Book Zevz’ews 545

to their studies of culture. Nettl notes the corroborative value of ethnaniusicological

findings to the cultural anthropologist, but he admits that decisions about musicd
change, its causes and direction, cannot be made on the basis of strictly musical iri-
formation. He is critical of Marius Schneider’s theories which attempt to explain the
style of music on the basis of racial background and physical inheritance. Studies an
the geographical distribution of musical instruments he finds more rewarding than
similar studies on music because music is a complex that cannot be broken down into
easily circumscribed components.
The statement that the Peyote style presumably moved from the Apache and
Navaho to the Plains Indians (p. 234) needs correction. The Navaho have only re-
cently acquired the cult and did not share with the Lipan and Mescalero in passing the
cult with its music on to the Comanche and other Plains tribes.
The book is much more than an up-to-date account of ethnomusicological theory
and method, for in admitting that the discipline has only begun to scratch the surface
of its possibilities, Nettl poses many questions and problems that challenge investiga-
tion. I n conclusion he claims that “ethnomusicology has begun to show that music the
world over is more than artifact, but that it is-even in the simplest cultures-an
essential part of human life.”

Musicology. FRANK LL. HARRISON, MANTLEHOOD,and CLAUDEV. PALISCA. (The

Princeton Studies, Humanistic Scholarship in America.) Englewood Cliffs: Pren-
tice-Hall, 1963. xxi, 337 pp., 10 figures, index, 2 plates. $8.95.
Reviewed by DARIUSL. THIEME,
The Library of Congress
Musicology is part of a series devoted to “a critical account of American humanistic
scholarship in recent decades,” commissioned by the Council of the Humanities, under
a Ford Foundation grant. Other volumes will present to the reader a discussion of such
broad fields as Anthropology, Art and Archeology, the Classics, History, Linguistics,
Philosophy, and Religion.
I n the present volume, the musicological pie is neatly divided into thirds: Harrison
presents the background, Palisca concentrates on American contributions to musi-
cology, and Hood covers the field of ethnomusicology. T o a certain extent, Harrison
views his topic, “American Musicology and the European Tradition,” from a British
viewpoint. His introductory chapter briefly describes the current aims of the discipline.
He then proceeds, tracing the study of music history and musical theory in Europe,
roughly from Boethius through the Renaissance and up to the 19th century. He also
views the educational position of the field in Europe through history (up to the early
20th century), including its decline and subsequent reacceptance as a recognized
scientific discipline. He concludes by briefly summarizing “the place of the American
musicologist in the musical life of his society.”
Palisca takes over from there, and discusses “American Scholarship in Western
Music,” relating how we looked towards Europe for our early inspiration. Many of our
leading professors of this century came from the war-torn Europe of the 30’s and ~ O ’ S ,
and numerous others received their training and preparation or conducted their basic
research there. This essentially European-based system has since been shaped and
formed into a reasonably square peg, to take its proper place in the American univer-
sity’s educational program. American musicology has achieved a definite character
and personality of its own, and its scope of interests, accomplishments, prospects and
problems are outlined succinctly by the author.
546 A inerican Anthropologist [67, 196.51
This leaves ethnomusicological scholarship in the United States as Hood’s third of
the pie. His discussion, under the title “Music, the Unknown,” stresses the role of
music as a social force. He sees the discipline of ethnomusicology as “directed toward
a n understanding of music studied in terms of itself and . , . within the context of its
society.” The subject matter of the discipline, he states, includes all non-European
musics as well as Western folk and popular musics.
Generally speaking, there are three approaches currently in vogue with respect to
the training of a potential ethnomusicologist in this country. Some students begin
with a strong background of training in anthropology and add courses in music; some
begin with a solid foundation in musicology and add related courses in anthropology.
Folklore courses often are added also in either of the above approaches. A third ap-
proach is through primary training as a performer in non-Western musics. The author
is strongly in favor of the latter approach, and it is given preferred treatment in his
essay, both in terms of space and emphasis.
His coverage of the accomplishments of the discipline stresses our interest in the
Near and Far East. True, many strong contributions have been made towards a better
knowledge of the musics of Indonesia, Japan, and other areas to the East. More space,
however, might have been devoted to a general coverage of American contributions to
the knowledge of the music of other geographic regions. Theodore Baker’s pioneer
dissertation on American Indian music, for instance, was the forerunner of numerous
important studies on that topic, only a few of which are mentioned. American scholars
are the recognized leaders in a variety of additional ethnomusicological topics, begin-
ning, of course, with the study of American folk music. I n short, a broader scope of
interests is in evidence than may seem apparent to the nonspecialist reader of this
essay.
In summation, the essay strongly presents the position and interests of one of this
country’s leading scholars. As such, it is well written and amply documented. I n short,
if you want a lucid presentation of Hood’s views concerning the direction in which
American ethnomusicological training should proceed, the proper orientation of re-
search, and a good discussion of our accomplishments in some areas, this essay will
provide it. It should not, however, be taken as a balanced presentation of the scope
and interests of the discipline as a whole in the United States.

A Guide for Field Workers in Folklore. KENNETHS . GOLDSTEIN. Preface by HAMISH

HENDERSON. Hatboro, Pennsylvania: Folklore Associates, Inc., 1964. xviii, 199
pp., bibliography, index. $6.00. (Paper: American Folklore Society Memoir 52,
$4.00.)
Reviewed by ALAND UNDES, IJniversity of California, Berkeley
One of the great voids in the study of folklore has been filled. While folklorists, like
other field workers, publish the results of their field work, they rarely deal with the
mechanics of how the data was collected, except perhaps for a few human-interest
incidental anecdotes. Each new generation of folklorists is sent out into the field where
they make many of the same mistakes made by their predecessors, bolstered with the
knowledge that experience is not only the best teacher but the only one. One conse-
quence is that the quality of folklore collection has not improved materially in the last
several decades.
The author of this excellent field manual would be the last to say that there is any
substitute for actual experience in the field. But this guide is designed to make that
experience a much richer one. Chapters on problem formulation, pre-field preparations,