lectura 5 an index to popular songs by william d. goodfellow

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SongCite: An Index to Popular Songs by William D. Goodfellow; Song Finder: A Title Indexto 32,000 Popular Songs in Collections, 1854-1992 by Gary Lynn FergusonReview by: Pauline S. BayneNotes, Second Series, Vol. 53, No. 2 (Dec., 1996), pp. 449-450Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900120 .

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Book Reviewsook Reviewsverses, and sequences as well as to lesser-known votive Masses.Volume 2 of Gozzi's catalogue ends with127 pages of necessary indexes and an in-dex of figures that requires one to flippages back and forth. Another table of ab-breviations at the beginning of this volumewould have been convenient. All three vol-umes represent a model effort to make animportant collection available to scholarsand will serve as research tools of lastingvalue. Different as the presentation of bothcollections is, study of material in the col-lection of editions should inform researchon the manuscripts. Indeed, essays on bothcatalogued collections, with facsimiles ofimportant exhibited items, were publishedas Musica e liturgia nella riforma tridentina,edited by Danilo Curti and Marco Gozzi(Trent: Servizio beni librari e archivistici,1995).

BARBARAHAGGHRoyal Holloway, Universityof London

SongCite: An Index to PopularSongs. By William D. Goodfellow.(Garland Reference Library of theHumanities, 1918.) New York: Gar-land, 1995. [433 p. ISBN 0-8153-2059-0. $60.00.]Song Finder: A Title Index to 32,000Popular Songs in Collections, 1854-1992. By Gary Lynn Ferguson. (MusicReference Collection, 46.) Westport,Conn.: Greenwood Press, 1995. [xvi,344 p. ISBN 0-313-29470-4. $79.50.]

Do music librarians and other referencelibrarians need more song indexes? Thosefrontline librarians attending the referencerefresher session at the February 1996 Mu-sic Library Association meeting answeredwith a strong affirmative because of thedaily questions requiring access to songs inpublished collections. From the pioneeringwork of Minnie Earl Sears's Song Index(New York: H. W. Wilson, 1926) and itssupplement (New York, H. W. Wilson,1934), librarians learned the purpose of asong index is to provide references to thelocation of songs in collections, giving ac-cess at least by title and a bibliography of

verses, and sequences as well as to lesser-known votive Masses.Volume 2 of Gozzi's catalogue ends with127 pages of necessary indexes and an in-dex of figures that requires one to flippages back and forth. Another table of ab-breviations at the beginning of this volumewould have been convenient. All three vol-umes represent a model effort to make animportant collection available to scholarsand will serve as research tools of lastingvalue. Different as the presentation of bothcollections is, study of material in the col-lection of editions should inform researchon the manuscripts. Indeed, essays on bothcatalogued collections, with facsimiles ofimportant exhibited items, were publishedas Musica e liturgia nella riforma tridentina,edited by Danilo Curti and Marco Gozzi(Trent: Servizio beni librari e archivistici,1995).

BARBARAHAGGHRoyal Holloway, Universityof London

SongCite: An Index to PopularSongs. By William D. Goodfellow.(Garland Reference Library of theHumanities, 1918.) New York: Gar-land, 1995. [433 p. ISBN 0-8153-2059-0. $60.00.]Song Finder: A Title Index to 32,000Popular Songs in Collections, 1854-1992. By Gary Lynn Ferguson. (MusicReference Collection, 46.) Westport,Conn.: Greenwood Press, 1995. [xvi,344 p. ISBN 0-313-29470-4. $79.50.]

