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![This book is a publication of
Indiana University Press
Office of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.indiana.edu
Telephone 800-842-6796
Fax 812-855-7931
© 2015 by Indiana University Press
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic
or mechanical, including photocopying and recording, or by any information storage and
retrieval system, without permission in writing from the publisher. The Association of
American University Presses’ Resolution on Permissions constitutes the only exception to
this prohibition.
The paper used in this publication meets the minimum requirements of the American
National Standard for Information Sciences—Permanence of Paper for Printed Library
Materials, ANSI Z39.48–1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Scott, Allen (Dale Allen), [date]- compiler.
Sourcebook for research in music / Allen Scott ; Phillip D. Crabtree and Donald H. Foster,
founding editors. — Third edition.
pages cm
Includes bibliographical references and indexes.
ISBN 978-0-253-01448-1 (paperback : alkaline paper) — ISBN 978-0-253-01456-6 (ebook)
1. Music—Bibliography. 2. Music—History and criticism—Bibliography. 3. Music—
Bibliography of bibliographies. I. Crabtree, Phillip, compiler. II. Foster, Donald H., compiler.
III. Title.
ML113.S46 2014
016.7—dc23
2014022235
1 2 3 4 5 19 18 17 16 15](https://image.slidesharecdn.com/3426158-250620090105-bad73ce3/75/Sourcebook-For-Research-In-Music-3rd-Allen-Scott-Phillip-D-Crabtree-9-2048.jpg)
![2 Introductory Materials
ed. (Chicago:American LibraryAssociation, 2012); Jean Peters, The
Bookman’s Glossary, 6th ed., rev. and enl. (New York: R. R. Bowker,
1983); and Willem Elbertus Clason, ed., Elsevier’s Dictionary of Li-
brary Science, Information and Documentation in Six Languages: En-
glish/American, French, Spanish, Italian, Dutch and German, 2nd ed.
(Amsterdam, London, and New York: Elsevier, 1992).
abstract—a summary of a book, article, etc.; also called a précis
(e.g., Dissertation Abstracts, RILM Abstracts).
anthology—a representative collection of selected musical or
literary works or excerpts.
archive—a place in which public or institutional records are sys-
tematically preserved, or a repository of any documents or
other materials, especially those of historical value.
arrangement—a reworking of a musical composition so that the
performing forces, the musical content, or the form are
substantially different from the original (compare edition,
definition c, and transcription).
autograph—a document (music manuscript, letter, etc.) written
or signed in a person’s own hand; thus, a primary source
(see sources, primary and secondary; compare holograph,
manuscript).
carrel—an alcove or desk in a library—often in the stacks—
comprising a table and shelves for private study, to which
books in a library’s collection may be charged for re-
search use.
catalog, catalogue—(a) a list of the contents of a library, book
collection, or group of libraries (see union catalog); (b) a
list or index of compositions, usually by a single composer
rather than of a collection or a repertory of music (see
thematic catalog).
CD-ROM (“compact disc read-only memory”)—any informa-
tion, such as a database, stored on compact discs and read-
able on the screen of a computer designed for this pur-
pose, or one equipped with a CD-ROM drive (see online
catalog, database).
choirbook—a music manuscript in a large enough format and
with the separate voice parts of the compositions con-
tained in it written large enough on the same or on facing
pages so that an entire choir could sing from it (in use
especially in the 15th and early 16th centuries). (See also
partbook, manuscript.)
codex (pl.: codices)—an ancient book or unbound sheets in a
manuscript (e.g., Squarcialupi Codex, Trent Codices; see
The New Harvard Dictionary of Music, “Sources [pre-1500]”).](https://image.slidesharecdn.com/3426158-250620090105-bad73ce3/75/Sourcebook-For-Research-In-Music-3rd-Allen-Scott-Phillip-D-Crabtree-27-2048.jpg)
![Introductory Materials 5
international identification system first developed in the
United Kingdom in 1967 and adopted in the U.S. in 1968;
the identifying code is placed at the front of books and
serials respectively (e.g., ISBN 0-697-03342-2, ISSN 1044-
1608).
journal—(a) a generic term to refer to, or sometimes used in the
title of, a scholarly periodical (e.g., Journal of the American
Musicological Society); (b) a diary or daily record of occur-
rences, transactions, or reflections. (Compare magazine,
periodical, proceedings, review, yearbook; see chapter 4
of this book.)
lacuna (pl.: lacunae)—a hiatus, gap, or missing portion in a
source or body of works.
lexicon—a book containing an alphabetical or other systematic
arrangement of words and their definitions; a dictionary.
magazine—a periodical containing articles, pictures, reviews,
advertisements, etc., often of popular interest and some-
times focusing on a specific subject area.
manuscript (MS, ms)—(a) a book, document, musical composi-
tion, letter, etc., written by hand; (b) an author’s written or
typed copy of a work before it is printed; thus, a primary
source (see sources, primary and secondary; compare
autograph, holograph).
microforms—a general term for microfilm and other miniature
processes of reproduction such as the following:
microcard—a card on which numerous pages of a book are
reproduced in greatly reduced size.
microfiche—a card-like transparency on which appear multiple
frames of microfilm.
microfilm—a photographic reproduction in which the image is
reduced to fit a frame of 35 mm or 16 mm film.
monograph—a scholarly study (book or article) treating a single
subject or a limited aspect of a subject (see also treatise).
monument, musical—a scholarly edition of music from one
region or country (Denkmal [pl.: Denkmäler] is the German
equivalent) (see edition, definition c; refer to chapter 5 of
this book).
necrology—(a) a notice of the death of a person; obituary; (b)
a list or record of people who have died within a certain
period of time; in either sense, there may or may not be
biographical information included.
oblong (ob., obl.)—a book size wider than it is high (e.g., 4° obl.,
8° obl.).
octavo (8°, 8vo)—the size of a piece of paper cut eight from a sheet,
or a page size about 9 3/4 inches/25 centimeters high.](https://image.slidesharecdn.com/3426158-250620090105-bad73ce3/75/Sourcebook-For-Research-In-Music-3rd-Allen-Scott-Phillip-D-Crabtree-30-2048.jpg)
![Introductory Materials 7
serial—any publication usually appearing at regular intervals,
including periodicals, annuals (yearbooks), newspapers,
proceedings, etc.
shelflist—a bibliographical record of a library collection in call-
number order.
siglum (pl.: sigla)—a letter or letters with or without numbers
used to identify a manuscript or printed source, library, or
archive (see The New Harvard Dictionary of Music, “Sources
[Pre-1500]”).
sources, primary and secondary—a primary source is a compo-
sition, letter, or document by a composer, author, or some
other person, or any document dating from the historical
period in question that gives the words of the witnesses
or recorders of an event; a secondary source is second- or
third-hand information and may be based on a primary
source.
stacks—a library term for the main area in a library where books
are shelved. Stacks are either “open,” if the general public
is admitted to them, or “closed,” if it is not.
stemmatics—from stemma (Latin, “garland, wreath”); the ge-
nealogical study of musical or literary manuscripts.
thematic catalog—a list or index of compositions, usually by a
single composer rather than a collection or repertory of
music, in which each composition or movement is identified
by an incipit (compare catalog, catalogue, definition b).
transcription—(a) the transliteration of an early work into
modern musical notation; (b) the process or result of
adapting a musical composition (usually instrumental)
to a medium other than its original one, which may vary
from little more than a transference from one medium to
another to a modification of the original necessitated by
the change of medium (compare arrangement, edition).
treatise—a learned, formal writing on a subject, usually in book
form (see also monograph).
union catalog—a library catalog listing the holdings of a group
of cooperating libraries (see catalog, catalogue, defini-
tion a).
Urtext—original text, often a prototype from which later variants
(texts, compositions, etc.) are derived.
verso (v)—the side of a folio that is to be read second, i.e., the re-
verse side or left-hand page (e.g., “fol. 2v”; see also recto).
watermark—a manufacturer’s identifying mark or design em-
bedded in a sheet of paper, resulting from different thick-
nesses in the paper and visible when held up to light.
yearbook—a publication issued annually, such as the Bach-Jahr-](https://image.slidesharecdn.com/3426158-250620090105-bad73ce3/75/Sourcebook-For-Research-In-Music-3rd-Allen-Scott-Phillip-D-Crabtree-32-2048.jpg)
![8 Introductory Materials
buch or “Recherches” sur la musique française classique, that
contains scholarly contributions and information, often
limited to a specific area.
1.2 C O M M O N G E R M A N
B I B L I O G R A P H I C A L T E R M S
The English equivalents given for the following German terms
are those that concern bibliography and scholarship (e.g., Folge
can also mean “sequel,” “result,” “inference,” etc., as well as “se-
ries”); in particular, note terms that are not obvious cognates or are
even misleading ones, sometimes called “false friends” (e.g., Band,
Brief, Kapitel, Register). Abbreviations commonly used in scholarly
German are given here, and other standard ones may be found
listed in any good German-English dictionary. The abbreviations
of musical terms have been taken largely from Richard Schaal’s
Abkürzungen in der Musik-Terminologie, which is devoted entirely
to abbreviations in music; and from Die Musik in Geschichte und
Gegenwart [MGG] (see chapter 3 under “General Dictionaries and
Encyclopedias”), whose abbreviations are listed at the beginning
of each volume.
Abbildung (Abb.)—illustration, figure
Abdruck (Abdr.)—impression, print, reproduction
Abhandlung (Abh.)—treatise
Abkürzung (Abk.)—abbreviation
Abschrift (Abschr.)—reprint, copy
Anhang (Anh.)—appendix, supplement (see also Beilage,
Beiheft)
Anmerkung (Anm.)—footnote (see also Fussnote)
Anthologie (Anth.)—anthology
Archiv (Arch.)—record office, archive
Aufführungspraxis—performance practice
Auflage (Aufl.)—edition (see also Ausgabe, Gesammelte Werke,
Gesamtausgabe, Sammelwerk, Sämtliche Werke)
Aufrufzahl—call number, shelf mark
Ausgabe (Ausg.)—edition (see also Auflage, Gesammelte
Werke, Gesamtausgabe, Sammelwerk, Sämtliche Werke)
Ausgewählte Werke (AW)—selected works
Band (Bd.)—volume
Bearbeiter; Bearbeitung (Bearb.)—compiler, author, reviser;
compilation, edition, arrangement
Beiheft (Beih.)—supplement (see also Anhang, Beilage)
Beilage (Beil.)—supplement, appendix (see also Anhang, Beiheft)](https://image.slidesharecdn.com/3426158-250620090105-bad73ce3/75/Sourcebook-For-Research-In-Music-3rd-Allen-Scott-Phillip-D-Crabtree-33-2048.jpg)
![Introductory Materials 9
Beispiel (Beisp.)—example (“zum Beispiel” [z.B.]—for ex-
ample, e.g.)
Beitrag (Beitr.)—contribution (i.e., to a journal)
Bemerkungen (Bem.)—remarks, annotations, commentary
Bericht (Ber.)—report, commentary (see also Kritischer Bericht,
Revisionsbericht)
Besprechung—review, criticism, conference
beziehungsweise (bzw.)—respectively; or, or else; more specifi-
cally
Bibliothek (Bibl.)—library
Bildnis (Bildn.)—portrait, likeness
Bildtafel—plate in a book
Blatt (Bl.)—leaf, folio; newspaper
Brief—letter, epistle
Buchhändler; Buchhandlung (Buchh.)—bookseller; bookshop
das heisst (d.h.)—that is, i.e. (also “das ist”)
Denkmäler (Dkm.) (pl.)—monuments
Doktorarbeit; Dissertation (Diss.)—doctoral dissertation
Druck (Dr.)—print, printing, impression
ebenda(selbst) (ebd.)—in the same place, ibidem
Einleitung (Einl.)—introduction
erscheinen (ersch.)—to appear, come out, be published
Festschrift (Fs.)—publication on the occasion of a celebration or
in honor of someone
Folge (F.); Neue Folge (N.F.)—series, continuation, issue; new
series or issue (“und folgende” [u.ff.]—and following)
Fussnote—footnote (see also Anmerkung)
geboren (geb.)—born
gedruckt (gedr.)—printed
Gegenwart (Gegenw.)—present time
Gesammelte Werke (GW)—complete works (see also Auflage,
Ausgabe, Gesamtausgabe, Sammelwerk, Sämtliche
Werke)
Gesamtausgabe (GA)—complete works (see also Auflage,
Ausgabe, Gesammelte Werke, Sammelwerk, Sämtliche
Werke)
Geschichte (Gesch.)—history
Gesellschaft (Ges.)—society, association, club (see also Verein,
Musikverein)
gestorben (gest.)—died
getauft (get.)—baptized
Handbuch (Hdb.)—handbook, manual
Handexemplar—composer’s or author’s copy
Handschrift (Hs.)—manuscript (see also Manuskript)
Heft (H.)—number, part](https://image.slidesharecdn.com/3426158-250620090105-bad73ce3/75/Sourcebook-For-Research-In-Music-3rd-Allen-Scott-Phillip-D-Crabtree-34-2048.jpg)
![10 Introductory Materials
Herausgeber (Hrsg.); herausgegeben (hg.)—editor (see also
Redakteur); edited, published (see also publiziert)
Inhalt (Inh.)—table of contents
insbesondere (insb.)—especially, particularly
Jahr (J.)—year
jährlich—yearly, annually
Jahrbuch (Jb.)—yearbook
Jahreszahl (JZl.)—date, year
Jahrgang (Jg.)—the bound issues of a periodical for one year
Jahrhundert (Jh.)—century
Kapitel (Kap.)—chapter
Katalog (Kat.)—catalog
Komponist (Komp.)—composer
Kritischer Bericht (Krit. Ber.)—critical report or commentary
(see also Revisionsbericht)
Kunst—art (“Tonkunst”—music [tonal art])
Lexikon (L)—dictionary (abb. used in combination with an au-
thor, e.g., RiemannL) (see also Wörterbuch)
Lieferung (Lfg.)—part of a work, fascicle
Literatur (Lit.)—literature, letters, bibliography
Manuskript (Ms.)—manuscript (see also Handschrift)
Mitarbeiter (Mitarb.)—collaborator
Mitteilung (Mitt.)—announcement, communication (see also
Nachricht)
Mitwirkung (Mitw.)—cooperation
Monatsheft—monthly periodical
Musik Lexikon (M Lex.)—music lexicon, dictionary (see also
Wörterbuch)
Musikalien—printed music
Musikforschung (Mf.)—music research (see also Musikwissen-
schaft)
Musikgeschichte (Mg.)—music history
Musikverein (MV)—musical society (see also Gesellschaft)
Musikwissenschaft (Mw.)—musicology (see also Musikfor-
schung)
Nachricht (Nachr.)—communication, report, notice (see also
Mitteilung)
Nachwort (Nachw.)—concluding remarks, epilogue
Neuauflage—reprint, republication
Neuausgabe, Neue Ausgabe (NA)—new edition
Neudruck (Neudr.)—reprint
ohne (o.)—without (“ohne Jahr” [o.J.]—no year [of publication];
“ohne Ort” [o.O.]—no place [of publication], no opus
[number])
Partitur (P., Part.)—musical score](https://image.slidesharecdn.com/3426158-250620090105-bad73ce3/75/Sourcebook-For-Research-In-Music-3rd-Allen-Scott-Phillip-D-Crabtree-35-2048.jpg)
![Introductory Materials 11
publiziert (publ.)—published (see also herausgegeben)
Originalquellen—primary sources
Quelle—source
Quellen zweiter Hand—secondary sources
Redakteur; Redaktion (Red.)—editor (see also Herausgeber);
editorial matter, editorial staff
Register—index
Reihe (R.)—series, set, tone row (“Neue Reihe” [N.R.]—new
series)
revidiert (rev.)—revised (“redivierte Auflage”)
Revisionsbericht—critical commentary (see also Kritischer
Bericht)
Sammelband (Sbd., Smlbd.)—volume containing a collection of
essays
Sammelwerk (Sw., Swk.)—collected works (see also Auflage,
Ausgabe, Gesammelte Werke, Gesamtausgabe, Sämt-
liche Werke)
Sammlung (Samlg., Samml., Slg., Slng.)—collection, compila-
tion, set
Sämtliche Werke—complete works (see also Auflage, Ausgabe,
Gesammelte Werke, Gesamtausgabe, Sammelwerk)
Schrift—writing, book, periodical, etc.
