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.. Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. All use subject to JSTOR Terms and Conditions consumed. That all this was accurately his own independent collation of six of done is witnessed by the fact that your these manuscripts without noting an reviewer was able to check it against error. LEONARD ELLINWOODconsumed. That all this was accurately his own independent collation of six of done is witnessed by the fact that your these manuscripts without noting an reviewer was able to check it against error. LEONARD ELLINWOODconsumed. That all this was accurately his own independent collation of six of done is witnessed by the fact that your these manuscripts without noting an reviewer was able to check it against error. LEONARD ELLINWOOD Music: Now and Then. By Ashley Pettis. New York: Coleman-RossCo., [1955]. [118 p., 8vo; $3.75]This book is made up of two separate, general interest in music and of enthuunrelated sections. The first (29 pages) siasm for participation, the lack of which is devoted to a consideration of music he so justly deplores. and musical practices of the present day,The interest of the second section of and the second consists largely of Biblical the book lies mainly in the inclusion of quotations concerning music. The first a large number of quotations about music part suffers from two defects: the fredrawn from the Bible, together with a quently abusive quality of the language certain amount of speculative writing. in which the author casts his denunciation An example of this is the statement of contemporary music and all that per-(apparently offered in all seriousness) in tains to it; and failure to give credit the section on "Women in Biblical Music" where it is clearly deserved.that Michol's ridicule of David's dancing Mr. Pettis believes, apparently, that before the Ark "not only resulted in those who are engaged in concertizing Michol's barrenness, but may, in part and in the mechanical reproduction of at least, account for the general lack of music are concerned almost exclusively women's participation in music, with the with what will be financially profitable. same equality and understanding granted While there is certainly much truth in men, even to modern times" (p. 58). that conviction, it is hardly fair to stress To what class of readers this book will so emphatically the abundance of "hit" appeal it is difficult to say. It can have music, the passing fancy of the "popular" little interest for music scholars inasmuch music addict, and to ignore the imposas, in the absence of any documentation, ing body of classical material and the the reader is asked to accept the author's wealth of records...
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