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REVIEWS

and the writing of a consistently high quality.

For those seeking firmer theoretical basis for
interdisciplinary work, it may help to provide a
way forward.
Brian C. Thompson
The Chinese University of Hong Kong

Guide to the Euphonium Repertoire: The

Euphonium Sourcebook. Compiled and
edited by Lloyd E. Bone Jr. and Eric Paull.
Bloomington: Indiana University Press, 2007.
[936 p. ISBN 13:978-0-253-24811-1; 0-253-348110. $75.00]
The Guide to the Euphonium Repertoire was
compiled and edited by Lloyd E. Bone Jr. and
Eric Paull under the supervision of R. Winston
Morris. It is a reference text intended for college and university music libraries, as well as
for the individual libraries of secondary and
college/university teachers and professors.
The materials presented are comparable in
scope and depth of research and resources to
the The Tuba Sourcebook (Morris, R. Winston.
Bloomington: Indiana University Press, 1996);
it is a companion to The Tuba Sourcebook (and
part of the Indiana Repertoire Guides series),
and it expands upon related texts such as the
Low Brass Guide (Griffiths, John. Roswell,
Georgia: E. Williams Music Publishing, 2nd ed.,
1999) and Solos for the Student Trombonist
( J. Mark Thompson, editor. Vuamarens, Switzerland: Brass Press/Editions BIM, 2nd ed., 2004).
Extensive efforts have been made by the compilers, contributing authors and consultants to
present the information and articles in a comprehensive and inclusive manner from the invention of the euphonium through July 2005.
In this reference text, partially funded by a
Challenge Grant from the United States
National Endowment for the Humanities, Bone
and Paull have collected articles and annotated
bibliographies and discographies written by
twenty different contributing authors and editors (as well as nineteen international consultants) drawn from the finest euphonium and
tuba soloists and teachers in the world.
Associate editors include Brian Bowman (University of North Texas), Neal Corwell (former
euphonium soloist with the U.S. Marine Band,

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and currently with the U.S. Army Band

Pershings Own) and Adam Frey (Georgia
State University and Emory University). Contributors, along with their biographies, are
listed and cross-referenced.
Articles and bibliographies are presented on
topics such as the history of the euphonium
and baritone horn; graded and annotated listings of solo and ensemble works for the euphonium (solos with keyboard, solos with organ,
solos with wind band, solos with brass band/
ensemble, solos with mixed ensemble, unaccompanied solo literature, solos with electronic
media, euphonium ensembles, recommended
transcriptions); recommended basic repertoire; methods and studies; band and orchestral
excerpts; an extensive discography (crosslisted by artist, title composer, company and/or
distributor); and biographical information on
composers for the euphonium (including composers of original and transcribed solos and
ensembles) and euphonium performers.
Several unique articles are also included: a
guide to trombone/euphonium doubling; the
euphonium in jazz; equipment and repair resources; techniques for recording the euphonium; listings of composers, publishers and
manufacturers addresses; and a listing of euphonium symposia, competitions, events and
festivals. The resource bibliography includes a
section detailing unpublished dissertations,
theses, and research projects. Abstracts of each
item within the research/dissertation section
are included.
Bibliographic notes for compositions are
extensive. They include range, tessitura, difficulty by level, and (in a departure from many
such annotated bibliographies) current pricing
in dollars or euros for many of the compositions. Occasionally, for works that are not available through normal channels (i.e. works selfpublished by composers), website and/or
contact information is provided. This is quite
helpful, as the euphonium solo is a small niche
market in comparison with instruments such as
the violin or piano; and many works are selfpublished or made available through small publishing houses.
However, the quality of the annotations is
somewhat uneven. There are many lapses into
what could be considered unprofessional and

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colloquial language, where the annotator of a

specific work acts as an advocate of the instrument or a specific composition or composer,
forgetting that the prime readers of this reference are already advocates of the euphonium.
There is a bias towards the use of subjective
evaluation of works in many (not all) of the annotations, along with colloquialisms, exclamation marks, and an overuse of superlatives such
as fantastic and beautiful in describing the
value of specific works. Inappropriately expressed, some of the annotations are less than
effective in conveying the necessary information for the euphonium teacher and student.
The use of first person comments in a subjective and colloquial style in some of the annotations also degrades the professional tone exhibited by the majority of this volume. This is a
focus area in which the editors could and
should have done a better job of creating consistency within the text, with the goal of clarity
of information for the reader. The reader may
also note an occasional problem of indexing.
Nonetheless, this is significant collection for
teachers and students of the euphonium, band
directors, composers and performers. It brings
together in a single volume a wealth of information on the euphonium, its capabilities, and
its literature. The process of bringing together
the work of all of the contributors and organizing it into a comprehensive whole by the editors is greatly to be lauded.
The Guide to the Euphonium Repertoire is a
major resource for college and university low
brass teachers and professors, and should be a
required purchase for music libraries at colleges and universities that offer undergraduate
and graduate degrees in instrumental music education and performance. Almost 1,000 pages
in length, it includes articles and bibliographies
not available from other sources. It is a reputable source of information for program notes
and contains an excellent graded listing of
solo literature for the euphonium, inclusive of
elementary/intermediate level compositions
to advanced/professional-caliber works. The
Guide to the Euphonium Repertoire is highly recommended for acquisition by all music libraries.
William G. Rose
McNeese State University

Classic Chic: Music, Fashion, and

Modernism. By Mary E. Davis. (California
Studies in 20th-Century Music, 6). Berkeley:
University of California Press, 2006. [xix, 336
p. ISBN-10: 0-520-24542-3; ISBN-13: 978-0-52024542-6. $39.95]
In the early 1920s, Jean Cocteau visited London
and mailed a picture postcard to friends and
colleagues. Signed Souvenir de Londres, the
photograph superimposed the writer on the latest English styles, including hats, gloves, and
neckties. Cocteaus unconventional greeting reminds us of the symbiotic relationship between
the arts and high fashion, a topic that until recently has evaded scholarly attention. Prior to
Mary E. Daviss new study, such issues had
never been explored in a monograph.
Davis concentrates on the quarter century
between 1900 and 1925. The opening chapter
surveys the pre-1900 fashion press, with special
attention to Mercure Galant and Comoedia
Illustr. The rise of haute couture is traced to
the 19th-century, and Davis employs a wide variety of sources to demonstrate how the fashion
press participated in the nascent music publishing business (p. 4) by including musical
scores. The contributions of fashion designer
Paul Poiret also show instances of such intersections in the early twentieth century. Poiret
created a Style Sultane that freed women from
the constraints of restrictive clothing while also
hosting invitation-only musical events focused
on overlooked repertoire. Davis reminds us
that these soires, featuring music by Couperin,
Rameau, and other early French masters, occurred well in advance of the trend for historically informed performances in France, which
is often ascribed to Nadia Boulangers influence (p. 39).
The third chapter explores the seminal role
of La Gazette du Bon Ton and its founder,
Lucien Vogel, in the emergence of modern art.
An advocate of both cubism and the Ballets
Russes, the Gazette helped secure the place of
fashion as the fourth of the beaux-arts (p. 49).
Most of the chapter is devoted to Erik Satie,
who was introduced to the fashion milieu by
Valentine Gross. Davis reassesses Vogels commission for Sports et Divertissements, refuting
the common assumption that Satie rejected the

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