Schriftleiter; Schriftleitung (Schriftl.)—editor (see also Her-
ausgeber, Redakteur); editorship, editorial staff (see also
Redaktion)
Seite (S.)—page
siehe oben (s.o.)—see above, supra
siehe unten (s.u.)—see below, infra
Skizzen (SK)—sketches, outlines
Stimmbuch (Stb.)—part book
Tabelle (Tab.)—table, chart, graph (see also Tafel)
Tafel (Taf.)—table (see also Tabelle)
Teil (Tl.)—part, division (“zum Teil” [z.T.]—in part)
Titelblatt—title page
Transkription—transcription
Überlieferung—tradition, inheritance, surviving original
sources, etc.
Übertragung (Übtr.)—translation, transcription
und andere (u.a.)—and others, et al.
und so weiter (usw.)—and so forth, etc.
unter anderem (u.a.)—among others
Urtext—original text
Verein (Ver.)—association, society (see also Gesellschaft)
Verfasser (Verf.)—composer, writer
vergleich (vgl., vergl.)—compare](https://image.slidesharecdn.com/3426158-250620090105-bad73ce3/75/Sourcebook-For-Research-In-Music-3rd-Allen-Scott-Phillip-D-Crabtree-36-2048.jpg)
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- 8. SOURCEBOOK FOR RESEARCH IN MUSIC Third Edition Allen Scott PhilliPD. crAbtree AnD DonAlD h. FoSter, FounDing eDitorS inDiAnA univerSity PreSS bloomington AnD inDiAnAPoliS
- 9. This book isa publication of Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA iupress.indiana.edu Telephone 800-842-6796 Fax 812-855-7931 © 2015 by Indiana University Press All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1992. Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Scott, Allen (Dale Allen), [date]- compiler. Sourcebook for research in music / Allen Scott ; Phillip D. Crabtree and Donald H. Foster, founding editors. — Third edition. pages cm Includes bibliographical references and indexes. ISBN 978-0-253-01448-1 (paperback : alkaline paper) — ISBN 978-0-253-01456-6 (ebook) 1. Music—Bibliography. 2. Music—History and criticism—Bibliography. 3. Music— Bibliography of bibliographies. I. Crabtree, Phillip, compiler. II. Foster, Donald H., compiler. III. Title. ML113.S46 2014 016.7—dc23 2014022235 1 2 3 4 5 19 18 17 16 15
- 10. To Don andPhil Thank you for letting me adopt your baby.
- 12. C o nt e n t S Preface to the Third Edition xv Acknowledgments xvii 1. Introductory Materials 1 1.1 Common English Bibliographical Terms 1 1.2 Common German Bibliographical Terms 8 1.3 Common French Bibliographical Terms 12 1.4 Common Italian Bibliographical Terms 14 1.5 Library of Congress Music Classification 17 M Music 18 Instrumental Music 18 Vocal Music 19 ML Literature on Music 20 MT Musical Instruction and Study 21 1.5.1 Some Nonmusical General LC Classifications Relating to Research in Music 23 1.6 Dewey Decimal Classification: Music 23 1.6.1 Dewey Decimal Classification 23: Music 24 1.6.2 Dewey Decimal Classification 19: Music 30 PArt 1: SourceS oF LiterAture About MuSic AnD MuSiciAnS 2. General Bibliographies, Indexes, Catalogs, and Guides 39 2.1 Online Resources 40 2.2 General Music Bibliographies, Reference Works, and Research Guides 41 2.3 Monographs in Series 43 2.4 Dissertations 44 2.5 Festschriften 45 2.6 Congress Reports 45 2.7 Directories and Catalogs of Libraries, Institutions, and Collections 46 2.7.1 Libraries 46 2.7.2 Library and Union Catalogs 47 American 47
- 13. viii Contents European 48 International50 2.7.3 Private Music Collections 50 2.7.4 Musical Instrument Collections 50 2.7.5 Schools of Music 51 2.8 Guides to Historical Periods 52 2.9 Guides to National Music 52 2.10 International Music Guides 53 3. Dictionaries and Encyclopedias of Music 55 3.1 General Dictionaries and Encyclopedias 55 3.1.1 Of Historical Interest 60 3.2 Biographical Dictionaries and Encyclopedias 61 3.2.1 International 61 3.2.2 North American 64 3.2.3 English 64 3.2.4 Of Historical Interest 65 3.3 Specialized Dictionaries and Encyclopedias 65 3.3.1 Dictionaries of Terms 66 Individual Subject Areas 68 Of Historical Interest 69 3.3.2 Musical Instruments and Makers 70 General 70 Of Historical Interest 71 Strings 71 Winds 72 Percussion 72 Keyboard 73 3.3.3 Dramatic Music 73 3.3.4 Sacred Music 76 3.3.5 Jazz and Popular Music 77 3.3.6 Dance 78 3.3.7 Musical Themes and Compositional Devices 79 3.3.8 Miscellaneous Sources 80 4. Journals and Periodicals and Their Indexes 81 4.1 Current Journals and Periodicals 82 4.1.1 Musicology 82 Bibliography 82 Historical Musicology 82 Limited to a Country and/or Period 84 Limited to a Single Composer 85 Iconography 86 Performance Practice 86 4.1.2 Ethnomusicology and Regional Studies 87
- 14. Contents ix 4.1.3 MusicTheory and New Music 88 4.1.4 Performing Instrument, Medium, or Genre 89 4.1.5 Music Education 91 4.1.6 Other Journals 92 4.2 Information about Music Journals and Periodicals 94 4.3 Databases and Indexes to Journals and Periodicals 95 5. Area Bibliographies, Indexes, Catalogs, and Guides 1: Fields of Musical Study 101 5.1 Musicology 101 5.1.1 The History of Musicology 102 5.1.2 Comprehensive Overviews 102 5.1.3 Selected Discussions of the Discipline in Chronological Order 103 5.1.4 Selected Gender and Sexuality Studies in Chronological Order 106 5.1.5 Discussions of Musicology in the United States in Chronological Order 109 5.1.6 SystematicMusicologyandMusicPsychology 110 5.1.7 Music Historiography 112 5.1.8 Miscellaneous Sources 113 5.2 Ethnomusicology 114 5.2.1 General Sources and Bibliographies 115 Classic Presentations of the Field 117 Works About Ethnomusicology as a Field of Research 117 Surveys of World Music 121 Musical Instruments 122 5.2.2 Selected Monographs and Studies 122 Exemplars of Ethnomusicological Methodologies 122 General Works About Individual Cultures or Cultural Areas 123 Collections and Series 123 The Americas 125 North America 125 Latin America and the Caribbean 127 Europe (including Central and Eastern Europe) 129 The Middle East 129 Subsaharan Africa 131 Asia 134 Afghanistan 134 China 134 Japan 136
- 15. x Contents Korea 137 Tibet137 Turkey 137 Miscellaneous Asian Cultural Areas 138 The Indian Subcontinent 138 Southeast Asia 140 Bali, Java, Indonesia, Sumatra, Malaysia 140 Burma/Myanmar 143 Thailand 143 Vietnam 144 Miscellaneous Southeast Asian Cultural Areas 144 Oceania 144 Ethnomusicology and Performance Practice 144 5.3 Music Theory 145 5.3.1 The History of Theory 146 5.3.2 Bibliographies and Guides to the Literature 148 5.3.3 General Issues of Style and Analysis 150 5.3.4 Twentieth-Century Theories of Tonal Music 152 Theories of Tonality and Tonal Music 152 Schenkerian Analysis 154 5.3.5 Twentieth-Century Theories of Nontonal Music 156 Atonality, Serialism, and Set Theory 156 Modality and Octatonicism 158 Microtonality 158 5.3.6 Musical Time: Theories of Rhythm and Meter 158 5.3.7 Theories of Musical Timbre 159 5.3.8 Aesthetics and Semiotics of Music 160 5.3.9 Texts of Theoretical Treatises 164 5.4 Music Education 164 5.4.1 Bibliographies, Directories, and Indexes 165 5.4.2 General Reference Sources 167 5.4.3 The History of Music Education 170 5.4.4 Research Methodology 171 5.4.5 Research Overviews 172 5.4.6 Pedagogy 173 5.5 Music Therapy 177 5.5.1 Bibliographies and Other Guides to Research 177 5.5.2 Introductions to the Discipline 177 5.5.3 Various Guides and Discussions of History, Theory, and Practice 178 5.6 Music History 181 5.6.1 Historical Surveys of Western Music 181
- 16. Contents xi Miscellaneous Sources183 Of Historical Interest 184 5.6.2 Histories in Series 184 Of Historical Interest 189 5.6.3 Studies in English of Individual Historical Periods 190 Classical Antiquity 190 Medieval and Renaissance (Baroque) 190 Baroque, Classic, and Romantic 191 Twentieth and Twenty-First Centuries 193 5.6.4 Histories of American Music 194 5.6.5 Chronologies and Outlines 195 General and Comprehensive 196 Twentieth Century 197 American 198 Opera 198 5.6.6 Pictorial Sources on Music History 198 General 199 Instruments and Ensembles 199 Specific Subjects 201 5.7 Collections of Excerpts from Primary Sources on Music 201 5.8 Performance Practice 204 5.8.1 Bibliographies of the Literature 205 5.8.2 General Treatments 205 5.8.3 Studies Specific to an Area, Style Period, or Genre 206 5.8.4 Examples of More Specialized Discussions 208 5.8.5 Discussions of the Performance Practice Movement 212 5.8.6 Guides for Performers 213 5.8.7 Studies of Historical Interest 217 5.8.8 Editions of Selected Primary Sources 218 5.8.9 Anthologies 219 5.9 Bibliographies, Indexes, Catalogs, and Guides in Other Selected Areas 219 5.9.1 American Art Music 220 Indexes and Bibliographies 220 Selected Studies 221 5.9.2 Black Music 223 Indexes and Bibliographies 223 Selected Studies 224 5.9.3 Dance Music 226 Indexes and Bibliographies 226 Selected Studies 227
- 17. xii Contents 5.9.4 Musicand Gender-Sexuality Studies 227 Selected Studies 227 5.9.5 Women in Music 229 Indexes and Bibliographies 229 Selected Studies 230 5.9.6 American Folk and Popular Music 232 General Surveys, Anthologies, and Bibliographies 232 Folk and Bluegrass 234 Jazz and Blues 235 Rock 238 Late Twentieth-Century Popular Music 239 5.9.7 General Sources on World Music and the Globalization of Music 240 5.9.8 The Music Industry and Music Business 240 General Sources 241 Careers in Music 242 Arts Management 244 Music Recording, Production, and Digital Technology 245 Music Printing, Publishing, and Copyright 248 U.S. Government Websites and Official Texts 249 Sources 249 6. Area Bibliographies, Indexes, Catalogs, and Guides 2: Musicians, Instruments, and Repertories 253 6.1 Biographies of Musicians 253 6.1.1 Sources of Biographies 253 6.1.2 Biographies of Composers in English 255 6.1.3 Biographies and Bibliographies of Composers and Musicians in Series 287 Bio-Bibliographies in Music 287 Routledge Music Bibliographies 291 Other 294 6.2 Sources on Musical Instruments 300 6.2.1 General 300 6.2.2 Strings 301 6.2.3 Winds 301 6.2.4 Percussion 302 6.2.5 Keyboard 302 6.3 English-Language Sources on Musical Genres and Forms 302 6.3.1 Vocal 303 Solo Song 303 Cantata 306
- 18. Contents xiii Dramatic Music306 Surveys and General Studies 306 Studies by Country 309 United States of America 309 Czech Republic 310 England 310 France 311 Germany and Austria 312 Italy 313 Libretto Studies 314 Secular Part Song 314 Sacred Music 315 Oratorio, Passion, and Requiem 319 Surveys of Choral Music 320 6.3.2 Instrumental 321 Symphonic Music 321 Chamber Music 323 Keyboard Music 324 Sonata 326 Fugue 327 Electronic and Computer Music 327 German Multivolume Series on Genres 328 Miscellaneous Sources 329 6.4 Text Translations and Guides to Pronunciation 330 6.5 Repertory Guides 331 6.5.1 Instrumental Music 331 6.5.2 Vocal Music 334 PArt 2: SourceS oF MuSic AnD RecorDingS 7. Sources of Music 341 7.1 Primary Sources of Early Music: Manuscripts and Prints 341 7.1.1 General 341 7.1.2 American 343 7.2. Editions of Music 344 7.2.1 Sources in English on Music Notation and Editing 344 General Sources 345 Editing Early Music 346 New Notation 347 7.2.2 Historical Sets, Series, and Monuments of Music 348 Indexes and Bibliographies of Historical Sets, Series, and Monuments 348 Limited to an Era 349
- 19. xiv Contents Limited toa Region 350 Limited to an Era and a Region 352 Limited to a Medium or Genre 352 Instrumental Ensemble 352 Keyboard 353 Lute and Guitar 353 Vocal 354 Limited to a Medium or Genre and to a Region and/or Era 354 Without Specific Limitations 356 7.2.3 Composers’ Complete Works and Catalogs 357 7.2.4 Other Thematic Catalogs 375 7.2.5 Anthologies of Music 376 General 376 Limited to an Era 378 Limited to a Medium or Genre 379 LimitedtoaMediumorGenreandtoaRegion 380 Comprehensive Multivolume Sets 381 8. Discographies and Recordings 384 8.1 Bibliographies of Discographies 384 8.2 Internet Sources for Recordings 385 8.3 Specialized Discographies 386 8.3.1 Classical, Opera, and Choral 386 8.3.2 Gregorian Chant and Early Music 387 8.3.3 American Art Music 387 8.3.4 Conductors 388 8.3.5 Women Composers 388 8.3.6 Ethnomusicology and World Music 388 8.3.7 American Popular Music 389 Indexes 391 Index of Authors, Editors, Compilers, Translators, and Composers 391 Index of Titles 419
- 20. Preface to theThird Edition It has been an honor for me to continue the work of Phillip Crab- tree and Donald Foster by bringing out first a second and now a third edition of the Sourcebook for Research in Music. Their hard work and foresight in the early 1990s resulted in, to quote from the preface to the first edition, “an introductory reference source of varied information, largely bibliographical, pertaining to re- search in the field of music.” This “introductory reference source” has since become one of the standard resources in musical scholar- ship. The balance between depth of content and brevity of format made it an ideal textbook for graduate music students, a valuable reference work for music faculty and professional musicians, and a helpful aid to collection evaluation and development for music librarians. In the third edition, my aim was to continue the purpose, style, and content established by the original authors. Therefore, the raison d’être for the third edition is the same as that of the first. To quote again from the first edition preface: “The past decade or so has witnessed an extraordinary expansion of the materials of music, and the field is growing ever more rapidly. It has become a herculean task to try to keep up with the many effort-saving sources that are constantly becoming available. Thus, in the in- terest of practicality and usefulness, emphasis has been placed on the more recent and up-to-date ones rather than on those of more purely historical or musicological interest, and on English- language sources rather than on those in foreign languages. Cer- tain major early sources have occasionally been included, usually under the heading ‘Of Historical Interest,’ and some of the bibli- ographies include more recent sources in other languages as well, chiefly German and French, when considered to be of particular importance. . . . Some of the bibliographies . . . are meant to pro- vide the means of direct access to materials of research; others em- phasize the basic or current representative sources of significance. In other words, in the bibliographies and other materials that fol- low, the guiding principle, to one extent or another, is selectivity rather than comprehensiveness, as detailed in the chapter intro-
- 21. xvi Preface tothe Third Edition ductions and collective annotations throughout.” In short, my de- sire was to continue Don and Phil’s guiding principle of selectivity rather than comprehensiveness. As those who are familiar with the first two editions will note, the organization of the third edition is a bit different from that of the first and second. The third edition is divided into two large parts. Part one contains sources of literature about music. It is here that you will find general bibliographies and indexes, directories and catalogs, dictionaries, encyclopedias, and journals. The last two chapters of part one are the “meatiest” chapters. Chapter 5 contains lists of sources about fields of musical study (e.g., musi- cology, ethnomusicology, music theory, music education, music therapy, music history, performance practice, popular music, the business of music, etc.). Chapter 6 lists sources about musicians, musical instruments, musical genres and forms, text translations, and repertory guides. Part two contains specific sources that tell you where to go to find the music itself (both scores and recordings). Chapter 7 lists indexes of early manuscripts and prints, modern editions, historical sets, composers’ complete works, thematic cat- alogs, and anthologies. Chapter 8 concerns sources for locating recordings (discographies and online sources) as well as informa- tion on the discipline of discography. Because the idea of a new arrangement came out of my sixteen years of teaching the tradi- tional research methods and bibliography courses for graduate students, the organization fairly closely resembles the structure of my classes. I believe that the new arrangement will make the Sourcebook even more valuable as a textbook and will enhance rather than diminish its usefulness for performers, teachers, and librarians. Oklahoma State University October 2013
- 22. Acknowledgments In addition toDon and Phil, I wish to thank the following col- leagues for their kind assistance and wise counsel: Dr. Joanna Carter (The Florida State University), Dr. Anne Prestamo (Florida International University), Dr. Jennifer Oates (Aaron Copland School of Music of Queens College), Dr. Marian Wilson Kim- ber (University of Iowa), Dr. Clovis de Andre (Faculdade Santa Marcelina, Sao Paulo), and Daniele Torelli (Libera Università di Bolzano).
