalogue. It is sim- ilarly disconcerting to find that RV 272, a violin concerto in E Minor, retains a place in the regular number sequence despite the fact that in the two known copies it is at- tributed to Hasse and Scaccia respectively; with these attributions it will appear as An- hang listings 64 and 64a in a subsequent volume. Inconveniences caused by new dis- coveries are, however, a small price to pay for the discoveries themselves. The incon- venience of conflicting attributions inheres in the repertory itself; catalogues lacking such rough edges as these must be sus- pected of not having come fully to grips with these uncertainties and ambiguities. Librarians might wish Ryom had incor- porated RISM numbers and library sigla into his work (library names are given with minimal use of abbreviations). This would have saved a small amount of space and fa- cilitated certain kinds of reference work. The virtue of the usage employed is that it is not easily misunderstood, even if the large blocks of continuous type are occasionally hard to read. There are indices by Rinaldi, Pincherle, and Fanna number, and by work name or subtitle. Vocal works and proper names occurring in this volume are also in- dexed. Librarians will also wish the book came at a lower price, but the ravages of cur- rency realignment must be blamed for its high dollar price tag. There is no basis on which to argue that the cost is unjustified; this is a long and typographically complex book, containing approximately 3,000 mu- sical incipits. Considering the amount of work it represents, we should be grateful that it exists at all, and any library that can afford to purchase it is well advised to do so. Ryom's Repertoire will likely still be the standard Vivaldi catalogue when the tri- dimensions, this is an extremely conve- nient arrangement. The one way in which the main point of access is less than obvious concerns only those works discovered subsequent to the adoption of the original numbering sys- tem. Such works have been inserted where they belong by the dictates of musical logic but, necessarily, out of numerical order: RV 762, a violin concerto in E Major found in Manchester a dozen or more years ago, fol- lows RV 271, a violin concerto in E Major preserved in Turin ("L'amoroso") that ap- peared in Fuchs's early catalogue. It is sim- ilarly disconcerting to find that RV 272, a violin concerto in E Minor, retains a place in the regular number sequence despite the fact that in the two known copies it is at- tributed to Hasse and Scaccia respectively; with these attributions it will appear as An- hang listings 64 and 64a in a subsequent volume. Inconveniences caused by new dis- coveries are, however, a small price to pay for the discoveries themselves. The incon- venience of conflicting attributions inheres in the repertory itself; catalogues lacking such rough edges as these must be sus- pected of not having come fully to grips with these uncertainties and ambiguities. Librarians might wish Ryom had incor- porated RISM numbers and library sigla into his work (library names are given with minimal use of abbreviations). This would have saved a small amount of space and fa- cilitated certain kinds of reference work. The virtue of the usage employed is that it is not easily misunderstood, even if the large blocks of continuous type are occasionally hard to read. There are indices by Rinaldi, Pincherle, and Fanna number, and by work name or subtitle. Vocal works and proper names occurring in this volume are also in- dexed. Librarians will also wish the book came at a lower price, but the ravages of cur- rency realignment must be blamed for its high dollar price tag. There is no basis on which to argue that the cost is unjustified; this is a long and typographically complex book, containing approximately 3,000 mu- sical incipits. Considering the amount of work it represents, we should be grateful that it exists at all, and any library that can afford to purchase it is well advised to do so. Ryom's Repertoire will likely still be the standard Vivaldi catalogue when the tri- centenary of the composer's death rolls around in 2041. ELEANOR SELFRIDGE-FIELD Sunnyvale, California Dizionario enciclopedico universale della musica e dei musicisti. Le bio- grafie. Edited by Alberto Basso. Turin: Unione Tipographico-Editrice To- rinese, 1984-. [Vols. 1-4 of 8 pro- jected. ISBN 88-02-03930-5, 88-02- 03931-3, 88-02-04057-5, 88-02-04041- 9.] I reviewed the first, or subject part of this two-part encyclopedia in this journal (42 [1986]: 538-40). At the time I found its first four volumes, which began to appear in 1983, a potentially worthy rival of MGG and The New Grove. On the other hand, DEUMM, to use the work's amusing acro- nym, was too international for its own good. We do not really need more than two cos- mopolitan giants in every large library. What we now yearn for are the good old chau- vinistic days when reference books covered their own national specialities and person- ages first and foremost, to complement their equally nationalistic rivals. On the whole, my review was favorable and I regretted that the sinking dollar made it unlikely that many libraries could still afford DEUMM. Now that the biographical section has begun to appear, DEUMM may stand higher, but the