Do music librarians and other referencelibrarians need more song indexes? Thosefrontline librarians attending the referencerefresher session at the February 1996 Mu-sic Library Association meeting answeredwith a strong affirmative because of thedaily questions requiring access to songs inpublished collections. From the pioneeringwork of Minnie Earl Sears's Song Index(New York: H. W. Wilson, 1926) and itssupplement (New York, H. W. Wilson,1934), librarians learned the purpose of asong index is to provide references to thelocation of songs in collections, giving ac-cess at least by title and a bibliography of

the collections indexed. In the area of pop-ular song, Patricia Pate Havlice providedan initial volume, Popular Song Index(Metuchen, N.J.: Scarecrow, 1975) andthree supplements (Metuchen, N.J.: Scare-crow, 1978, 1984, 1989), which have beenregarded as a standard resource for years.William D. Goodfellow is already a vet-eran creator of song indexes. His contri-butions include Where'sThat Tune?: An In-dex to Songs in Fakebooks Metuchen, N.J.:Scarecrow Press, 1990) and WeddingMusic:An Index to Collections (Metuchen, N.J.:Scarecrow Press, 1992). This new volume,SongCite,is an index to 7,000 compositionsin 248 music books. Consisting primarily ofvocal music, the anthologies indexed con-tain popular songs arranged for piano andvoice, although guitar chords may also beincluded. Goodfellow's criteria for inclu-sion of anthologies are: (1) publication inor after 1988, (2) songs of recent or long-lasting popular appeal, and (3) anthologiesnot indexed in any other index currentlyin print. In fact, the coverage is broadbased in terms of popular music, includinganthologies of folk, rock, country, hymns,easy listening, jazz, musicals, and children'ssongs. The work offers the standard bib-liography of collections indexed, includingthe number of songs in each collection, anda combined index of titles/first lines of thesongs. Goodfellow also provides an indexof composers, and an index of works frommusicals, motion pictures, and television.The book is laid out well for easy use; itstwo columns, running heads, and typog-raphy make it clear and readable. Thiswork is a valuable addition to the song in-dex genre for popular songs.Gary Lynn Ferguson's Song Finder pro-vides more extensive coverage by indexing621 song books from the collection of theState Library of Louisiana dating from1854 to 1992. According to the preface,over 75 percent of these books have neverbeen indexed and 85 percent are not in-cluded in any index currently in print. Be-cause the index began in 1978 as a workingtool for reference staff, the intent was toindex all the song books in the collectionnot covered by existing indexes. The resultis an index that includes a wide variety ofgenres and styles including theater songs,folk songs, children's songs, religious mu-sic, and folios of rock, country, and pop hits

the collections indexed. In the area of pop-ular song, Patricia Pate Havlice providedan initial volume, Popular Song Index(Metuchen, N.J.: Scarecrow, 1975) andthree supplements (Metuchen, N.J.: Scare-crow, 1978, 1984, 1989), which have beenregarded as a standard resource for years.William D. Goodfellow is already a vet-eran creator of song indexes. His contri-butions include Where'sThat Tune?: An In-dex to Songs in Fakebooks Metuchen, N.J.:Scarecrow Press, 1990) and WeddingMusic:An Index to Collections (Metuchen, N.J.:Scarecrow Press, 1992). This new volume,SongCite,is an index to 7,000 compositionsin 248 music books. Consisting primarily ofvocal music, the anthologies indexed con-tain popular songs arranged for piano andvoice, although guitar chords may also beincluded. Goodfellow's criteria for inclu-sion of anthologies are: (1) publication inor after 1988, (2) songs of recent or long-lasting popular appeal, and (3) anthologiesnot indexed in any other index currentlyin print. In fact, the coverage is broadbased in terms of popular music, includinganthologies of folk, rock, country, hymns,easy listening, jazz, musicals, and children'ssongs. The work offers the standard bib-liography of collections indexed, includingthe number of songs in each collection, anda combined index of titles/first lines of thesongs. Goodfellow also provides an indexof composers, and an index of works frommusicals, motion pictures, and television.The book is laid out well for easy use; itstwo columns, running heads, and typog-raphy make it clear and readable. Thiswork is a valuable addition to the song in-dex genre for popular songs.Gary Lynn Ferguson's Song Finder pro-vides more extensive coverage by indexing621 song books from the collection of theState Library of Louisiana dating from1854 to 1992. According to the preface,over 75 percent of these books have neverbeen indexed and 85 percent are not in-cluded in any index currently in print. Be-cause the index began in 1978 as a workingtool for reference staff, the intent was toindex all the song books in the collectionnot covered by existing indexes. The resultis an index that includes a wide variety ofgenres and styles including theater songs,folk songs, children's songs, religious mu-sic, and folios of rock, country, and pop hits