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- 26. c h AP t e r o n e Introductory Materials As a preliminary to the bibliographies that constitute the main body of this volume, this chapter presents some general informa- tion pertaining to research in music. First there is a list of stan- dard English terms that relate to the scholarly study of music or to general bibliography and library research, with definitions. Next follow lists of such terms in the three other most important lan- guages of research in music, German, French, and Italian, together with English equivalents. The final lists are general outlines of the music classification numbers in the two standard library catalog- ing systems in North America, the Library of Congress Classifica- tion system and the Dewey Decimal Classification system. 1.1 C O M M O N E N G L I S H B I B L I O G R A P H I C A L T E R M S The terms that follow have been brought together because of their application to scholarship in general and the scholarly study of music in particular. Some (e.g., abstract, anthology, catalog, dis- cography) will be quite familiar and are generally known, while others might be confusing (congress report, journal, magazine, peri- odical). Many, even most, are likely to be less familiar because they are new or relate to the study of books (codex, foliation, incunabula, siglum, watermark), manuscripts (autograph, choirbook, holograph), printing (colophon, facsimile, frontispiece), research libraries (archive, carrel, microforms, serial, stacks), or scholarship (collate, historical set, iconography, Urtext). Some are technical or specialized enough so that they are not to be found in most dictionaries. For further in- formation and other terms, see Michael Levine-Clark and Toni M. Carter, eds., A.L.A. Glossary of Library and Information Science, 4th
- 27. 2 Introductory Materials ed.(Chicago:American LibraryAssociation, 2012); Jean Peters, The Bookman’s Glossary, 6th ed., rev. and enl. (New York: R. R. Bowker, 1983); and Willem Elbertus Clason, ed., Elsevier’s Dictionary of Li- brary Science, Information and Documentation in Six Languages: En- glish/American, French, Spanish, Italian, Dutch and German, 2nd ed. (Amsterdam, London, and New York: Elsevier, 1992). abstract—a summary of a book, article, etc.; also called a précis (e.g., Dissertation Abstracts, RILM Abstracts). anthology—a representative collection of selected musical or literary works or excerpts. archive—a place in which public or institutional records are sys- tematically preserved, or a repository of any documents or other materials, especially those of historical value. arrangement—a reworking of a musical composition so that the performing forces, the musical content, or the form are substantially different from the original (compare edition, definition c, and transcription). autograph—a document (music manuscript, letter, etc.) written or signed in a person’s own hand; thus, a primary source (see sources, primary and secondary; compare holograph, manuscript). carrel—an alcove or desk in a library—often in the stacks— comprising a table and shelves for private study, to which books in a library’s collection may be charged for re- search use. catalog, catalogue—(a) a list of the contents of a library, book collection, or group of libraries (see union catalog); (b) a list or index of compositions, usually by a single composer rather than of a collection or a repertory of music (see thematic catalog). CD-ROM (“compact disc read-only memory”)—any informa- tion, such as a database, stored on compact discs and read- able on the screen of a computer designed for this pur- pose, or one equipped with a CD-ROM drive (see online catalog, database). choirbook—a music manuscript in a large enough format and with the separate voice parts of the compositions con- tained in it written large enough on the same or on facing pages so that an entire choir could sing from it (in use especially in the 15th and early 16th centuries). (See also partbook, manuscript.) codex (pl.: codices)—an ancient book or unbound sheets in a manuscript (e.g., Squarcialupi Codex, Trent Codices; see The New Harvard Dictionary of Music, “Sources [pre-1500]”).
- 28. Introductory Materials 3 collate—tocompare minutely in order to determine whether two or more books or manuscripts are identical copies or variants. collected works, complete edition—the publication of the entire compositional output of a single composer in a scholarly edition (compare edition, definition c, historical set, monument). colophon—(a) an inscription usually placed at the end of a book or manuscript and containing facts relative to its production; (b) an identifying mark, emblem, or device sometimes used by a printer or publisher on the title page, cover, spine, or jacket, i.e., a logotype (commonly called “logo”) (compare imprint). congress report—a publication containing the texts of the papers read at a congress or conference, either a one-time event on a particular topic, such as an individual composer, or the regular meeting of a society; in the first instance, the report would normally be an independent publication, and in the second, it could be one of a series of such vol- umes (see proceedings) or published in the association’s journal. copyright (©)—the “right to copy”; the exclusive, legally secured right to reproduce, publish, record, and sell the matter and form of a literary, musical, or artistic work for a period in the United States of seventy years beyond the death of the writer, with no right of renewal (Copyright Act of 1976 and the Copyright Term Extension Act of 1998); works created in 1923 or after, and that were still in copyright in 1998, will not enter the public domain until 2019. Addi- tions to and clarifications of U.S. copyright law are found in the Digital Millennium Copyright Act (1998) and the Technology, Education and Copyright Harmonization (TEACH) Act (2002). discography—a listing of phonograph records, compact discs, videotapes, and/or tape recordings. edition—(a) all the impressions of a literary work printed at any time or times from one setting-up of type (excluding a facsimile reproduction, which constitutes a different edition); (b) one of the successive forms—e.g., second, revised, enlarged, corrected, etc.—in which a work is published, either by the author or a subsequent editor (see also reprint edition, revised edition); (c) the presentation of an older musical composition in a version that makes it accessible to modern performers (compare arrangement, transcription).
- 29. 4 Introductory Materials engraving—theprocess of incising a design, musical composi- tion, etc., on a metal plate, or the resulting print made from it when the incised lines are inked. facsimile—an exact reproduction (but not necessarily the original color or size) of a manuscript or printed source (compare reprint edition). fair copy—a neat copy of a corrected document. fascicle—one of the temporary divisions of a work which is is- sued in small installments intended to be bound together permanently at a later time. Festschrift—a publication on the occasion of a celebration, or in honor of someone (e.g., on the occasion of a renowned scholar’s sixtieth birthday), usually consisting of articles by scholars practicing in the field of the one honored, e.g., colleagues, former students, or other professionals. foliation—the consecutive numbering of the leaves (i.e., the sheets of paper with a page on each side) of a book or manuscript, as opposed to the numbering of the pages (see also recto, verso). folio (f., fo., fol.)—(a) a leaf of a manuscript or book (see recto, verso); (b) formed of sheets each folded once into two leaves or four pages (“in folio”); (c) a page size more than 15 inches/38 centimeters high; (d) a volume of this size. format—the general makeup of a book as to size and other fea- tures (see also folio, oblong, octavo, quarto). frontispiece—an illustration preceding and facing the title page of a book. historical set—a set of volumes of music of historical signifi- cance (compare monument; see chapter 7 of this book). holograph—a document (music manuscript, letter, etc.) wholly in the handwriting of its author (from the Greek word holos, “whole” or “complete”); thus, a primary source (see sources, primary and secondary; compare autograph, manuscript). iconography—the study of the representation of objects by means of images or statues, reliefs, mosaics, paintings, etc. imprint—the publisher’s name, often with address and date of publication, placed at the foot of the title page or else- where in a book (compare colophon). incipit—the first few notes or words of text used to identify a musical composition. incunabula (pl.)—Latin, “cradle”; books printed from movable type before 1500 (i.e., the cradle of printing). ISBN, ISSN (International Standard Book Number; Inter- national Standard Serial Number)—code numbers in an
- 30. Introductory Materials 5 internationalidentification system first developed in the United Kingdom in 1967 and adopted in the U.S. in 1968; the identifying code is placed at the front of books and serials respectively (e.g., ISBN 0-697-03342-2, ISSN 1044- 1608). journal—(a) a generic term to refer to, or sometimes used in the title of, a scholarly periodical (e.g., Journal of the American Musicological Society); (b) a diary or daily record of occur- rences, transactions, or reflections. (Compare magazine, periodical, proceedings, review, yearbook; see chapter 4 of this book.) lacuna (pl.: lacunae)—a hiatus, gap, or missing portion in a source or body of works. lexicon—a book containing an alphabetical or other systematic arrangement of words and their definitions; a dictionary. magazine—a periodical containing articles, pictures, reviews, advertisements, etc., often of popular interest and some- times focusing on a specific subject area. manuscript (MS, ms)—(a) a book, document, musical composi- tion, letter, etc., written by hand; (b) an author’s written or typed copy of a work before it is printed; thus, a primary source (see sources, primary and secondary; compare autograph, holograph). microforms—a general term for microfilm and other miniature processes of reproduction such as the following: microcard—a card on which numerous pages of a book are reproduced in greatly reduced size. microfiche—a card-like transparency on which appear multiple frames of microfilm. microfilm—a photographic reproduction in which the image is reduced to fit a frame of 35 mm or 16 mm film. monograph—a scholarly study (book or article) treating a single subject or a limited aspect of a subject (see also treatise). monument, musical—a scholarly edition of music from one region or country (Denkmal [pl.: Denkmäler] is the German equivalent) (see edition, definition c; refer to chapter 5 of this book). necrology—(a) a notice of the death of a person; obituary; (b) a list or record of people who have died within a certain period of time; in either sense, there may or may not be biographical information included. oblong (ob., obl.)—a book size wider than it is high (e.g., 4° obl., 8° obl.). octavo (8°, 8vo)—the size of a piece of paper cut eight from a sheet, or a page size about 9 3/4 inches/25 centimeters high.
- 31. 6 Introductory Materials onlinecatalog, database—a catalog of information (such as a li- brary’s holdings with information about each item) loaded into a computer, which may be called up by author, title, subject, keyword(s), type or set of composition(s), etc., on a computer terminal (see catalog, catalogue, definition a). opus (pl. opera, opuses)—a creative work, usually a composi- tion, to which a number is assigned by a composer or publisher to indicate its order in a composer’s written and/ or published output. partbook—one of a set of printed or manuscript books, each containing the music for only one voice or instrument part in an ensemble (in use throughout the sixteenth century and into the seventeenth). periodical—a journal or magazine ordinarily with a fixed inter- val between issues (compare serial). précis—a summary of a book, article, etc.; also called abstract. proceedings—a published report of a conference or meeting of a society or congress, frequently accompanied by abstracts or texts of the papers presented there (see also congress report). pseudonym—pen name; nom de plume. quarto (4°, 4to)—the size of a piece of paper cut four from a sheet, or a page size about 12 inches/30 centimeters high. rastrology—the study of musical staves drawn by hand using a rastrum (Latin, “rake”), a pen with five or more points used to draw one or more staves at a time; the com- parison of differences and irregularities between the lines and staves thus drawn may lead to conclusions such as probable date, identity of the scribe, etc., of a manuscript. recto (r)—the side of a folio that is to be read first, i.e., the right- hand page (e.g., “fol. 2r”; see also verso). reprint edition—a later unaltered printing of a work that ordi- narily is no longer in print, often issued by another pub- lisher who specializes in these editions, such as Da Capo or Dover (compare facsimile, revised edition). reprography—the process of copying documents by xerography, photography, etc. review—(a) a writing which gives a critical assessment of some- thing, such as a written work or musical performance; (b) a term often used in titles of scholarly periodicals (e.g., Performance Practice Review, La revue musicale). revised edition—an edition of a work incorporating major revi- sions by the author or an editor and often supplementary matter designed to bring it up-to-date (compare reprint edition).
