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Sorce Keller's express intention is to examine the European art-music tradition with the same tools and from the same perspectives that an ethnomusicologist would employ to examine music of a non-Western culture. The working out of this agenda does not go as one might expect. This is a fascinating, personal, broadly provocative book that can be approached by readers far beyond the discipline of ethnomusicology. The current notion of European art music, or the very idea of music in Europe, seems to have been constructed in the 19th century; it was tied strongly to social and economic change, among other things. Fundamental European assumptions about music (e.g., that there are musical works and that there are composers of those works), then, do not emerge inevitably from the stuff of music itself. Sorce Keller raises these issues and many more within a purview that comprehends European music's relationships with other musics and with its own history. This book is particularly appropriate for libraries with holdings in musicology, especially other volumes in the Europea series. Summing Up: Recommended. Upper-division undergraduates through faculty. CHOICE This book is a fun read. Sorce Keller quotes everyone from Monteverdi, Voltaire, GarciaMarquez, Stravinsky, and David Hume, to Clifford Geertz, Max Weber, and Groucho Marx. Looking at everything with sophistication, showing constantly the close relationship of music to the other arts and to literature, he provides frequent bits of humour and always avoids a sense of self-importance... Altogether, however, this is a significant contribution to the literature of music research which will also show readers from other disciplines and interests what ethnomusicology is all about. Yearbook For Traditional Music

Sorce Keller's express intention is to examine the European art-music tradition with the same tools and from the same perspectives that an ethnomusicologist would employ to examine music of a non-Western culture. The working out of this agenda does not go as one might expect. This is a fascinating, personal, broadly provocative book that can be approached by readers far beyond the discipline of ethnomusicology. The current notion of European art music, or the very idea of music in Europe, seems to have been constructed in the 19th century; it was tied strongly to social and economic change, among other things. Fundamental European assumptions about music (e.g., that there are musical works and that there are composers of those works), then, do not emerge inevitably from the stuff of music itself. Sorce Keller raises these issues and many more within a purview that comprehends European music's relationships with other musics and with its own history. This book is particularly appropriate for libraries with holdings in musicology, especially other volumes in the Europea series. Summing Up: Recommended. Upper-division undergraduates through faculty. CHOICE

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"Marcello Sorce Keller is Board Member of the Mediterranean Institute at the University of Malta. He is the author and producer of ""Note in libertà,"" a radio program on Swiss Italian Radio."

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