dollar has sunk even lower and is appar- ently still sinking. Perhaps the latest vol- umes reflect a new austerity, for while the first section was almost too lavishly illus- trated, the biographical volumes have no pictures at all. This is too bad; we can live without fancy portraits of composers, but the many facsimiles of their handwritings we find so useful in MGG, especially those of the more obscure composers, might have been supplemented here. (It is surprising how often one needs to check composers' handwritings.) What we need not worry about any longer is too much internationalism. Comparing fourteen names in the section of names be- ginning with "Corn"-a surprising num- ber of Italian names begin with these let- ters-I found ten in The New Grove (two of them belonging to Cornyshes) and only one centenary of the composer's death rolls around in 2041. ELEANOR SELFRIDGE-FIELD Sunnyvale, California Dizionario enciclopedico universale della musica e dei musicisti. Le bio- grafie. Edited by Alberto Basso. Turin: Unione Tipographico-Editrice To- rinese, 1984-. [Vols. 1-4 of 8 pro- jected. ISBN 88-02-03930-5, 88-02- 03931-3, 88-02-04057-5, 88-02-04041- 9.] I reviewed the first, or subject part of this two-part encyclopedia in this journal (42 [1986]: 538-40). At the time I found its first four volumes, which began to appear in 1983, a potentially worthy rival of MGG and The New Grove. On the other hand, DEUMM, to use the work's amusing acro- nym, was too international for its own good. We do not really need more than two cos- mopolitan giants in every large library. What we now yearn for are the good old chau- vinistic days when reference books covered their own national specialities and person- ages first and foremost, to complement their equally nationalistic rivals. On the whole, my review was favorable and I regretted that the sinking dollar made it unlikely that many libraries could still afford DEUMM. Now that the biographical section has begun to appear, DEUMM may stand higher, but the dollar has sunk even lower and is appar- ently still sinking. Perhaps the latest vol- umes reflect a new austerity, for while the first section was almost too lavishly illus- trated, the biographical volumes have no pictures at all. This is too bad; we can live without fancy portraits of composers, but the many facsimiles of their handwritings we find so useful in MGG, especially those of the more obscure composers, might have been supplemented here. (It is surprising how often one needs to check composers' handwritings.) What we need not worry about any longer is too much internationalism. Comparing fourteen names in the section of names be- ginning with "Corn"-a surprising num- ber of Italian names begin with these let- ters-I found ten in The New Grove (two of them belonging to Cornyshes) and only one 72 72 This content downloaded from 195.34.79.223 on Sat, 14 Jun 2014 03:23:25 AMAll use subject to JSTOR Terms and Conditions http://www.jstor.org/page/info/about/policies/terms.jsp Book Reviews each in Baker's and MGG. The list of con- tributors, too, is more Italian than inter- national: I counted seventy-seven, of whom fifty-five live in Italy, nine in Germany, six in Great Britain, and five in France. Only one is American (the other is Portuguese). This is a less facetious body count than it might seem, since it affords the opportu- nity to note that there are now enough Italian scholars for a homemade encyclo- pedia tacitly to declare its independence. There would be even fewer articles by non- Italians, I believe, if so many essays had not been held over from La Musica, the earlier version of DEUMM, which first appeared in 1966. This last brings up a serious problem: Does not the subscriber to an expensive work such as this have the right to get the most up-to-date writing on such composers as J. S. Bach, Beethoven, Berlioz, Brahms, Bruckner, Byrd, Donizetti and Dufay, all of whom are represented by articles taken over from the previous edition? I gave up counting after volume 2, but the list of ma- jor composers treated similarly continues in the next two volumes at about the same rate. Into almost every one of those lives quite a bit of new data has fallen, and doing no more than bringing the bibliographies up to date (to 1983 in the first two vol- umes, 1985 in the next) creates a consid- erable drawback for a new edition. Vir- tually every bibliography cites The New Grove, which raises a question: Should en- cyclopedias normally have to cite other en- cyclopedias? It seems to me to be indicated only if a contributor has made extensive use of an article, which raises yet another issue. We should have no illusion that anybody these days would write an encyclopedia ar- ticle without checking its predecessors. But once writers begin to rely on each other to any large extent, we no longer need more than one encyclopedia. Why not just trans- late "SuperGrove" or "Super-MGG" into various languages and let it go at that? Re- turning to a consideration of DEUMM, however, I was surprised to find that the entry for Imogen Fellinger contains a bib- liography considerably shorter than that in The New Grove, even though DEUMM should be the more up-to-date source. There is no question but that most of the many articles are good on their own terms. Sometimes