- 32. Introductory Materials 7 serial—anypublication usually appearing at regular intervals, including periodicals, annuals (yearbooks), newspapers, proceedings, etc. shelflist—a bibliographical record of a library collection in call- number order. siglum (pl.: sigla)—a letter or letters with or without numbers used to identify a manuscript or printed source, library, or archive (see The New Harvard Dictionary of Music, “Sources [Pre-1500]”). sources, primary and secondary—a primary source is a compo- sition, letter, or document by a composer, author, or some other person, or any document dating from the historical period in question that gives the words of the witnesses or recorders of an event; a secondary source is second- or third-hand information and may be based on a primary source. stacks—a library term for the main area in a library where books are shelved. Stacks are either “open,” if the general public is admitted to them, or “closed,” if it is not. stemmatics—from stemma (Latin, “garland, wreath”); the ge- nealogical study of musical or literary manuscripts. thematic catalog—a list or index of compositions, usually by a single composer rather than a collection or repertory of music, in which each composition or movement is identified by an incipit (compare catalog, catalogue, definition b). transcription—(a) the transliteration of an early work into modern musical notation; (b) the process or result of adapting a musical composition (usually instrumental) to a medium other than its original one, which may vary from little more than a transference from one medium to another to a modification of the original necessitated by the change of medium (compare arrangement, edition). treatise—a learned, formal writing on a subject, usually in book form (see also monograph). union catalog—a library catalog listing the holdings of a group of cooperating libraries (see catalog, catalogue, defini- tion a). Urtext—original text, often a prototype from which later variants (texts, compositions, etc.) are derived. verso (v)—the side of a folio that is to be read second, i.e., the re- verse side or left-hand page (e.g., “fol. 2v”; see also recto). watermark—a manufacturer’s identifying mark or design em- bedded in a sheet of paper, resulting from different thick- nesses in the paper and visible when held up to light. yearbook—a publication issued annually, such as the Bach-Jahr-
- 33. 8 Introductory Materials buchor “Recherches” sur la musique française classique, that contains scholarly contributions and information, often limited to a specific area. 1.2 C O M M O N G E R M A N B I B L I O G R A P H I C A L T E R M S The English equivalents given for the following German terms are those that concern bibliography and scholarship (e.g., Folge can also mean “sequel,” “result,” “inference,” etc., as well as “se- ries”); in particular, note terms that are not obvious cognates or are even misleading ones, sometimes called “false friends” (e.g., Band, Brief, Kapitel, Register). Abbreviations commonly used in scholarly German are given here, and other standard ones may be found listed in any good German-English dictionary. The abbreviations of musical terms have been taken largely from Richard Schaal’s Abkürzungen in der Musik-Terminologie, which is devoted entirely to abbreviations in music; and from Die Musik in Geschichte und Gegenwart [MGG] (see chapter 3 under “General Dictionaries and Encyclopedias”), whose abbreviations are listed at the beginning of each volume. Abbildung (Abb.)—illustration, figure Abdruck (Abdr.)—impression, print, reproduction Abhandlung (Abh.)—treatise Abkürzung (Abk.)—abbreviation Abschrift (Abschr.)—reprint, copy Anhang (Anh.)—appendix, supplement (see also Beilage, Beiheft) Anmerkung (Anm.)—footnote (see also Fussnote) Anthologie (Anth.)—anthology Archiv (Arch.)—record office, archive Aufführungspraxis—performance practice Auflage (Aufl.)—edition (see also Ausgabe, Gesammelte Werke, Gesamtausgabe, Sammelwerk, Sämtliche Werke) Aufrufzahl—call number, shelf mark Ausgabe (Ausg.)—edition (see also Auflage, Gesammelte Werke, Gesamtausgabe, Sammelwerk, Sämtliche Werke) Ausgewählte Werke (AW)—selected works Band (Bd.)—volume Bearbeiter; Bearbeitung (Bearb.)—compiler, author, reviser; compilation, edition, arrangement Beiheft (Beih.)—supplement (see also Anhang, Beilage) Beilage (Beil.)—supplement, appendix (see also Anhang, Beiheft)
- 34. Introductory Materials 9 Beispiel(Beisp.)—example (“zum Beispiel” [z.B.]—for ex- ample, e.g.) Beitrag (Beitr.)—contribution (i.e., to a journal) Bemerkungen (Bem.)—remarks, annotations, commentary Bericht (Ber.)—report, commentary (see also Kritischer Bericht, Revisionsbericht) Besprechung—review, criticism, conference beziehungsweise (bzw.)—respectively; or, or else; more specifi- cally Bibliothek (Bibl.)—library Bildnis (Bildn.)—portrait, likeness Bildtafel—plate in a book Blatt (Bl.)—leaf, folio; newspaper Brief—letter, epistle Buchhändler; Buchhandlung (Buchh.)—bookseller; bookshop das heisst (d.h.)—that is, i.e. (also “das ist”) Denkmäler (Dkm.) (pl.)—monuments Doktorarbeit; Dissertation (Diss.)—doctoral dissertation Druck (Dr.)—print, printing, impression ebenda(selbst) (ebd.)—in the same place, ibidem Einleitung (Einl.)—introduction erscheinen (ersch.)—to appear, come out, be published Festschrift (Fs.)—publication on the occasion of a celebration or in honor of someone Folge (F.); Neue Folge (N.F.)—series, continuation, issue; new series or issue (“und folgende” [u.ff.]—and following) Fussnote—footnote (see also Anmerkung) geboren (geb.)—born gedruckt (gedr.)—printed Gegenwart (Gegenw.)—present time Gesammelte Werke (GW)—complete works (see also Auflage, Ausgabe, Gesamtausgabe, Sammelwerk, Sämtliche Werke) Gesamtausgabe (GA)—complete works (see also Auflage, Ausgabe, Gesammelte Werke, Sammelwerk, Sämtliche Werke) Geschichte (Gesch.)—history Gesellschaft (Ges.)—society, association, club (see also Verein, Musikverein) gestorben (gest.)—died getauft (get.)—baptized Handbuch (Hdb.)—handbook, manual Handexemplar—composer’s or author’s copy Handschrift (Hs.)—manuscript (see also Manuskript) Heft (H.)—number, part
- 35. 10 Introductory Materials Herausgeber(Hrsg.); herausgegeben (hg.)—editor (see also Redakteur); edited, published (see also publiziert) Inhalt (Inh.)—table of contents insbesondere (insb.)—especially, particularly Jahr (J.)—year jährlich—yearly, annually Jahrbuch (Jb.)—yearbook Jahreszahl (JZl.)—date, year Jahrgang (Jg.)—the bound issues of a periodical for one year Jahrhundert (Jh.)—century Kapitel (Kap.)—chapter Katalog (Kat.)—catalog Komponist (Komp.)—composer Kritischer Bericht (Krit. Ber.)—critical report or commentary (see also Revisionsbericht) Kunst—art (“Tonkunst”—music [tonal art]) Lexikon (L)—dictionary (abb. used in combination with an au- thor, e.g., RiemannL) (see also Wörterbuch) Lieferung (Lfg.)—part of a work, fascicle Literatur (Lit.)—literature, letters, bibliography Manuskript (Ms.)—manuscript (see also Handschrift) Mitarbeiter (Mitarb.)—collaborator Mitteilung (Mitt.)—announcement, communication (see also Nachricht) Mitwirkung (Mitw.)—cooperation Monatsheft—monthly periodical Musik Lexikon (M Lex.)—music lexicon, dictionary (see also Wörterbuch) Musikalien—printed music Musikforschung (Mf.)—music research (see also Musikwissen- schaft) Musikgeschichte (Mg.)—music history Musikverein (MV)—musical society (see also Gesellschaft) Musikwissenschaft (Mw.)—musicology (see also Musikfor- schung) Nachricht (Nachr.)—communication, report, notice (see also Mitteilung) Nachwort (Nachw.)—concluding remarks, epilogue Neuauflage—reprint, republication Neuausgabe, Neue Ausgabe (NA)—new edition Neudruck (Neudr.)—reprint ohne (o.)—without (“ohne Jahr” [o.J.]—no year [of publication]; “ohne Ort” [o.O.]—no place [of publication], no opus [number]) Partitur (P., Part.)—musical score
- 36. Introductory Materials 11 publiziert(publ.)—published (see also herausgegeben) Originalquellen—primary sources Quelle—source Quellen zweiter Hand—secondary sources Redakteur; Redaktion (Red.)—editor (see also Herausgeber); editorial matter, editorial staff Register—index Reihe (R.)—series, set, tone row (“Neue Reihe” [N.R.]—new series) revidiert (rev.)—revised (“redivierte Auflage”) Revisionsbericht—critical commentary (see also Kritischer Bericht) Sammelband (Sbd., Smlbd.)—volume containing a collection of essays Sammelwerk (Sw., Swk.)—collected works (see also Auflage, Ausgabe, Gesammelte Werke, Gesamtausgabe, Sämt- liche Werke) Sammlung (Samlg., Samml., Slg., Slng.)—collection, compila- tion, set Sämtliche Werke—complete works (see also Auflage, Ausgabe, Gesammelte Werke, Gesamtausgabe, Sammelwerk) Schrift—writing, book, periodical, etc. Schriftleiter; Schriftleitung (Schriftl.)—editor (see also Her- ausgeber, Redakteur); editorship, editorial staff (see also Redaktion) Seite (S.)—page siehe oben (s.o.)—see above, supra siehe unten (s.u.)—see below, infra Skizzen (SK)—sketches, outlines Stimmbuch (Stb.)—part book Tabelle (Tab.)—table, chart, graph (see also Tafel) Tafel (Taf.)—table (see also Tabelle) Teil (Tl.)—part, division (“zum Teil” [z.T.]—in part) Titelblatt—title page Transkription—transcription Überlieferung—tradition, inheritance, surviving original sources, etc. Übertragung (Übtr.)—translation, transcription und andere (u.a.)—and others, et al. und so weiter (usw.)—and so forth, etc. unter anderem (u.a.)—among others Urtext—original text Verein (Ver.)—association, society (see also Gesellschaft) Verfasser (Verf.)—composer, writer vergleich (vgl., vergl.)—compare
- 37. 12 Introductory Materials Verlag(Vlg.)—publishing house Verzeichnis (Verz.)—catalog Vierteljahrsschrift (Vjs.)—quarterly periodical in Vorbereitung (in Vorb.)—in preparation Vorrede (Vorr.)—preface (see also Vorwort) Vortrag (Vortr.)—lecture, discourse, report Vorwort (Vorw.)—foreword (see also Vorrede) Wasserzeichen—watermark Wiederveröffentlichung—republication Wochenblatt—weekly periodical Wörterbuch (Wb.)—dictionary (see also Lexikon) Zahl (Zl.)—number, numeral, figure Zeitschrift (Zs., Ztschr.)—periodical Zeitung (Ztg.)—newspaper zugleich (zugl.)—at the same time, together, conjointly, with (see also zusammen) zur Zeit (z.Z., z.Zt.)—now, at present zusammen (zus.)—together, jointly (see also zugleich) 1.3 C O M M O N F R E N C H B I B L I O G R A P H I C A L T E R M S As in the preceding list of German terms, the English equiv- alents for the following French terms concern bibliography and scholarship only (e.g., besides “sheet of paper” or “folio,” feuille can mean “leaf,” “veneer,” etc.), and similarly include “false friends” (e.g., avertissement, dessin, libraire). abréger—to abbreviate analyse—book review (see also compte rendu); analysis annexe—appendix (to a book) annuaire—yearbook annuel—yearly, annually aperçu—literary sketch, outline, summary (see also esquisse) augmenté(e)—enlarged (“édition augmentée”) auteur—author (“du même auteur”—by the same author) (see also écrivain) avant-propos—preface, foreword; introduction (see also aver- tissement, avis) avertissement—preface, foreword (see also avant-propos, avis) avis—notice (“avis au lecteur”—preface, foreword) (see also avant-propos, avertissement) beaux-arts—fine arts bibliothèque—library
- 38. Introductory Materials 13 cahier—shortbook or magazine; copybook cahiers de musique—printed music catalogue raisonné—descriptive catalogue chapitre—chapter chez—at the (publishing) house of collection—set or series of books (see also fonds, recueil, série) combinaison d’appel—call number, shelf mark compositeur—composer compte rendu—book review or résumé (see also analyse) corrigé(e)—corrected (“édition corrigée”) côte—call number dépôt légal—registration of copyright dessin—drawing, sketch dictionnaire—dictionary (see also lexique) dirigé(e)—directed (“collection dirigée par Jean Marin”—series of books under the general editorship of . . . ) écrit—writing, written work écrivain—writer (see also auteur) éditer—to publish, to issue (usually not “to edit”) (see also pub- lier) éditeur—publisher (usually), editor (rarely) esquisse—literary or pictorial sketch, outline (see also aperçu) étude—study (noun) feuille, feuillet—sheet of paper, folio filigrane—watermark fonds—collection in a library (“les fonds Dupont”—the Dupont collection) (see also collection, recueil) gravure—engraving hebdomadaire—weekly (see also mensuel, trimestriel) impression—printing (“2e impression”—2nd printing) (see also tirage) imprimer—to print inédit—unpublished journal—newpaper lexique—lexicon, dictionary (see also dictionnaire) libraire—bookseller (not “library”) librairie—bookshop (not “library”) livre—book livret—libretto mélange—miscellany (see also recueil) mensuel(le)—monthly (see also hebdomadaire, trimestriel) musicographe; musicographie—writer on music; works about music nouvelle édition—new edition, republication oeuvre—work, output
- 39. 14 Introductory Materials oeuvrescomplètes (o.c.)—complete works ouvrage—work of literature, art, etc. page de titre—title page partie—part of a book, etc. partition—musical score paru—published (“déjà paru”—already published) périodique—periodical (see also revue) planche—plate in a book (“planches hors texte”—plates not numbered with the pages of text) précis—abstract publier—to edit, to publish (see also éditer) recueil—collection, selection, miscellany (“recueil choisi”— anthology) (see also collection, fonds, mélange) rédacteur; rédaction—editor (“rédacteur en chef”—chief editor); editorial staff rédiger—to edit (a newspaper), to draft or write (an article, etc.) réimpression—reprinting reliure—bookbinding revu(e)—revised (“édition revue”) revue—magazine, periodical (see also périodique) série—series (see also collection) siècle—century sommaire—short, brief (“bibliographie sommaire”); table of con- tents (see also table des matières) sources originales—primary sources sources de seconde main—secondary sources table des matières—table of contents (see also sommaire) tableau—table in a book (e.g., “tableau chronologique”) thèse—thesis, doctoral dissertation tirage—printing (see also impression) titre—title tome (t.)—volume; division of a book traduction—translation traité—treatise transcription—transcription travail—work, piece of work trimestriel(le)—quarterly (every three months) (see also heb- domadaire, mensuel) voir (v.)—see (e.g., “v. Annexe 2”—see Appendix 2) 1.4 C O M M O N I TA L I A N B I B L I O G R A P H I C A L T E R M S As in the preceding list of French terms, the English equivalents for the following Italian terms concern bibliography and scholar-
- 40. Introductory Materials 15 shiponly (e.g., besides “arrangement,” riduzione can mean “reduc- tion” or “adaptation,” etc.) and similarly include “false friends” (e.g., capitolo, filigrana). adattamento—arrangement (musical composition) or adaptation (see also riduzione) aggiornamenti—updates (could also be postponement) annotato—annotated annuale—yearly, annual antologia—anthology archivio—archive articolo—article (in a journal) or dictionary or encyclopedia entry autografo—autograph (manuscript) bibliografia—bibliography bibliografia ragionata—annotated bibliography biblioteca—library bio-bibliografia—bio-bibliography capitolo—chapter catalogo—catalog catologo tematico—thematic catalog codice—codex collezione—collection, set collezione completa—complete set colofon or colofone—colophon compositore, compositrice—composer (m, f) conclusione—afterword curatore, curatrice—editor diritto di riproduzione / diritto d’autore—copyright discografia—discography dissertazione—thesis editore, editrice—publisher (m, f) editore di musica—music publisher edizione ampliata—amplified or augmented edition edizione accresciuta—enlarged or appended edition edizione completa—complete or unabridged edition edizione corretta—corrected edition edizione riveduta—revised edition estratto—(lit. extract or excerpt) abstract (can also mean a re- printed article) (see also segnalazione) filigrana—watermark fiorilegio—anthology foglio, folio—broadsheet, broadside, leaf (paper or parchment) fonti—source (fonti primarie—primary source, fonti secondarie—secondary source) formato—format frontespizio—title page
- 41. 16 Introductory Materials frontispizio—frontispiece iconografia—iconography infolio—folio (format) in folio oblungo—oblong folio in gran folio—large folio in ottavo—octavo in ottavo oblungo—oblong octavo (in quarto oblungo—oblong quarto, etc.) in quarto—quarto incunabolo—incunabulum (s.) indice—index (see also sommario) insieme—set or bound together lessico—lexicon or vocabulary (lessico musicale—music vocabu- lary) libro—book libro di musica—music book, printed or manuscript libro stampato—printed book or libro a stampa manoscritto—manuscript manoscritto autografo—autograph manuscript microfilm—microfilm microforme—microforms microfotocopia—microfilm copy, microform microscheda trasparente—microfiche monografia—monograph necrologio—necrology note tipografiche—imprint numerato—numbered, foliated, paginated numero di carta—folio number numero di pagina—page number nuova edizione—new edition olografo—holograph opera—work partitura—musical score partitura tascabile—miniature musical score periodici correnti—current periodicals periodico—periodical postazione di lettura—carrell pseudonimo—pen name, pseudonym pubblicare—to publish pubblicazione cessata—publication discontinued or out of print raccolta—collection, set, collected works riduzione—reduction (e.g. piano score) rinvio—see, refer to ripubblicazione—republication or reprint
- 42. Introductory Materials 17 ristampa(rist.)—reprint rivista—periodical, magazine (also a term used for a type of operetta) rivista trimestrale—quarterly segnalazione—abstract (see also estratto) serie—series serie completa—complete series sommario—table of contents, index (see also indice) spartito—piano reduction of a vocal score stampa—impression, print stampatore—printer tabella—table, chart titolo—title trascrizione—transcription trattato—a (written) study (see also trattazione) trattazione—treatise (see also trattato) trimestrale—quarterly 1.5 L I B R A RY O F C O N G R E S S M U S I C C L A S S I F I C AT I O N The holdings of most North American research and university libraries are arranged according to the Library of Congress classifi- cation system, although other systems, chiefly the Dewey Decimal Classification, are sometimes used. Because of the wide applica- tion of the Library of Congress system, the portions that pertain to music and music literature are listed below in some detail. In a library that uses the system, these letter(s) and number(s) are fol- lowed by a decimal point and further letter(s) and number(s) (the so-called “cutter” or “author number”; e.g., ML 1255.B23 1983, ML 410.B4H92, etc.), which may or may not be the same as those in the Library of Congress’s own complete call numbers. The initial letter-number combinations, however, are the same from one li- brary to another (e.g., oratorios are always catalogued between M 2000 and M 2007, biographies of individual composers under ML 410, analytic guides between MT 90 and MT 145). This greatly fa- cilitates searching or browsing in any LC-based library’s stacks or shelflist. The following list is adapted from M, Music and Books on Music: Library of Congress Classification, 1998 edition (Washington, D.C.: Library of Congress, Cataloging Distribution Service, 1999). For the complete alphabetical listing of subject headings, in music as well as in all other areas, consult Library of Congress Subject Head- ings, 25th ed., 5 vols. (Washington, D.C.: Cataloging Distribution Service, Library of Congress, 2002).