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NOTES, December 1996OTES, December 1996

plus African-American music, movie andtelevision themes, seasonal, patriotic, andmilitary music.Song Finder provides access to song titlesonly. Other indexes that take this limitedapproach are Robert Leigh's Index to SongBooks(Stockton, Calif.: n.p., 1964) and Flo-rence Brunnings's Folk Song Index (NewYork: Garland, 1981). Ferguson explainsthat the "limitations of this approach areoffset by the opportunity it affords to indexmore songs in fewer pages, and by the ad-dition of useful details of each printing ofa song." One is able to distinguish versionsthat contain only lyrics or only instrumentalversions from those containing completesongs. Lyrics in foreign languages arenoted as is the availability of an Englishtranslation. Librarians and other users willhave to decide for themselves whether ac-cess by song title alone is sufficient to theirneeds. It is certainly true that this approachallows indexing of 32,000 songs in fewerthan 350 pages. Ferguson also provides an

plus African-American music, movie andtelevision themes, seasonal, patriotic, andmilitary music.Song Finder provides access to song titlesonly. Other indexes that take this limitedapproach are Robert Leigh's Index to SongBooks(Stockton, Calif.: n.p., 1964) and Flo-rence Brunnings's Folk Song Index (NewYork: Garland, 1981). Ferguson explainsthat the "limitations of this approach areoffset by the opportunity it affords to indexmore songs in fewer pages, and by the ad-dition of useful details of each printing ofa song." One is able to distinguish versionsthat contain only lyrics or only instrumentalversions from those containing completesongs. Lyrics in foreign languages arenoted as is the availability of an Englishtranslation. Librarians and other users willhave to decide for themselves whether ac-cess by song title alone is sufficient to theirneeds. It is certainly true that this approachallows indexing of 32,000 songs in fewerthan 350 pages. Ferguson also provides an

excellent annotated bibliography of pub-lished song indexes through 1992.Both authors have been careful to pro-vide new indexing, that is, they have con-fined their work to collections not previ-ously included in published song indexes.The only place that their work may du-plicate others is in the online song indexesnow available. Two extensive indexes avail-able only via computer are: (1) Popular SongIndex (Tempe: Arizona State UniversityMusic Library [URL: telnet://129.219.10.8.23]) presently covers 850 collectionsincluding 50,000 songs with name andkey- word access, and (2) UTK Song Index(Knoxville, University of Tennessee MusicLibrary [URL: http://toltec.lib.utk.edu/-music-songlist-home.html]), which cur-rently provides keyword access to 44,500songs of all types in 1,250 collections.

PAULINE . BAYNEUniversityof Tennessee,Knoxville

excellent annotated bibliography of pub-lished song indexes through 1992.Both authors have been careful to pro-vide new indexing, that is, they have con-fined their work to collections not previ-ously included in published song indexes.The only place that their work may du-plicate others is in the online song indexesnow available. Two extensive indexes avail-able only via computer are: (1) Popular SongIndex (Tempe: Arizona State UniversityMusic Library [URL: telnet://129.219.10.8.23]) presently covers 850 collectionsincluding 50,000 songs with name andkey- word access, and (2) UTK Song Index(Knoxville, University of Tennessee MusicLibrary [URL: http://toltec.lib.utk.edu/-music-songlist-home.html]), which cur-rently provides keyword access to 44,500songs of all types in 1,250 collections.

PAULINE . BAYNEUniversityof Tennessee,Knoxville

MEDIEVAL AND RENAISSANCEEDIEVAL AND RENAISSANCEPapal Patronage and the Music of St.Peter's, 1380-1513. By ChristopherA. Reynolds. Berkeley: University ofCalifornia Press, 1995. [xvii, 439 p.ISBN 0-520-08212-5. $60.00.]