I question those terms, espe- cially when it comes to organization. Do Carl Philipp Emanuel Bach and Johann Chris- tian Bach belong under the rubric "Bach (famiglia)," or should they not have their own bold-face entries? This is not just a matter of status, but as members of the family they are listed chronologically rather than alphabetically and, although num- bered, are consequently harder to find. (There are eighty-four composing mem- bers of the Bach family besides J. S.) When one does find C. P. E., one sees that he is adequately represented in five columns, which include a list of works similar to MGG's, that is, an almost illegible one. Composers of the stature ofJ. S. Bach get full-fledged, readable tables, but the bibli- ographies following the articles test one's patience and eyesight. The difficulty is ag- gravated by their subject categorization un- der different headings. The article on C. P. E. Bach, by the editor Alberto Basso himself, is a fine specimen of the genre dictionary article. An entry for la famiglia Downes, which comes with only two mem- bers, seems just plain silly. (It may be here that I can give vent to another of my pet peeves about all these collective biogra- phies: how do the editors decide which contemporaries to include or exclude? In view of the general lack of consistency, we may be forced to start a Dictionnaire des re- fusgs.) Having listed some of the pros and cons of this work, I find a strong recommen- dation difficult to make. Clearly this will turn out to be the largest biographical dic- tionary of them all-the granddaddy of bi- ographical dictionaries-with even more names than Baker's or The New Grove. The fact that it is in Italian is not a great hand- icap, since dictionary language is so uni- versal. But that so many major articles are outdated is a drawback mitigated only by the fact that their authors were usually the best authorities at the time they were writ- ing. (When will we finally acknowledge that date is important, and let readers know when dictionary and periodical articles were actually submitted?) That the bibliogra- phies are so difficult to use will have the same effect as it does on MGG. This truly great lexicographical achievement has gone largely out of use in this country not pri- marily because of its language, but rather because many readers are repelled by its 73 This content downloaded from 195.34.79.223 on Sat, 14 Jun 2014 03:23:25 AMAll use subject to JSTOR Terms and Conditions http://www.jstor.org/page/info/about/policies/terms.jsp NOTES, September 1988 typography. Overall DEUMM looks much better, of course, but the chances are good that given a choice, few outside Italy will consult its bibliographies any more than they do MGG's. I suspect that if DEUMM is purchased by large libraries, it is mostly for the cumu- lative effect of having as many reliable bi- ographical sources available as possible. Ul- timately the purchase comes down to a business decision, a matter of cost-effec- tiveness. How many times in the life of such an encyclopedia will someone be looking for the several obscure names beginning with "Corn"? Does the work justify its cost in an increasingly expensive environment in which, though resource-sharing contin- ues to be a pipe-dream, such information may soon be available in international da- tabanks? I shall leave the answers to the reader. HANS LENNEBERG University of Chicago NOUVELLES PARODIES BACHI QUES, M E' L E' ES DE VAUDEVILLES ou RONDES DE TABLE. Recuezllies & mies en ordre par CHRISTOPHE BALLARD) feul Imprimeur de Mufic Cqe Noteur de la Chapelle di Roy. TOME I. A PARIS, Rul Saiat Jean de Bcauvais, au Mont-Parnafnr M. DC C. 4.vet Privikce C* 4j*f1d 74 This content downloaded from 195.34.79.223 on Sat, 14 Jun 2014 03:23:25 AMAll use subject to JSTOR Terms and Conditions http://www.jstor.org/page/info/about/policies/terms.jsp Article Contentsp. 72p. 73p. 74 Issue Table of ContentsNotes, Second Series, Vol. 45, No. 1 (Sep., 1988), pp. 1-220Front Matter [pp. 1-187]Microcomputers in the Music Library [pp. 7-14]Samuel Gerrish, Publisher to the "Regular Singing" Movement in 1720s New England [pp. 15-22]Index to 1987 Reviews of Audio and Video Equipment [pp. 23-44]Notes for NOTES [pp. 45-47]Book ReviewsReview: untitled [pp. 48-52]Review: untitled [pp. 52-57]Review: untitled [pp. 57-61]Review: untitled [pp. 61-64]Review: untitled [pp. 64-65]Review: untitled [pp. 65-66]Review: untitled [pp. 66-68]Review: untitled [pp. 68-69]Review: untitled [pp. 69-72]Review: untitled [pp. 72-74] Books Recently Published [pp. 75-89]Music Publishers' Catalogues [pp. 90-94]Index to CD and Record Reviews [pp. 95-145]Music ReviewsReview: untitled [pp. 146-147]Review: untitled [pp. 147-149]Review: untitled [pp. 149-150]Review: untitled [pp. 150-152]Instrumental Solo and Ensemble MusicReview: untitled [pp. 153-155]Review: untitled [pp. 155-156]Review: untitled [pp. 156-157]Review: untitled [p. 157]Review: untitled [pp. 157-158]Review: untitled [pp. 158-160]Review: untitled [p. 160]Review: untitled [pp. 160-161]Review: untitled [pp. 161-162] Vocal MusicReview: untitled [pp. 162-164]Review: untitled [pp. 164-166] Music Received [pp. 167-181]Communications [p. 188]Grace Notes [p. 189]Back Matter [pp. 190-220] |
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