- 43. 18 Introductory Materials MMusic 1.A1–.A15 Music printed or copied in manuscript in the United States or the colonies before 1860 1.A5–2.3 Collections 2–2.3 Collections of musical sources 3–3.3 Collected works of individual composers 3.3 First editions Instrumental Music 5 Collections 6–175.5 Solo instruments 176 Instrumental music for motion pictures 176.5 Instrumental music for radio and television 177–990 Music for two or more solo instruments 180–298.5 Duets 300–386 Trios 400–486 Quartets 500–586 Quintets 600–686 Sextets 700–786 Septets 800–886 Octets 900–986 Nonets and larger combinations of purely chamber music 990 Chamber music for instruments of the 18th century and earlier 1000–1075 Orchestra 1100–1160 String orchestra 1200–1269 Band 1270 Fife (bugle) and drum music, field music, etc. 1350–1353 Reduced orchestra 1356–1356.2 Dance orchestra and instrumental ensembles 1360 Mandolin and similar orchestras of plucked instruments 1362 Accordion band 1365 Minstrel music 1366 Jazz ensembles 1375–1420 Instrumental music for children 1450 Dance music 1470 Chance compositions 1473 Electronic music 1480 Music with color or light apparatus
- 44. Introductory Materials 19 1490Music, printed or copied in manuscript, before 1700 Vocal Music 1497–1998 Secular vocal music 1500–1527.8 Dramatic music 1528–1529.5 Duets, trios, etc., for solo voices 1530–1546.5 Choruses with orchestra or other ensemble 1547–1600 Choruses, part-songs, etc., with accompaniment of keyboard or other solo instrument, or unaccompanied 1608 Choruses, etc., in tonic sol-fa notation 1609 Unison choruses 1610 Cantatas, choral symphonies, etc., for unaccompanied chorus (secular and sacred) with or without solo voices 1611–1624.8 Songs 1625–1626 Recitations with music 1627–1853 National music 1900–1978 Songs (part and solo) of special character 1985 Musical games 1990–1998 Secular music for children 1999–2199 Sacred vocal music 1999 Collections 2000–2007 Oratorios 2010–2017.6 Services 2018–2019.5 Duets, trios, etc., for solo voices 2020–2036 Choruses, cantatas, etc. 2060–2101.5 Choruses, part-songs, etc., with accompaniment of keyboard or other solo instrument, or unaccompanied 2102–2114.8 Songs 2115–2146 Hymnals, hymn collections 2147–2188 Liturgy and ritual 2147–2155.6 Roman Catholic Church 2156–2160.87 Orthodox churches 2161–2183 Protestant churches 2184 Other Christian churches 2186–2187 Jewish 2188 Other non-Christian religions 2190–2196 Sacred vocal music for children 2198–2199 Gospel, revival, temperance, etc., songs 5000 Unidentified compositions
- 45. 20 Introductory Materials MLLiterature on Music 1–5 Periodicals 12–21 Directories, almanacs 25–28 Societies, organizations 29–33 Special collections and institutions 35–38 Festivals, congresses 40–44 Programs 47–54.8 Librettos and scenarios 55–60 Collected essays, etc., by several authors, including Festschriften 62–90 Special aspects 90 Writings of musicians (collections) 93–96.5 Manuscripts, autographs, etc. (paleography) 100–109 Dictionaries, encyclopedias 110–111.5 Music librarianship 112–112.5 Music printing and publishing 112.8–158.8 Bibliography 113–118 International 120 National 132 Graded lists, by medium 134 Catalogs of composers’ works 135 Manuscripts 136–158 Catalogs, discography 158.4–158.6 Video recordings 158.8 Computer software 159–3775 History and criticism Special periods 162–169 Ancient 169.8–190 Medieval, Renaissance 193–197 1600+ By region or country 198–239 America 240–325 Europe 330–345 Asia 348 Arab countries 350 Africa 360 Australia, Oceania 385–429 Biography 410 Individual composers 430–455 Composition 459–1380 Instruments and instrumental music 465–471 By period By region or country 475–486 America
- 46. Introductory Materials 21 489–522Europe 525–541 Asia 544 Africa 547 Australia, Oceania 549–1093 Instruments 549.8–649 Organ 649.8–747 Piano, clavichord, harpsichord, etc. 749.5–927 Bowed string instruments 929–990 Wind instruments 999–1015 Plucked instruments 1030–1049 Percussion instruments 1049.8–1091 Mechanical and other instruments 1091.8–1093 Electronic instruments 1100–1165 Chamber music 1200–1270 Orchestra music 1300–1354 Band music 1370–1380 Electronic music, computer music 1400–3275 Vocal music 1499–1554 Choral music 1600–2881 Secular vocal music 2900–3275 Sacred vocal music 3300–3354 Program music 3400–3465 Dance music 3544–3775 National music 3790 Music Industry 3797 General works on music history and musicology 3800–3923 Philosophy and physics of music 3830 Psychology 3845–3877 Aesthetics 3880–3915 Criticism 3928–3930 Literature for children MT Musical Instruction and Study 1–5 History and criticism 5.5–7 Music theory 20–32 Special methods 40–67 Composition, elements and techniques of music 58–67 Forms 68 Improvisation,accompaniment,transposition 70–74 Instrumentation and orchestration 73 Band 90–146 Analysis and appreciation of musical works 95–100 Opera, ballet, opéra-ballet, etc.
- 47. 22 Introductory Materials 110–115Oratorios, cantatas, etc. 125–130 Orchestral music 140–145 Chamber and solo instrumental music 146 Popular music 150 Audio-visual aids 170–810 Instrumental techniques 180–198 Organ 192 Electronic keyboard instruments 200–208 Reed organ 220–255 Piano 259–338 String instruments 260–279.7 Violin 280–298 Viola 300–318 Violoncello 320–334 Double bass 339–533 Wind instruments 340–359 Flute 360–379 Oboe 380–392 Clarinet (A, B-flat, C, E-flat, etc.) 400–415 Bassoon 418 Brass instruments 420–432 Horn 440–456 Trumpet 460–472 Trombone 480–488 Tuba 500–510 Saxophone 539–654 Plucked instruments 540–557 Harp 560–570 Banjo 580–599 Guitar 600–612 Mandolin 620–634 Zither 640–654 Lute, balalaika, etc. 655–725 Percussion and other instruments 728 Chamber music 730 Orchestra 733–733.6 Band 740–810 Instrumental techniques for children 820–915 Singing and vocal technique 825–850 Systems and methods 855–883 Special techniques 885–893 Studies and exercises 898–915 Techniques for children 918–948 School music 955–956 Musical theater
- 48. Introductory Materials 23 1.5.1Some Nonmusical General LC Classifications Relating to Research in Music A General Works L Education B Philosophy, Psychology, N Fine Arts Religion D History P Languages, Literature GV Dance Q,T Science, Technology K Law Z Bibliography 1.6 D E W E Y D E C I M A L C L A S S I F I C AT I O N : M U S I C Although a majority of North American research and univer- sity libraries use the Library of Congress Classification system, ap- proximately 25 percent of academic libraries, 20 percent of special- ized libraries, and 95 percent of the public and civic libraries in the United States use the Dewey Decimal Classification system (DDC). In addition, libraries in more than 138 countries use the inter- national version of the DDC, the Universal Dewey Classification (UDC), to organize their collections, and DDC numbers are fea- tured in the national bibliographies of more than sixty countries. The DDC is maintained by the Decimal Classification Division of the Library of Congress, and all copyright rights are owned by the Online Computer Library Center (OCLC) in Dublin, Ohio. A full introduction to the DDC is available at the OCLC website (http://www.oclc.org/dewey). According to OCLC, in the DDC basic classes are organized by disciplines or fields of study. At the broadest level, the DDC is di- vided into ten main classes, which together cover the entire world of knowledge. Each main class is further divided into ten divisions, and each division into ten sections. Music is assigned the classifi- cation range 780–789 (class 700, division 80, sections 1–9). Because the DDC was created in the nineteenth century, li- brarians have had to make adjustments periodically in the system to accommodate new knowledge and new disciplines. Therefore, throughout the twentieth century different versions of the DDC contain reassigned or revised meanings of parts of the system. (Catalogers informally call a complete revision of a division a “phoenix schedule.”) The version of the DDC currently in use is the 23rd edition (called the DDC23). The last complete revision (phoenix schedule) of the music division, 780, occurred in 1989 with edition 20 (DDC20). These revisions present problems with DDC collections. Most li- braries do not routinely reclassify their existing collections when a phoenix schedule is published; therefore, such collections con-
- 49. 24 Introductory Materials tainitems cataloged under two or more systems. This situation can severely restrict the facility of browsing in a DDC collection. Both DDC19 and DDC23 are listed below to aid the researcher working in a collection that is not consistently cataloged. The following table compares the differences between the main sections of DDC19 (the last edition before the most recent phoenix schedule) and DDC23 (the current edition). DDC23 DDC19 780 Relation of music to other subjects Music 781 General principles and musical forms General principles and considerations 782 Vocal music Dramatic music and musical drama 783 Music for single voices Specific kinds of music and performing groups 784 Instruments and instrumental ensembles and their music Voice and vocal music 785 Ensembles with only one instrument per part Instrumental ensembles and their music 786 Keyboard, mechanical, electrophonic, percussion instruments Keyboard instruments and their music 787 Stringed instruments (Chordophones) String instruments and their music 788 Wind instruments (Aerophones) Wind instruments and their music 789 Composers and traditions of music Percussion, mechanical, electrical instruments The following list of the DDC23 music classification is adapted from Dewey Decimal Classification and Relative Index, Edition 23, Vol. 3: Schedules 600–999 (Dublin, Ohio: OCLC Online Computer Library Center, 2011). 1.6.1 Dewey Decimal Classification 23: Music 780 Relation of Music to Other Subjects 780.1 Philosophy and theory, analytical guides, program notes
- 50. Introductory Materials 25 780.2Miscellany; texts; treatises on music scores and recordings 780.7 Education, research, related topics; performances 780.8 Groups of people 780.9 History, geographic treatment, biography 780.901–.905 Periods of stylistic development of music 780.901 Ancient times through 499 780.902 500–1449 (including Gothic style, ars antiqua, ars nova, medieval music) 780.903 1450– 780.903 1 Ca. 1450–ca. 1600 (including Renaissance music) 780.903 2 Ca. 1600–ca. 1750 (including baroque music, nuove musiche) 780.903 3 Ca. 1750–ca. 1825 (including preclassicism, classicism, rococo) 780.903 4 Ca. 1825–ca. 1900 (including nationalism, romanticism) 780.904 1900–1999 (including avant-garde music, impressionism, neoclassicism) 780.905 2000–2099 780.92 Biography (composers, performers, critics; thematic catalogues of individual composers) 780.94 Music of Europe 781 General Principles and Musical Forms 781.1 Basic principles of music 781.11 Psychological principles 781.12 Religious principles 781.17 Artistic principles 781.2 Elements of music 781.22 Time (including pulse, rhythm, meter) 781.23 Musical sound (including pitch, volume, timbre, consonance) 781.24 Melody (including scales, ornaments, themes) 781.25 Harmony (including chords, harmonic rhythm, tonality) 781.26 Tonal systems (including modes, atonality, dodecaphony) 781.28 Texture 781.3 Composition 781.32 Indeterminacy and aleatory composition 781.33 Serialism
- 51. 26 Introductory Materials 781.34Computer composition 781.36 Extemporization (improvisation) 781.37 Arrangement (including transcription and orchestration) 781.38 Arrangements 781.4 Techniques of music 781.42 Techniques for acquiring musical skills and learning a repertoire 781.43 Performance techniques 781.44 Rehearsal and practice 781.45 Conducting 781.46 Interpretation 781.47 Accompaniment (including continuo) 781.48 Breathing and resonance 781.49 Recording of music 781.5 Kinds of music 781.52 Music for specific times (days, times of day, seasons) 781.53 Music in specific settings (including court, theater, concert hall) 781.54 Music for specific media (including film, radio, television) 781.55 Music accompanying public entertainments (dramatic music, dance, ballet) 781.56 Program music 781.57 Music accompanying activities 781.58 Music accompanying stages of the life cycle 781.59 Music reflecting other themes and subjects (including work, recreation, and military music) 781.6 Traditions of music (works emphasizing a specific tradition) 781.62 Folk music 781.621–.629 Folk music of specific ethnic and national groups 781.63 Popular music 781.64 Western popular music (including country, blues, ragtime, rap, etc.) 781.65 Jazz 781.66 Rock (rock ‘n’ roll) 781.68 Western art music (classical music) 781.69 Nonwestern art music 781.7 Sacred music
- 52. Introductory Materials 27 781.71Christian sacred music 781.711–.719 Christian sacred music of specific denominations and sects 781.72 Music of the Christian church year 781.73 Sacred music of classical (Greek and Roman) and Germanic religions 781.74–.79 Sacred music of other religions and sects 781.8 Musical forms 781.82 Specific musical forms (including binary, ternary, strophic, rondos, variations, etc.) 782 Vocal Music 782.1 Operas and related dramatic vocal forms 782.12 Operettas 782.13 Singspiels 782.14 Musical plays 782.2 Nondramatic vocal forms 782.22 Sacred vocal forms 782.23 Oratorios 782.24 Large-scale vocal forms 782.25 Small-scale vocal forms 782.26 Motets 782.27 Hymns 782.28 Carols 782.29 Liturgical forms 782.292 Chant 782.294–.298 Specific texts 782.3 Services (Liturgy and ritual) 782.32 Christian services 782.322 Services of specific denominations 782.323 Mass (Communion service) 782.324 Divine office 782.33 Services of classical (Greek and Roman) and Germanic religions 782.34–.39 Services of other specific religions 782.4 Secular forms 782.42 Songs 782.43 Forms derived from poetry 782.47 Song cycles 782.48 Secular cantatas 782.5 Mixed voices 782.6 Women’s voices 782.7 Children’s voices 782.8 Men’s voices 782.9 Other types of voices 782.96 Speaking voices (choral speech)
- 53. 28 Introductory Materials 782.97Sprechgesang 783 Music for Single Voices 783.1 Single voices in combination (part-songs) 783.12–.19 Ensembles by size (duets, trios, quartets, etc.) 783.2 Solo voice 783.3 High voice 783.4 Middle voice 783.5 Low voice 783.6–.8 Women’s, children’s, men’s voices 783.9 Other types of voice 783.96 Speaking voice 783.97 Sprechgesang 784 Instruments and Instrumental Ensembles and Their Music 784.1 General principles, musical forms, instruments 784.18 Musical forms 784.182 General musical forms 784.183 Sonata form and sonatas 784.184 Symphonies 784.185 Suites and related forms 784.186 Concerto form 784.187 Contrapuntal forms 784.188 Dance forms 784.189 Other instrumental forms 784.2 Full orchestra (symphony orchestra) (comprehensive works on orchestral combinations, music intended equally for orchestral or chamber performance) 784.3 Chamber orchestra 784.4 Light orchestra (salon, school, and dance orchestras) 784.6 Keyboard, mechanical, electronic, percussion bands 784.7 String orchestra 784.8 Wind band (marching, military, and woodwind bands) 784.9 Brass band 785 Ensembles with Only One Instrument Per Part 785.1 Ensembles by size (duets, trios, quartets, etc.) 785.2 Ensembles with keyboard
- 54. Introductory Materials 29 785.3Ensembles without electrophones and with percussion and keyboard 785.4 Ensembles without keyboard 785.5 Ensembles without keyboard and with percussion 785.6 Keyboard, mechanical, aeolian, electrophone, percussion ensembles 785.7 String ensembles, bowed string ensembles 785.8 Woodwind ensembles 785.9 Brass ensembles 786 Keyboard, Mechanical, Electrophonic, Percussion Instruments 786.2 Pianos 786.3 Clavichords 786.4 Harpsichords (spinets, virginals) 786.5 Organs 786.6 Mechanical and aeolian instruments (including carillons, music boxes, player pianos) 786.7 Electronic instruments (electrophones) (including synthesizers and musique concrète) 786.8 Percussion instruments (idiophones) 786.9 Drums and devices used for percussive effects (membranophones) 787 Stringed Instruments (Chordophones) 787.2 Violins 787.3 Violas 787.4 Cellos (Violoncellos) 787.5 Double basses 787.6 Viols and related instruments (viols, violas d’amore, hurdy-gurdies) 787.7 Plectral instruments (zithers, lyres) 787.8 Plectral lute family (lutes, mandolins, guitars, etc.) 787.9 Harps and musical bows 788 Wind Instruments (Aerophones) 788.2 Woodwind instruments and free aerophones 788.3 Flute family 788.4 Reed instruments (bagpipes) 788.5 Double-reed instruments (oboes, bassoons, etc.) 788.6 Single-reed instruments (clarinets)
- 55. Exploring the Varietyof Random Documents with Different Content
- 56. STORY NINE WASHER SAVESONE OF HIS OWN PEOPLE When Washer discovered that it was one of his own people driven up the tree by the wolves, he felt a queer sensation stealing over him. For the first time he seemed to realize how cruel the Wolf cubs were in their hunting, and how terrible the hunted must feel. It was almost as if he was up that tree with a lot of wolves below howling for his blood. Something like anger and disgust for the cubs sprang up in his heart. What right had they to chase every weaker animal in the woods and kill him! Why couldn’t they let other animals live in peace in the woods! While he sat there thinking of these things, the young wolves were leaping up at the treed raccoon and howling dismally every time they fell short of reaching him. Finally one of the cubs turned to Washer. “Why don’t you go up the tree and drive him down?” he asked. “Hurry up, Little Brother, for we’re hungry. Go up and shake the branch, and we’ll catch him as he falls.” Washer began to tremble, not with fear, but because he knew he had to save the raccoon in some way, and he couldn’t think of any trick that would do it. The cubs mistook his trembling for fear, and one of them exclaimed: “Little Brother’s afraid to go up the tree! See, he’s trembling all over!” “When was Little Brother afraid before?” asked another. “Surely he’s not afraid of that animal.” Washer saw that they had not recognized the animal up the tree as one of his own people. They hardly knew a raccoon from any other animal. This fact gave Washer new hope. He didn’t want to betray to them his feelings.