In his introduction to Papal Patronageandthe Music of St. Peter's, 1380-1513, Chris-topher A. Reynolds admits to having beenoccupied with St. Peter's basilica in Romefor twenty years. Since 1981 he has reg-ularly published the results of his researchinto its music of the fifteenth and earlysixteenth centuries. This book representsa worthy summation of that work, in thecourse of which Reynolds has contributedmuch to our understanding of the south-ward migration of northern musicians andthe important part played by benefices inthis process. Some material here has beenpublished before, but much is new and allhas been revised, taking into account recentwork on fifteenth-century musicians byscholars such as Rob Wegman and PamelaStarr.The book covers the period between thefirst papal return to Rome from Avignonin 1377 and Pope Julius II's restructuringof the basilica's choir in 1513. Although the

Papal Patronage and the Music of St.Peter's, 1380-1513. By ChristopherA. Reynolds. Berkeley: University ofCalifornia Press, 1995. [xvii, 439 p.ISBN 0-520-08212-5. $60.00.]In his introduction to Papal Patronageandthe Music of St. Peter's, 1380-1513, Chris-topher A. Reynolds admits to having been

occupied with St. Peter's basilica in Romefor twenty years. Since 1981 he has reg-ularly published the results of his researchinto its music of the fifteenth and earlysixteenth centuries. This book representsa worthy summation of that work, in thecourse of which Reynolds has contributedmuch to our understanding of the south-ward migration of northern musicians andthe important part played by benefices inthis process. Some material here has beenpublished before, but much is new and allhas been revised, taking into account recentwork on fifteenth-century musicians byscholars such as Rob Wegman and PamelaStarr.The book covers the period between thefirst papal return to Rome from Avignonin 1377 and Pope Julius II's restructuringof the basilica's choir in 1513. Although the

title highlights papal patronage, an alter-native might have been "Northern Musi-cians and the Music of St. Peter's" since thisis really the theme of the book. Certainlypapal patronage was ultimately behind theinflux of northerners, but the real storieshere are the personal ones of composerssuch as Philippe Caron, GiullaumeFaugues, Johannes Martini, and Barbin-gant and their association-both personaland musical-with St. Peter's.The relationship between pope and ba-silica was a complicated one, as between anybishop and his cathedral-except that, ofcourse, St. Peter's was not the cathedral ofRome (this title belongs to St. John Lat-eran). From Martin V's entry into the cityin 1420 (which also marked the end of theGreat Schism), the papal court was cen-tered on the Vatican, with St. Peter's actingas a Cappella Palatina until the building ofthe Sistine Chapel by Sixtus IV (dedicatedin 1483). Even after this date the most im-portant feastday liturgies continued to becelebrated in the basilica, with at least someinput by its singers. Discussion of specificpapal patronage is confined to the first twochapters and the last, but, as Reynoldspoints out in his introduction, issues of pa-

title highlights papal patronage, an alter-native might have been "Northern Musi-cians and the Music of St. Peter's" since thisis really the theme of the book. Certainlypapal patronage was ultimately behind theinflux of northerners, but the real storieshere are the personal ones of composerssuch as Philippe Caron, GiullaumeFaugues, Johannes Martini, and Barbin-gant and their association-both personaland musical-with St. Peter's.The relationship between pope and ba-silica was a complicated one, as between anybishop and his cathedral-except that, ofcourse, St. Peter's was not the cathedral ofRome (this title belongs to St. John Lat-eran). From Martin V's entry into the cityin 1420 (which also marked the end of theGreat Schism), the papal court was cen-tered on the Vatican, with St. Peter's actingas a Cappella Palatina until the building ofthe Sistine Chapel by Sixtus IV (dedicatedin 1483). Even after this date the most im-portant feastday liturgies continued to becelebrated in the basilica, with at least someinput by its singers. Discussion of specificpapal patronage is confined to the first twochapters and the last, but, as Reynoldspoints out in his introduction, issues of pa-

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lectura 5 an index to popular songs by william d. goodfellow

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