Sourcebook for Research in Music

Sourcebook for Research in Music

Sourcebook for Research in Music

Sourcebook for Research in Music

Synopsis

Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.

Excerpt

It has been an honor for me to continue the work of Phillip Crabtree 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 research in the field of music.” This “introductory reference source” has since become one of the standard resources in musical scholarship. 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 interest 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 Englishlanguage sources rather than on those in foreign languages. Certain major early sources have occasionally been included, usually under the heading ‘Of Historical Interest,’ and some of the bibliographies 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 provide the means of direct access to materials of research; others emphasize the basic or current representative sources of significance. In other words, in the bibliographies and other materials that follow, the guiding principle, to one extent or another, is selectivity rather than comprehensiveness, as detailed in the chapter intro-

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