- 57. “Are you afraid,Little Brother?” added another, standing before him. “I don’t believe it.” “No, I’m not afraid,” replied Washer finally, recovering from his embarassment. “When was I afraid of anything! Have I not played and fought with you all, and did you ever know me to beg for mercy? Then why should I be afraid of that small animal?” “I knew it, Little Brother,” replied the last cub. “Now you’ll go up the tree and shake him down to us.” Washer rose to his feet and trotted away from the tree. “Come here, Brothers,” he called, “I want to talk to you, and we must not be overheard. Now listen,” he added, when they were at a safe distance from the tree, “you’ve heard of Billy Porcupine, haven’t you?” “Billy Porcupine! Oh, you mean the animal with the prickly thorns! Yes, we’ve heard of him.” Washer nodded his head. “Then you remember that Mother Wolf and Sneaky always told you to beware of Billy Porcupine. If you didn’t he’d run his thorns in your nose, and it would take days and days for the wounds to heal up.” “Yes, they told us that!” they exclaimed in unison. Then in little frightened voices they added; “Is that Billy Porcupine up the tree?” Washer did not answer directly, but he looked very wise. “Now, listen again,” he added, “there’s only one thing to do. You must run back to the den and tell Mother Wolf or Sneaky. They will know what to do. I’ll stay here and watch, and if Mother Wolf tells me to go up the tree I’ll go even if I get stuck full of quills.” The cubs were greatly impressed by these words, for they had heard many tales of the wounds inflicted by Billy Porcupine’s quills, and they shuddered at the thought of getting them in their mouth and nose. “I’ll stay here with you, Little Brother,” the oldest of the cubs said. “If he comes down we’ll corner him and hold him until Mother Wolf comes.” “No you must go with your brothers,” replied Washer. “I can watch him alone. I’m not afraid of him.” “You’re a brave Little Brother!” they exclaimed in a breath.
- 58. Washer urged themto hurry, and after a while they decided to race back to the den and summon their parents. Washer promised to stand guard under the tree until they returned. Their great discovery excited the cubs, and they were anxious to see how Mother Wolf or Sneaky would handle this strange animal that went around in the woods armed with sharp quills. They disappeared in the bushes, each anxious to beat all the others to the cave. The moment they had gone, Washer ran back to the tree and looked up it. The raccoon was still crouching there in a high branch. Washer looked curiously at him, and then called: “Raccoon! Little Raccoon, come down now, and run away. My wolf brothers have gone, but they’ll soon return. Run and hide in your hole or find a bigger tree.” There was a noise in the branches overhead, and the raccoon crawled down a few feet. Washer looked at him, and then retreated a step or two. It was not a little raccoon, but a big one, with sharp claws and fine, white teeth. He was so much bigger than Washer that he felt a little awe of him. “Why do you call the wolves your brothers?” the raccoon asked. “You’re a raccoon, aren’t you? Then the wolves can’t be your brothers. They’re the enemies of my people.” Washer looked a little embarrassed. “Yes, I’m a raccoon,” he replied, “but the wolves saved me, and Mother Wolf brought me up as one of her own. I’ve always lived with her in her den. She’s been kind to me, and I love her.” The big raccoon showed his teeth and crawled down another branch. “You love a wolf!” he said angrily. “Then you’re a traitor to your own people!” Washer was greatly surprised and distressed by this remark. “No, I’m not a traitor. Because I love Mother Wolf for what she’s done for me isn’t any reason why I shouldn’t love my own people.” “I hear them coming back!” snapped the raccoon in the tree. “I must be off or they’ll catch me. This tree is too small. I’ll find a bigger one.” “Yes, do hurry! I hear them howling now. They’ll be here soon.”
- 59. The big raccoondropped to the ground and stood by the side of Washer. He was so much bigger that Washer felt like a baby alongside of him. He was a fierce old creature, too, for he kept gnashing his teeth and switching his tail. “Well, aren’t you coming with me?” he asked. “If you know the woods you might lead me to a good hiding place.” “No, I can’t go with you,” replied Washer a little sadly. “I must wait for my brothers and Mother Wolf. They’re all the friends I have.” “The wolves are your friends?” snapped the big raccoon. “Then you’re a traitor to your people! I believe this is only a trick to deceive me. I’ll teach you to betray us!” Before Washer realized what he meant, the big fellow leaped toward him and bit him two or three times on the body and front paws. Then with a grunt of delight, he ran away and disappeared in the woods. Frightened by this sudden attack by one of his own people, Washer gave a squeal of pain and dropped down on the ground bleeding. Just then the wolves broke through the bushes and came racing toward the tree, with Sneaky in the lead. In the next story Washer confesses to Mother Wolf, and she decides to take him to the council rock to meet Black Wolf.
- 60. STORY TEN MOTHER WOLFLISTENS TO WASHER’S STORY Mother Wolf was close behind, but Sneaky reached Washer’s side first. There was a suspicious leer on his face, but the sight of the blood on the raccoon’s body seemed to puzzle him. He stopped and glanced up at the tree. “Where’s Billy Porcupine?” he asked. “I don’t see him in the tree.” “He ran down and escaped,” replied Washer. “I couldn’t stop him.” Sneaky licked his chops, and added: “Quite likely!” He sniffed among the lower branches of the tree. “If my nose doesn’t deceive me there’s been no porcupine around here. No, sir; nothing but raccoons.” He turned and smiled at Mother Wolf and the youngsters. He felt quite proud of his spying quality. “I smell nothing but raccoon up that tree,” he added. “Therefore, it was a raccoon, and not a porcupine, that you treed.” “But little brother said it was Billy the Porcupine,” interrupted one of the cubs. “How’d Little Brother know it was a porcupine?” asked Sneaky. “When did you ever see one?” Now Washer was feeling very miserable, first, because his wounds hurt him, and second because one of his own people had turned on him and attacked him after he had saved his life. So he spoke without thinking. “I don’t know,” he stammered. “Maybe I never saw one.” “Ah! ha!” scoffed Sneaky. “I thought so. It was only a trick to deceive us. I see now what it means.” He turned to the tree again, and looked up it, and began sniffing at the trunk and limbs. “Nothing but raccoon odor,” he
- 61. added. “No porcupinehas been here.” “For goodness sake,” interrupted Mother Wolf, wiping the blood from Washer’s face, “what are you wasting your time about? Why don’t you help Little Brother? He’s all bloody, and we must help him home.” “Ah, bloody! So he is! Then if it was Billy the Porcupine we should find quills sticking in him.” He examined Washer’s wounds a little roughly, smiling all the time. Of course, there were no porcupine quills, and this seemed to please Sneaky immensely. “Just as I thought,” he said finally. “There are no quills. Therefore, there was no porcupine here. Then why did Little Brother deceive you?” He turned to the cubs, who were watching him curiously. “I’ll tell you, my children,” he continued. “It was a raccoon you had treed—one of Little Brother’s own people. He knew it all the time, and he didn’t want you to have him for your dinner. So he told you this little story about a porcupine, and sent you home to call us while his friend could escape in the woods. See, he’s gone. There’s nothing up the tree.” They followed the direction of his pointing nose. The tree was empty. Then they turned their eyes toward Washer. “Can you deny that, Little Brother?” Sneaky added in a beguiling voice. “Of course you can’t.” “But how’d he get hurt?” asked one of the cubs. “See, he’s bleeding all over.” Mother Wolf interfered at this moment. “Sneaky, you run down to the brook and get some water,” she commanded. “If Little Brother didn’t meet a porcupine, he ran into something just as bad. We won’t stop to discuss that now. Hurry up with that water!” Sneaky dropped his tail between his legs and started for the brook, but half way there he stopped and said: “It wasn’t a porcupine, I know that. Therefore, it was a raccoon. Little Brother deceived my children to save his life. No wolf will stand for that. He’s not a friend of my people. I’ll tell Black Wolf that.”
- 62. Mother Wolf, whohad been busy cleaning the blood from Washer’s fur, looked a little disturbed. Sneaky had another argument against admitting Washer to the wolf pack. “Little Brother,” she whispered, “it is true what Sneaky says? Was Billy Porcupine up that tree?” Washer could not deceive Mother Wolf. She had been too kind to him. “No,” he answered, “it was a raccoon, and I couldn’t bear to see him killed. He belonged to my own people.” Mother Wolf nodded her head, showing that she understood his feelings. “But these wounds,” she added, a little puzzled. “How did you get them?” Washer was greatly distressed at this question. If he told the truth, he would have to condemn one of his own people of ingratitude, but even that was better than deceiving Mother Wolf. “It was the raccoon,” he answered after a pause. “When he came down the tree he bit me. He thought I belonged to the wolf pack, and he called me a traitor. I don’t suppose he understood.” “He didn’t deserve the kindness you showed him,” was the quick retort. “If he was near here I’d send the children and Sneaky after him. He deserves punishment. Do you know where he’s hiding?” “No! He ran away in the woods and that was the last I saw of him.” Mother Wolf had such confidence in Washer that she did not doubt his word. She knew that Little Brother would not deceive her to protect one of his own people. “Well, I’m glad he isn’t here,” she added, sighing. “Sneaky would hunt him down, and I don’t suppose you’d like to see him killed, even if he did bite you.” “No, I don’t wish him harm.” Washer’s voice was a little trembly, and a tear stood in one of his eyes. “What is it,” asked Mother Wolf sympathetically, “that makes you so sad, Little Brother? Do your wounds hurt you so much?” “No, I was thinking of my people,” replied Washer. “They won’t have me. They’ll turn against me because I was brought up in a
- 63. wolf’s den, andyour people won’t have me. I’m an outcast—without a home or people.” “Don’t say that,” whispered Mother Wolf. “You’re my adopted child, and I shall always look after you. My people will have to take you. If they don’t—” Her eyes flashed, and Washer knew that she was prepared to fight for him. But he had no desire to bring trouble to her, and he said: “No, no, don’t do that. Let me go away in the woods. I’m old enough now to make a living. You must not introduce me to the pack. I shall always remember you and my Wolf Brothers, but no good can come of trying to make me a wolf. I’m only a raccoon.” “Little Brother, don’t talk like that. I’m going to take you tomorrow to the council, and Black Wolf shall listen to me. My people must protect you. If Black Wolf says so none of them will dare harm you. Come now, and don’t feel sad any more.” Washer tried to dry his eyes and look cheerful, but it was not very easy to do this. His own people had denied him, and he dreaded appearing before the wolf pack. He knew that Sneaky would condemn him, and try to drive him away, and the very thought of Black Wolf made him shudder. What kind of a leader was he, and would he listen to Mother Wolf’s pleadings? In the next story you will read of how Mother Wolf took him to the council and pleaded with and defied the leader of the wolf pack.
