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REVIEWS
and the writing of a consistently high quality.
For those seeking firmer theoretical basis for
interdisciplinary work, it may help to provide a
way forward.
Brian C. Thompson
The Chinese University of Hong Kong
Guide to the Euphonium Repertoire: The
Euphonium Sourcebook. Compiled and
edited by Lloyd E. Bone Jr. and Eric Paull.
Bloomington: Indiana University Press, 2007.
[936 p. ISBN 13:978-0-253-24811-1; 0-253-34811-
0. $75.00]
The Guide to the Euphonium Repertoire was
compiled and edited by Lloyd E. Bone Jr. and
Eric Paull under the supervision of R. Winston
Morris. It is a reference text intended for col-
lege and university music libraries, as well as
for the individual libraries of secondary and
college/university teachers and professors.
The materials presented are comparable in
scope and depth of research and resources to
the The Tuba Sourcebook (Morris, R. Winston.
Bloomington: Indiana University Press, 1996);
it is a companion to The Tuba Sourcebook (and
part of the Indiana Repertoire Guides series),
and it expands upon related texts such as the
Low Brass Guide (Griffiths, John. Roswell,
Georgia: E. Williams Music Publishing, 2nd ed.,
1999) and Solos for the Student Trombonist
( J. Mark Thompson, editor. Vuamarens, Switzer-
land: Brass Press/Editions BIM, 2nd ed., 2004).
Extensive efforts have been made by the com-
pilers, contributing authors and consultants to
present the information and articles in a com-
prehensive and inclusive manner from the in-
vention of the euphonium through July 2005.
In this reference text, partially funded by a
Challenge Grant from the United States
National Endowment for the Humanities, Bone
and Paull have collected articles and annotated
bibliographies and discographies written by
twenty different contributing authors and edi-
tors (as well as nineteen international consul-
tants) drawn from the finest euphonium and
tuba soloists and teachers in the world.
Associate editors include Brian Bowman (Uni-
versity of North Texas), Neal Corwell (former
euphonium soloist with the U.S. Marine Band,
413
and currently with the U.S. Army Band
Pershings Own) and Adam Frey (Georgia
State University and Emory University). Con-
tributors, along with their biographies, are
listed and cross-referenced.
Articles and bibliographies are presented on
topics such as the history of the euphonium
and baritone horn; graded and annotated list-
ings of solo and ensemble works for the eupho-
nium (solos with keyboard, solos with organ,
solos with wind band, solos with brass band/
ensemble, solos with mixed ensemble, unac-
companied solo literature, solos with electronic
media, euphonium ensembles, recommended
transcriptions); recommended basic reper-
toire; methods and studies; band and orchestral
excerpts; an extensive discography (cross-
listed by artist, title composer, company and/or
distributor); and biographical information on
composers for the euphonium (including com-
posers of original and transcribed solos and
ensembles) and euphonium performers.
Several unique articles are also included: a
guide to trombone/euphonium doubling; the
euphonium in jazz; equipment and repair re-
sources; techniques for recording the eupho-
nium; listings of composers, publishers and
manufacturers addresses; and a listing of eu-
phonium symposia, competitions, events and
festivals. The resource bibliography includes a
section detailing unpublished dissertations,
theses, and research projects. Abstracts of each
item within the research/dissertation section
are included.
Bibliographic notes for compositions are
extensive. They include range, tessitura, diffi-
culty by level, and (in a departure from many
such annotated bibliographies) current pricing
in dollars or euros for many of the composi-
tions. Occasionally, for works that are not avail-
able through normal channels (i.e. works self-
published by composers), website and/or
contact information is provided. This is quite
helpful, as the euphonium solo is a small niche
market in comparison with instruments such as
the violin or piano; and many works are self-
published or made available through small pub-
lishing houses.
