Music Papers: Articles and Talks by a Canadian Composer, 1961-1994. By . Ottawa: Golden Dog Press, 1997.256 p. $22.95 ISBN 0-9 19614-72-8 (pbk.)

John Beckwith's Music Papers is a illustrations are situated near the texts to compendium of musings, polemic, which they relate, facilitatingtheir usefulness; reminiscences, bitter vivisection, and lists of them are provided in the front matter. perceptive analyses of things musical in The index (prepared by Kathleen general and of musical things Canadian in McMorrow) is excellent-I looked up several particular. Judging by his tone in the book, expected terms, from rock-and-roll to Beckwith is probably too modest to seek the McLuhan, Marshall; all were there. Cross- title "Dean of Canadian Composers," and references are sparing, but adequate. A few despite his own formidable emre, he would minor proofreading gaffes appear in the text face strong competition from both his own and index: on page 82, the Andrews Sisters and the succeeding generation: Violet Archer, are the "Andrew" Sisters, and on pages 116 Clermont Pepin, John Weinzweig, Bruce (in footnote 11) and 25 1, S.V. New Hmard Mather, Murray Schafer, Barbara Pentland, dictionary, Don Michael Randel's name is and Claude Vivier, to name but one stellar misspelled as Randal, but these are handful. Strike a Medal of Honor for exceptions. Grouping the texts by subject Champions of Canadian Music, however, and rather than following a strictly chronological Beckwith should be first to receive it. (He arrangement was sound, especially as they received the Order of Canada in 1987, so the have been edited to guide the reader to earlier proposed medal is probably not to be or later mentions of the same or similar topics coveted.) His influence on younger that occur out of chronological sequence. composers (Mather was one of several Footnotes frequently amplify the text, adding students at the University of ) and his value to the citations. "persistent ... search for a Canadian voice through music" (EMC) mark him as one to The most provocative section of the book whom scholars and aficionados of Canadian is the second, "CanMus." Beckwith is the culture should pay heed. Beckwith has spent likely progenitor of the term, which he admits most of his multi-faceted career in Toronto, to copping from Atwood's "CanLit." In it, he where he has rubbed shoulders with figures complains of America's ignorance of Canada whose influence spanned a Canadian and the absence of current, accurate epiphany, from the post-colonial period information about Canada in American (and (Healey Willan et al.) through the Statute of other) reference works on music. My own Westminster into what might be called belief is that they result mainly from sheer Canada's first republican era (Margaret lack of critical mass. There just isn't enough Atwood and the post-W.W.II composers). of Canadian anything, despite our intimidating geography and status as their largest trading partner, to matter one whit to There are five sections: I. A "Universal the megalomaniacal -and U.S. Tongue"?, II. CanMus, III. Some Toronto trends in musicology tend to be followed Musicians, N.Composing, and V. Sounds slavishly by the rest of the world. What is not Like . . . , into which the twenty-five articles writ large is invisible. (Beckwith objects to and talks in general fit without forcing, the use of the term "American" by U.S. though the final section's two brief items authors and publishers to refer only to that required their own rubric for lack of a good fit which is of or pertains to the U.S. (p. 113), elsewhere. The 20 musical examples and 16 but I disagree-usage, particularly in Canada, has long ago rendered his objection strictly vignettes from Toronto's musical life and no academic.) in-depth look at the nature of its many musics aside fiom the first essay, "Musical Toronto: With regard to Beckwith's complaints A Contradiction in Terms?" (p. 13 1-139), in concerning American nonchalance, must we which he outlines cursorily various musical then conclude these are futile? (See the items genres found in the city from the mid-19& "About Canadian Music: The P.R. Failure," p. century onward. The item began as an after- 35-49, and "A Failure Revisited," p. 11 1- dinner talk at a concert in 1984 celebrating 12 1.) He frequently strikes me as a frustrated the establishment ofthe Institute for Canadian little boy, tugging at an adult's pant leg for Music, so its perfunctory aspects may be attention. But why? I am still passionately forgiven. It at least serves to pique one's Canadian. I can immediately call to mind interest in the subsequent, personally passages of great Canadian music (all learned, revealing essays on Willan, MacMillan, I confess, prior to my -emigration), from Glenn Gould, and Weinzweig, though the Mercure's Kaleidoscope to Somers' Five musicians' relationships to Toronto comprise Songs for Dark Voice to Archer's Sganarelle little more than marginalia. to Hetu's piano concerto. What has happened to me, that I feel so impatient with Beckwith's ardent cultural nationalism? The fact that this This collection deserves representation in book makes me ask such uncomfortable every academic and large public library in questions helps illustrate its importance to Canada. As an excellent introduction to the CanMus studies. Beckwith asks: What is comparativelyrecent notion oPCanMus" and Canadian music? Who listens to it? Who what constitutes Canadianism in music, it doesn't, and why? Why is the rest of the should also find its way into U.S. academic world so ignorant of it, and why is Willan still and research libraries, but may fail ironically, almost the only name (other than Bryan because of the perceived irrelevance of its Adams or C6line Dion) that Americans can themes to Americans. Acquire this book, call to mind when asked what they think of feature it on your "New Titles" shelves for as Canadian music? While he never quite long as credibility allows, and encourage its arrives at my monolithic conclusion that a use in your classrooms. mere lack of volume is the central issue, Beckwith provides both stimulating answers and additional probing questions that spring fiom the initial dilemmas.

The section entitled "Some Toronto Neil R Hughes Musicians," is less satisfying, providing only University of Georgia Libraries

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