- 64. STORY ELEVEN WASHER ISINTRODUCED TO THE WOLF PACK Washer was taken with the cubs the following night to the wolf council where they were to be introduced to the pack and formally admitted as members. All young wolves when they reach the hunting age had to be introduced by their parents, and the leader of the pack then announced their acceptance and gave to each a name. Until that time they were simply cubs, unfit to hunt with the older wolves. The council was held in the deepest, thickest part of the woods where no wild animal or hunter would be likely to disturb them. Once a month in the full of the moon the pack assembled around a big flat rock overlooking a pool of water. Here they waited until Black Wolf, their leader, came and called the council to order. Mother Wolf was anxious to get to the council early, and she started her family off long before moon was up above the tops of the trees. Sneaky led the way, with the cubs filing behind him, and Mother Wolf bringing up the rear. They were so early that they met none of the other wolves on the way, and Mother Wolf gave a sigh of relief when she found no one ahead of her. She drew up her little circle of young ones in the shadow of a clump of birches on the right of the council rock, and then dropped down to rest. All was quiet in the woods. Not even Hoot the Owl or Whip- Poor-Will was abroad to disturb the silence of the great woods. Occasionally a shadow drifted across the flat rock, and a wolf would take his place in front or on one side of it. The moon rose slowly until it cast a flood of white light upon the top of the rock. Almost at the same moment there was a howl nearby, and out of the thickets sprang Black Wolf, the leader. He stood a moment looking at the
- 65. crouching pack, andthen he leaped to the top of the council rock. The whole pack rose as one and gave vent to their hunting cry. This was their way of recognizing their leader. Black Wolf stood a moment, a tall, gaunt, powerful creature, in the white moonlight, as if challenging any opposition, and then he dropped down with his front paws curled under him. “The council is open,” he announced. “Has any one a message for the pack? We’re all here.” Sneaky rose from his position near Mother Wolf, and trotted in front of the rock. “O Black Wolf, noble leader of the pack,” he began, “I bring my cubs for your inspection. May they please you, and prove worthy of their sire.” “Bring them forth!” replied Black Wolf. “They should be good cubs if they take after you, Sneaky.” The different members of the pack craned their heads forward to see Sneaky’s cubs, which, at the bidding of their parent, filed out in a row and stood before the council rock. Black Wolf surveyed them in silence, inspecting them with his fierce dark eyes. “You have done well by the pack, Sneaky,” he announced finally. “I name the first one Curly because his beautiful fur curls backward at the tips. The second one shall be known as Spotted Wolf, for I see gray spots under his neck. And the last one shall be known as Tiger Wolf because of the fierceness of his eyes. I have named them, and so shall they be known to the pack.” He stopped and looked hard at Sneaky, as if expecting him to say more; but Sneaky was pleased with his presentation, and backed slowly away. “Is there any more, Sneaky?” the leader asked. Before Sneaky could reply, a tall, gaunt figure of a wolf rose from the shadows of the birch trees. It was Mother Wolf. She was going to speak for her foster child, and not let Sneaky introduce him. She trotted to the front, and swung around to face the pack an instant, and then turned to the council rock again. “O Black Wolf, mighty leader of our pack,” she began, “I have another child, which I have nursed and brought up in my den, and I wish to admit him to the pack. A foster child brought to me one day
- 66. by Sneaky. Ihave cared for him and loved him as my own. I have taught him the ways of our people, and with us he must hunt, for his own people have cast him out.” All the wolves pricked up their ears at this strange announcement, and Black Wolf half rose from his sitting attitude; but his eyes had narrowed and darkened, for he knew from what Sneaky had told him that this thing might occur. “O Mother Wolf, you have spoken well, but we must see this foster child of yours,” he said. “Is he a wolf cub from another pack?” “What matters it if he’s from another pack or no pack at all?” replied Mother Wolf. “A mother’s love is great enough to take to herself any child that is homeless and friendless. Is it not on record that long ago a Mother Wolf nursed and brought up a man child, giving to him as much as she gave to her own offspring? Then, if she can adopt a man child, why can she not take the offspring of any other animal of the woods—of Puma the Mountain Lion, for instance, or—” “Puma’s offspring would bring disaster to us if we adopted him,” replied Black Wolf hastily, and the others shuddered at the mere mention of Puma’s name. “No, we could never admit a Puma as a member of the hunting pack.” “No! No!” cried many voices. They jumped to their feet, ready to enforce their protest by actions. A young Puma would stand little chance in that company of angry wolves. “It is not Puma’s offspring,” replied Mother Wolf, smiling. “I could never learn to love anything that came out of Puma’s den.” “What animal is it then? Where is this foster child?” several cried. “You hear them,” added Black Wolf. “What have you to say? Where is this one you plead for?” “He is yonder in the shadow of the birches. I shall call him out if you’ll give him protection. If not—” “He shall be protected,” interrupted the leader. “It is the law of the council.”
- 67. Mother Wolf turnedher head ever so slightly, and called: “Little Brother, come here!” Washer, with his heart beating fast, but confident that Mother Wolf would protect him, emerged slowly from the shadows and trotted toward her. At first the wolves could see nothing, so small was he, and then they could make out only a shadow that seemed to drift between them and the woods. But when Washer reached the foot of the council rock, the bright moonlight fell full upon him. “Here is my foster child!” exclaimed Mother Wolf proudly. “And my love for him is as great as for my own cubs. He is as wise as they, as brave, and as quick-witted. Look at him, and accept him.” Black Wolf rose to his feet and stared down at Washer. All the other wolves leaped to their feet and closed in to get a better view. Then suddenly, before their leader could speak, a howl of derision went up from a score of throats. “A raccoon!” they shouted in merriment. “A raccoon! And he wishes to hunt with the pack!” For a moment the gale of merriment was so great that no one could be heard. Black Wolf tried to preserve order and his own dignity. Washer felt suddenly abashed and frightened, and wished there was a tree near that he could climb. In the next story the wolf pack try to kill Washer, but Mother Wolf comes to the rescue.
- 68. STORY TWELVE BLACK WOLFDEFIES THE PACK Mother Wolf was even more annoyed and dismayed than Washer by the sudden outbreak of merriment when the pack caught sight of the raccoon standing before the council rock. Sneaky, from a position behind apparently enjoyed the embarrassment of his mate, for a broad grin spread over his face and he chuckled with the others. The young cubs stood by their father, but as the scene was a little puzzling to them they remained silent and motionless. “Give me the raccoon for my hunting companion!” shouted a big gray wolf. “I won’t go far then for my dinner!” The others began crowding around the council rock. “No! No! We want him!” they cried. “Turn him over to the pack!” Mother Wolf swung around and faced the circle of wolves, displaying her teeth and growling angrily. Black Wolf arose to his hind legs and let out a roar that brought the whole pack to its senses. The cries stopped, and every member slunk back to his position. The big leader glared hard at them and waited a full minute to see if any dared oppose his authority. Then he turned slowly to Sneaky, and said: “Sneaky, do you bring this raccoon as your foster child?” “No, O mighty leader, he is none of mine,” was the prompt reply. “I brought him to my den for food one day after I’d fished him out of the river. I wanted to kill him for the children, but Mother Wolf protested. I had nothing to do with his rearing. He would have died long ago if I’d had my way.” The members of the pack nodded their heads, and Black Wolf turned to Mother Wolf. He looked at her in silence for some time. Then, in a low voice, he said: “No foster child can hunt with the pack unless he’s a wolf. It’s against the law of the woods. If we permitted it Puma the Mountain Lion would be filling our homes with his young
- 69. so they mightgrow up with us and destroy us. And Loup the Lynx would do the same so that he could betray our hiding places. There would be no safety for us after that.” “But Little Brother is a raccoon,” pleaded Mother Wolf. “Surely you’re not afraid of the raccoons. They could not hurt us nor betray us.” The whole pack sniffed in disgust at the idea of the raccoon tribe hurting the wolves. “That is true, O Mother Wolf,” replied Black Wolf, “but if we let you introduce a raccoon as a foster child, we could not prevent another bringing a young Puma or Lynx. We must obey the laws of our tribe, and keep from it all other animals.” A great sadness settled on Mother Wolf’s face. She looked down at Washer and began licking his head. She knew that Black Wolf’s words were law, and she could not defy them. “Then must I give up my foster child?” she asked. “No,” replied the leader, “you can take him home and keep him, but he is not under the protection of the pack. If they hunt him down and kill him you can blame no one. I cannot interfere.” There was a murmur of applause, and every wolf began licking his lips as if in anticipation of the feast ahead. The sight of their cruel greediness aroused Mother Wolf. She raised her head proudly, and said: “They will not dare touch him in my cave—not one of them! I shall protect him!” There was an ugly, defiant look in the eyes which made more than one wolf cower and slink back out of sight. Mother Wolf was a big, gaunt, powerful creature, and no one cared to measure his strength with her when she was defending her young. “The council is ended then?” she added, turning to the leader. “You refuse to accept Little Brother in the pack?” “It is so decided, Mother Wolf. And the law cannot be changed.” “Then I shall go home. Come, Little Brother, we must start at once before the moon grows dark. It is a long way, but—” “One moment!” cried a big gray wolf. “Does the law of the woods give us the right to hunt for our food now? We’re hungry, and
- 70. if the councilhas ended we may begin the hunt at once. Is it not true, O Black Wolf?” Now the leader and Mother Wolf both understood the meaning of this challenge. The pack wanted to pounce upon Washer at once and devour him before he could ever reach the cave. Even Washer knew what was coming, and a great trembling seized him. He looked around him, but there was no tree near the council rock, and the whole pack stood between him and the woods. He had no chance to escape them. Black Wolf seemed troubled by the gray wolf’s questions, for he knew that he had no authority to change the law. Once his decision was given there was nothing more for him to do. The whole pack had a right to fall upon Washer and kill him in sight of Mother Wolf. It was a dangerous situation. But Mother Wolf suddenly changed her attitude. She backed up against the council rock, with Washer behind her, and bared her white teeth to the pack. The hair stood up straight on her head, and the bushy tail began swishing slowly back and forth. The yellow eyes were so luminous in the moonlight that they seemed to shoot sparks of fire. “If you’re hungry,” she growled, “and want to eat Little Brother, you must do so over my dead body. Not one of you shall touch him until you’ve felt the sting of my teeth. Come on now, Gray Wolf, and I’ll show you what mother love can do to save her young!” Gray Wolf hesitated, backing off a little, for Mother Wolf was a powerful antagonist. Alone he could not overcome her. Indeed, in her present frame of mind, she could probably whip two or three ordinary wolves. She was crouching for the spring, with dripping jaws snapping defiantly. “Why should we be defied by one wolf!” cried the big gray fellow. “We must have the raccoon. Close in on him on all sides. Sneaky, you lead on that side, and I’ll do the same here.” Mother Wolf cast a look at Sneaky that made him hesitate, but at the same time the wolves on the outside of the circle began crowding in. They pushed and shoved until the circle was narrowed. Those in the front came within a few feet of Mother Wolf.
- 71. With a growlshe snapped at the nearest and caught him by the front paw. With a howl of pain, the wolf leaped over the backs of the others and disappeared in the woods. Mother Wolf sprang at another and sunk her sharp teeth in his neck. But in spite of all this the circle was growing smaller. The pack was clamoring for the blood of Washer, and it was only a question of time before they would overcome Mother Wolf. She could not hope to fight off the whole pack. She seemed to realize this, but she was determined to die in the defense of her foster child. “Close in!” cried Gray Wolf. “Come on, Sneaky, do your part, or we’ll believe you love the raccoon too.” Now the battle would have ended shortly if something hadn’t happened to surprise all. With a roar of rage and challenge, Black Wolf leaped from the top of the rock and landed by the side of Mother Wolf. Facing the pack, he cried: “Not as your leader, but as one fighting for fair play, I shall defend Mother Wolf. The first one that touches her shall pay with his life. Back now, or fight me!” There was a moment of silence; then a low murmur of voices as the circle broke and fell back, leaving only Gray Wolf and Sneaky in the front. Finding themselves deserted by the pack, they quickly ran, too, and disappeared in the woods. In the next story Mother Wolf takes Washer to the Silver Birch grove where his people live.
- 72. STORY THIRTEEN WASHER GOESTO THE SILVER BIRCH GROVE Black Wolf’s unexpected defense of Mother Wolf and Washer saved them from what might have been sure death to the latter and serious injury to the former. None of the pack dared to offer battle to their leader, and the moment he sided with Mother Wolf they broke ranks and ran off into the woods. When they were gone, Mother Wolf turned gratefully to the big leader, and said: “You have saved my life, Black Wolf. What can I do to repay you?” “Hurry home with your foster child, Mother Wolf, before the pack changes its mind and returns. I will accompany you.” More than ever grateful now for seeing that she got back to her den in safety, Mother Wolf led the way through the woods, with Washer close behind her, and the leader of the pack bringing up the rear. Silently and noiselessly they stole single file through the woods, with eyes and ears alert to catch any unusual sound. But nothing happened on the way. They reached the cave in safety, where Black Wolf stopped. “I’ll not go in,” he said. “Now you’re home you’ll know how to defend yourself.” “Yes, I can defend my home,” she replied. “I’ll not need any help now. Thank you a thousand times for helping me.” “I did it, Mother Wolf,” replied the leader, “because I remember how we used to play together when young, and because I wanted to see justice done. But now that you’ve got your foster child home, what are you going to do with him? He can’t hunt with the pack, and not being under their protection they will hunt him down and kill him. Wherever he goes they will follow. You can’t always stay in the den watching him. You must hunt with the pack at times to get your share of food. If you stay here alone you’ll starve.”
- 73. Mother Wolf lookedtroubled, and said nothing. She knew how true Black Wolf’s words were, and she had not taken them lightly. When he finally left her, she walked into the cave with Washer by her side. It was empty. Sneaky and the cubs had not yet returned. “They’re out hunting, and won’t return until morning,” she said. “Now, Little Brother, we can find some rest.” But Washer was not anxious for rest—not in the Wolf’s den. He felt that the nights adventure had broken up his old home. There could no longer be any ties to hold him to it. In time the cubs would side with pack and turn upon him. “I can never stay here,” he said suddenly. “If I do I’m in constant danger, and you, too, will be in trouble. The whole pack will turn against you. I must leave.” “But where can you go, Little Brother?” asked Mother Wolf anxiously. “I must return to my own people.” “But they won’t have you. Didn’t you say one of them bit you and threatened your life?” “Yes, but he didn’t know me. I must find one of my real brothers, and he will understand.” Mother Wolf sat down and considered. After a while she got up and paced back and forth in the den. “Maybe you’re right,” she said finally, stopping before him. “There would be nothing but danger here for you, and in time my own children would drive you out and perhaps kill you. Yes, it’s better that you should return to your own people. But if they won’t have you, I’ll still protect you.” Washer rose excitedly to his feet. “Then I must go at once— before the cubs and Sneaky return. They must find me gone, and if you don’t tell them where I am they’ll never know.” “That’s true, Little Brother. But where shall we go tonight?” “To the Silver Birch grove where my people live. It’s above the falls where I fell in the water. Take me there, and I’ll watch and wait for them.” “But suppose some of the wolves found you in the Silver Birch Grove?”
- 74. “What matter’s that?”laughed Washer. “I can climb a tree which is more than any of the wolves can do. I’ll go up the biggest tree, and laugh at them.” “Yes, Little Brother, you can do that. I’d forgotten that your people are tree climbers. Well,” sighing heavily, “it’s the only thing to do, but it makes me sad to lose you. I shall mourn you every day you’re away.” “Not more than if you saw me killed by your own people,” added Washer, smiling up into her face. She nodded her head and began licking his fur. In a short time she was ready to accompany him to the grove of Silver Birches. This was some distance from the cave, and they had to be wary in their movements, for the whole wolf pack was abroad on the hunt. They heard their distant howls on the clear night air, but by keeping away from them they soon got beyond their echo. They trotted along through the moonlight, following the river toward the falls. Just below them they stopped, while Washer pointed out where Sneaky had found him when he jumped ashore from his raft. “That must have been a terrible adventure, Little Brother,” Mother Wolf said. “I never heard of any animal coming over the falls and living. It must be you have a charmed life.” “If so it’s because I’ve had such a good foster mother,” replied Washer. “You saved me from Sneaky, and tonight you saved me from the pack. You’re as brave as you are kind and loving. I shall never forget you.” Mother Wolf was greatly affected by these words, and she showed her gratitude in her eyes. Once more she slicked down the soft fur of her foster child and murmured gentle words of love. Then they started off once more on their journey. They climbed the steep rocks that led to the upper part of the falls, and once on their summit they headed directly for the grove of Silver Birches. In the soft moonlight the birches glistened and shone like twinkling stars, the leaves showing white and silvery. It was almost like a fairy scene, and Washer raised his head in delight. He
- 75. was near hisoriginal home, in the land of his own people, and his little heart beat with excitement. What would his own people do? Would they receive him or drive him away? The very thought of this made him shiver. He would then be without a home or country of his own. He would be an outcast, which is the worst thing that can be said of man or animal. “I shall wait here in this big birch until some of my people appear,” Washer said when they stole silently under the shadow of the grove. “I am safe here. I shall climb up in that crotch and sleep until morning. No wolf can get me.” “No, not even Black Wolf could reach you up there. None of my people could jump that high. Are you quite sure you can climb that high?” “I’ll show you,” laughed Washer. “You never saw me climb a tree before.” He wanted to show her how well he could run up the tree, and he was proud of his accomplishment when she watched him in silence, and then said: “Wonderful, Little Brother! I wish my cubs could do as well. Now, if you’re safe I’ll go. Good-bye!” Washer waved a paw to her until she had disappeared from sight, and then with a sigh of contentment he curled up in a round ball and went to sleep. He was very tired after the night’s adventure, and was glad to get a few hours of sleep before morning dawned. He was safe from the wolves. In the morning he would see if he was safe among his own people. In the next story Washer meets an enemy that can climb trees.