However, the quality of the annotations is
somewhat uneven. There are many lapses into
what could be considered unprofessional and
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414 FONTES AR TIS MUSICAE 55/2
colloquial language, where the annotator of a
specific work acts as an advocate of the instru-
ment or a specific composition or composer,
forgetting that the prime readers of this refer-
ence are already advocates of the euphonium.
There is a bias towards the use of subjective
evaluation of works in many (not all) of the an-
notations, along with colloquialisms, exclama-
tion marks, and an overuse of superlatives such
as fantastic and beautiful in describing the colleagues. Signed Souvenir de Londres, the
value of specific works. Inappropriately ex-
pressed, some of the annotations are less than
effective in conveying the necessary informa-
tion for the euphonium teacher and student.
The use of first person comments in a subjec-
tive and colloquial style in some of the annota-
tions also degrades the professional tone ex-
hibited by the majority of this volume. This is a
focus area in which the editors could and
should have done a better job of creating con-
sistency within the text, with the goal of clarity
of information for the reader. The reader may
also note an occasional problem of indexing.
Nonetheless, this is significant collection for
teachers and students of the euphonium, band
directors, composers and performers. It brings
together in a single volume a wealth of infor-
mation on the euphonium, its capabilities, and
its literature. The process of bringing together
the work of all of the contributors and organiz-
ing it into a comprehensive whole by the edi-
tors is greatly to be lauded.
The Guide to the Euphonium Repertoire is a
major resource for college and university low
brass teachers and professors, and should be a
required purchase for music libraries at col-
leges and universities that offer undergraduate
and graduate degrees in instrumental music ed-
ucation and performance. Almost 1,000 pages
in length, it includes articles and bibliographies
not available from other sources. It is a rep-
utable source of information for program notes
and contains an excellent graded listing of
solo literature for the euphonium, inclusive of
elementary/intermediate level compositions
to advanced/professional-caliber works. The
Guide to the Euphonium Repertoire is highly rec-
ommended for acquisition by all music libraries.
William G. Rose
McNeese State University
Classic Chic: Music, Fashion, and
Modernism. By Mary E. Davis. (California
Studies in 20th-Century Music, 6). Berkeley:
University of California Press, 2006. [xix, 336
p. ISBN-10: 0-520-24542-3; ISBN-13: 978-0-520-
24542-6. $39.95]
In the early 1920s, Jean Cocteau visited London
and mailed a picture postcard to friends and
photograph superimposed the writer on the lat-
est English styles, including hats, gloves, and
neckties. Cocteaus unconventional greeting re-
minds us of the symbiotic relationship between
the arts and high fashion, a topic that until re-
cently has evaded scholarly attention. Prior to
Mary E. Daviss new study, such issues had
never been explored in a monograph.
Davis concentrates on the quarter century
between 1900 and 1925. The opening chapter
surveys the pre-1900 fashion press, with special
attention to Mercure Galant and Comoedia
Illustr. The rise of haute couture is traced to
the 19th-century, and Davis employs a wide va-
riety of sources to demonstrate how the fashion
press participated in the nascent music pub-
lishing business (p. 4) by including musical
scores. The contributions of fashion designer
Paul Poiret also show instances of such inter-
sections in the early twentieth century. Poiret
created a Style Sultane that freed women from
the constraints of restrictive clothing while also
hosting invitation-only musical events focused
on overlooked repertoire. Davis reminds us
that these soires, featuring music by Couperin,
Rameau, and other early French masters, oc-
curred well in advance of the trend for histori-
cally informed performances in France, which
is often ascribed to Nadia Boulangers influ-
ence (p. 39).
The third chapter explores the seminal role
of La Gazette du Bon Ton and its founder,
Lucien Vogel, in the emergence of modern art.
An advocate of both cubism and the Ballets
Russes, the Gazette helped secure the place of
fashion as the fourth of the beaux-arts (p. 49).
Most of the chapter is devoted to Erik Satie,
who was introduced to the fashion milieu by
Valentine Gross. Davis reassesses Vogels com-
mission for Sports et Divertissements, refuting
the common assumption that Satie rejected the