So, as a singer and PhD candidate researching singing, I was deeply interested in the new Potter and Sorrell publication: A History of Singing, published only 2 weeks ago by Cambridge Uni Press. I stumped up $129 for the privilege to have it sent out and it arrived, parcel post, this week. $129 is a substantial amount for a book. I am always prepared to spend good money on books when they contain something I might find useful. Well. Ahem. I was a wee bit disappointed.
Not by the writing, which is fine. Not really by the content, which, when you add it to Potter’s other works about singing, is a useful addition to his oeuvre, but because there is nothing new in it for me. Bugger. The authors write about the history of the conservatoire and quote Burney. I’ve read Burney. Bugger, and more bugger. Luckily, they do make a pretty contentious argument about the conservatoire environment on page 215, which is about the most useful paragraph in the book.
And some of the chapters are just plain weird. Why name the chapter currently titled “A great tradition: singing through history – history through singing” when it’s really “Classical music of the Indian Subcontinent”? Obfuscation there, IMHO. And why is it in the section called Recorded Voices? The layout of this book makes no sense. And also, why a bloody apologia at the beginning of this chapter? What is there to defend? I’m not sure why the authors are defending a perfectly reasonable subsection in their book. No-one has offered up a kategoria as yet. Why jump the gun?
Anyway. I’m a bit grumpy about it. So I now have to wait for the Oxford Handbook on Singing. Which isn’t due for publication until I’m ready to submit, darn it. On the other hand, my reading of Richard Sennett’s excellent book “The Craftsman”, which cost me $14 including postage, is making up for my financial loss on the other book. There are lots of stickies in this book, and I’m only up to chapter 4. It’s great. This book, plus my books on Cultural Psychology are becoming very useful theoretical underpinnings for my study. Definitely.
Now. Back to work on my last narrative.
And, just for a change, I’ve got some Monteverdi madrigals (Book 3), recorded in 2002 by Delitiae Musicae, Marco Longhini conductor, (Naxos) playing in the background. I’ve missed my Renaissance/early music connections. Earlier, I listened to Canteloube’s Chants D’Auvergnes, sung by Veronica Gens. Amazing how soothing to the savage breast music can be. Especially this grieving one.