- 76. Washer waved apaw at her
- 78. STORY FOURTEEN WASHER ISTREED BY STRANGERS Now Washer had not been sleeping long, although it seemed a great while to him, when a peculiar rustling noise below awakened him. With one eye still closed, and the other only half opened, he called sleepily: “Is that you, Mother Wolf?” There was no answer, and Washer opened both eyes. If it was Mother Wolf who had made the rustling sound, she would have answered his question immediately. Washer concluded that it was somebody else. Then he thought of the cubs. It would be like them not to answer, but try to steal upon him to give him a fright. “I know you’re down there, Brothers,” he added. “You can’t frighten me. I’m up the tree, and no wolf can climb up here.” There was still no response, and the silence of the woods suddenly made Washer a little afraid. He became wide awake. He remembered now what had happened to him; how he had been rejected by the wolves, and how Mother Wolf had brought him to the grove of Silver Birches to find his own people. He also remembered that the wolf pack had declared they would hunt him down and kill him. They were thirsting for his blood, and now that Mother Wolf had left him they had followed his tracks and treed him. Yes, down below there were undoubtedly many of the wolves— the whole pack for all he knew—and the moment he came down they would pounce upon him. Washer shivered, and crawled to a higher crotch. The moon had gone down, and the woods were wrapped in darkness. It was impossible for him to see anything below; but the thought that wolves could not climb trees brought a sense of security. He was safe there from Sneaky, Gray Wolf and the whole pack.
- 79. He waited along time for a repetition of the noise, and then decided that he would resume his sleep. If the wolves couldn’t climb the tree what was the use of worrying about them? He closed his eyes with a sigh of relief. Then came the rustling noise again—this time much nearer the trunk of the tree. It came nearer, and finally reached the tree itself. There was a slight jar that made the leaves tremble. Washer thought it was a wolf leaping up, trying to reach the lower branches; but it was followed by a steady rustling, scraping noise that puzzled him. For a long time he was uncertain what to make of it, but when it came nearer and nearer, and finally seemed to be in the tree itself, he grew terribly frightened. Somebody or something was climbing the tree! When Washer made this discovery his alarm was genuine. With a little squeak of fear he ran to the top branch of the tree. But the scraping, rustling noise followed him. It first came from the lower branches; then from the middle ones, and now it was approaching the top. Washer strained his eyes in the darkness to see this unknown creature that was slowly crawling toward him. In time he could make out a dark form; then another and another. There were three creatures climbing the tree! Washer’s terror reached a climax. He ran so far out on a branch that it threatened to break with him. He was panic-stricken! It would not have been at all surprising if he had lost his hold and fallen to the ground below. There was no other tree near enough for him to reach, and it was either a matter of holding on and fighting his enemies up there among the top-most branches or dropping to the ground thirty feet below. “Who is that?” he demanded between chattering teeth. Then in a little panicky voice he added: “If you don’t get away I’ll call Mother Wolf, and she’ll eat you up.” That threat had the effect of loosening the tongue of one of the animals, for a voice said in a low growl: “Hear him! Didn’t I tell you he was a friend of the wolves? Now he’s going to call them to kill us.
- 80. But wolves can’tclimb trees. Come on, we’ll catch him! He can’t get away!” Now Washer recognized that voice at once. It was that of the raccoon he had saved from the cubs, and who in return for his kindness had bitten him. In some way he had discovered Washer’s presence in the tree, and had summoned his friends to kill him. For a moment Washer was more afraid of his own people than of the wolves. Then he decided he would make matters plain to them. “Please don’t come any further,” he said in a shaking voice. “You just listen to me. I’m not going to hurt you.” “Listen to that!” sniffed the big raccoon. “He promises not to hurt us. Well, I don’t think we’ll give him a chance. But we’ll hurt you.” “But why do you want to hurt me?” asked Washer. “Because you’re a friend of the wolves, and you’re sent here to betray us to them. We saw you come in the grove of Silver Birches with a big wolf, and then say farewell to her. We knew it was all a trap. You nearly had me killed that day when—” “No, no,” interrupted Washer, “I saved your life when the cubs had you treed. If it hadn’t been for me they’d caught you.” “No wolf can catch me when I’m up a tree,” growled the raccoon. “No, but they would have watched and waited at the foot of the tree until you were starved out,” replied Washer. “You don’t know how patient a wolf can be.” “I don’t, eh?” snapped the raccoon. “I was treed by one once, and he kept me there for nearly a week, but he got hungry before I did and went away.” “What are you going to do to me?” Washer asked more interested in this question than what happened to the big raccoon one day. “We’re going to punish you, and then drive you back to your friends—the wolves.” “The wolves are not my friends any more,” pleaded Washer. “Wasn’t that wolf who came here with you a friend?” “Why, yes, that was Mother Wolf,” stammered Washer.
- 81. “What did Itell you?” cried the big raccoon. “He admits it. If you’re a friend of a wolf you’re the enemy to all raccoons.” “No!” interrupted Washer. “Let me explain!” “Now we’ve got him!” interrupted the raccoon, who had been creeping nearer. “Shake him off the branch! If the fall doesn’t kill him our people will catch him. He can’t escape.” The three raccoons sprang toward the swaying branch and began shaking it. Washer clung to it desperately, and it was impossible to dislodge him. “Bite it! Gnaw it off!” cried the leader of the raccoons. To Washer’s horror, they began biting and gnawing at the branch, which soon sagged lower and lower. It snapped under his weight and the next moment broke off close to the trunk. Washer felt himself going down, down, down! He let out a little squeak of fear as he felt himself falling through space. His head struck a lower branch, and his feet got entangled in a few small twigs, but they could not check his fall. He went down, down, down until he landed with a loud plump on the soft earth. When he got up to run he found himself surrounded by a circle of raccoons, each one swishing his tail and gnashing his teeth. In the next story Washer saves his people from a terrible death.
- 82. STORY FIFTEEN THE CUBSLISTEN TO WASHER’S PLEA Washer was severely bruised by his fall from the tree, but fortunately no bones were broken. He limped a little, and felt a peculiar sensation in one of his front paws; but these small pains were nothing to the fear that possessed him when he saw the angry circle of raccoons. They were facing him on all sides so there was no chance for him to escape. He turned around several times to find an opening, but his only hope was to jump over the backs of his enemies, which was something he felt unequal to. Even so they would catch him, for he could not expect to jump higher in the air than the others. He felt the best way out of the difficulty was not to fight, but to stand his ground and try to explain. “Wait!” he cried in a trembly voice. “Please do not touch me until you’ve listened to my story. I’m a raccoon myself, and I’ve come—” “Don’t listen to him!” cried the big raccoon up the tree. “Catch him and bite him!” There was a sound of gnashing teeth all around which made Washer shiver. One of the raccoons sprang forward and snapped at his tail. “I’m your friend!” cried Washer, drawing his tail up under him. “He’s a friend of the wolves!” shouted the one from the branches of the tree. “Don’t believe him! He came here with a wolf, and he said the wolf was his friend. Therefore, he’s no friend of the raccoons.” “No! No!” cried several. “He deserves death.” Washer knew they would not listen to him. They were so excited that in their anger they might kill him before he could tell his story. Clearly then he had to make a desperate effort to escape. If
- 83. Mother Wolf wasonly near, she would protect him. In his desperation, he cried: “O, Mother Wolf, help me! Help me!” “Listen to him!” said several. “He’s calling to the wolves to help him. Now we know he’s a traitor.” And with that they made a rush for him. They all seemed to spring forward at once. Instead of trying to leap over their heads, Washer ducked down low as if to hide. This was the only thing that saved him. The circle of raccoons springing toward a common center came together with a plump, and some of them were knocked over by their own weight. They bit and scratched at each other, supposing that they had Washer, and before they could recover from their surprise Washer was crawling stealthily between their legs to the outskirts of the crowd. No one noticed him until he was clear of the mass of wriggling, fighting animals. Washer started on a run for the woods, hoping to get away in the darkness and hide. But the big raccoon dropping out of the tree saw him, and started in pursuit. “There he goes!” he shouted. “Don’t let him escape! Run after him!” In a few moments the whole colony of raccoons were after him. Now Washer felt he had an even change in a race to escape. His long training with the wolf cubs had taught him to run with great speed. The way he stretched his legs made even the big raccoon wonder if he could ever overtake him. Out of the grove of Silver Birches he ran, and when he reached the thick woods beyond he plunged desperately into them. Big trees were all around him, but he dared not climb one, for his pursuers would then corner him. They could climb trees as well as he. No, he had to escape by running and hiding. The race was going to be a long one, for Washer was fleet of foot and strong of muscle, and he was running for his life. But his pursuers were equally determined to catch him, and they came after him in a straggling line, the bigger and stronger ones leading the way. Gradually the weaker ones were left behind, and not more than half a dozen were in sight.
- 84. Suddenly Washer cameto a clearing in the woods. In the center of this was a pile of rocks. The thought that he might find a hole under them where he could hide induced him to leave the woods and cross the open space. But the pursuing raccoons saw him, and ran pell mell into the opening. Washer reached the rocks first, but to his dismay there was no hole under them—not even a tiny crevice in which he could hide. It looked as if the race was ended, and he was cornered. In a last desperate effort he scrambled on top of the rocks, and waited. The other raccoons followed him up there, and the leader shouted triumphantly: “Now we’ve got him!” Washer squealed as one of them nipped at his tail and another at his front paws. “Please, please—” he began, whimpering with pain. Now whether it was his cry, or the loud noise made by the scampering raccoons, it is impossible to say, but there were other eyes and ears in the woods that had been drawn to the scene, and Washer’s words were hardly out of his mouth before several dark forms shot out of the woods and crossed the open space. At the same moment the hunting cry of the wolf pack startled the raccoons and made them crouch in terror on top of the rock. They forgot Washer, and turned their attention to the wolves. To their dismay there seemed no chance of escape. The wolves had them surrounded on all sides as they broke from the cover of the bushes on four sides. That terrible, blood-thirsty hunting cry of the pack terrified the cornered raccoons so they could not move. They flattened down on the rock and waited for the end. But Washer had recognized the familiar hunting cry. He knew those voices. They came from his own foster brothers—Mother Wolf’s cubs. Fortunately Sneaky wasn’t with them. Neither was there any other member of the pack. Washer took courage, and raised himself on the top of the rock. “Brothers,” he called as loudly as he could, “please don’t hurt me or any of my people.”
- 85. The cubs stoppedshort at the foot of the rock, and looked up. “Why, it’s Little Brother!” they cried in a chorus. “Yes,” answered Washer, “I’m up here with my people. When the pack said they would kill me, Mother Wolf and Black Wolf took me home. Then I asked Mother Wolf to bring me back to my people. I knew I couldn’t live with the wolves any longer, and Mother Wolf knew she couldn’t protect me forever from them. So she said she’d bring me to my own people. I came to Silver Birch grove, and she left me there.” “And you found your people?” asked the cubs. “Yes, they’re here with me now.” “And do they treat you well, Little Brother?” asked the oldest of the cubs. “We thought we heard you crying for help. If they don’t treat you well, we’ll kill them and eat them. We’re very hungry.” “Oh, they’re going to treat me well, Brothers,” replied Washer. “If you promise to go away, and not hurt them they will treat me well.” The cubs were silent for a moment. Then one of them spoke for all. “If what you say is true, Little Brother, we won’t kill them. We’ll go away, and leave them this time.” “Please do,” pleaded Washer. And the cubs, because they loved Little Brother, nodded their heads and trotted off in the woods. In the next story Washer finds his real brothers and mother.
- 86. STORY SIXTEEN WASHER FINDSHIS MOTHER AND BROTHERS When the wolf cubs had disappeared in the woods, leaving the raccoons in possession of the rock, a long silence followed. Every little ear was strained to catch the slightest sound of a foot-fall, for the raccoons were still suspicious, and were ready for a trap. But the padded feet of the wolves grew fainter and fainter, and finally died away completely. Slowly then one after another of the raccoons raised his head and sniffed the air. They could tell whether there was any wolf smell near, and if one of the cubs was lying in the bushes near they could detect it. “You needn’t be afraid,” Washer said finally. “The cubs never deceived me. They’ve gone away for good, and there’s no danger.” “Why did they do that?” asked one of the raccoons. “Because I was brought up in the den with them as their brother, and we always played together and loved each other until the wolf pack drove me away. I cannot go back to the den, for the price of death is on my head. I have no friends among them, except Mother Wolf who raised me, and the cubs, who are too young yet to want to kill me. But in time they will forget their Little Brother, and hunt me like all the others.” “What were you doing in the wolf’s den in the first place?” asked one of the raccoons. “I was lost, and Sneaky picked me up to feed the cubs. He carried me to his cave, but Mother Wolf took pity on me because I was only a baby. She saved me from Sneaky and raised me with her own children.” “Why were you lost when only a baby?” queried another. “Alas! I fell in the river one day when I was playing with my two brothers, and I was carried over the falls. I couldn’t swim, but I clung to a board, and that saved me. I thought I was killed a dozen
- 87. times, but Iwasn’t, and below the falls I found a landing on the shore. It was there that Sneaky found me and carried me away to kill for his young.” Now one of the raccoons, who had been listening silently to Washer’s words, suddenly jumped to his feet, and ran up and peered into his face. He looked at him so long and intently that Washer was embarrassed. “How many brothers had you?” he asked. “Two,” replied Washer sadly. “They were both dear to me, but I never saw them again.” “Where was it that you fell in the river?” added the excited raccoon. “Where the big pine lies in the river just above the falls. It was where mother took us to play on pleasant days.” “What did your mother call you?” went on the speaker excitedly. “Washer!” The raccoon who had been asking these questions suddenly sprang toward Washer as if he intended to bite him; but instead of doing that he flung both front paws around his neck and hugged him. “Don’t you know me, Washer?” he cried. “Don’t you know your own brother? I was with you that day, and heard you cry. I thought you were joking, and I didn’t reply. Then mother heard you, and she ran down to the river just in time to see you go over the falls. You’re my long lost brother?” Washer was so surprised and overcome by this announcement that for a moment he could not speak. Tears of joy started from his eyes. “You’re my own real brother?” he said in awe. “Yes, see this scar on my paw. You remember how I got it the day I tumbled out of my nest on the rocks?” “Yes, yes,” cried Washer excitedly. “And you remember how I broke off the tip of my tail. See, it’s gone yet. It never grew on again.” “Now, I know you, Washer,” added the other, examining the end of the tail. “Of course, you’re my long lost brother.”
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