SongCite: An Index to Popular Songs by William D.

Goodfellow; Song Finder: A Title Index to 32,000 Popular Songs in Collections, 1854-1992 by Gary Lynn Ferguson Review by: Pauline S. Bayne Notes, Second Series, Vol. 53, No. 2 (Dec., 1996), pp. 449-450 Published by: Music Library Association Stable URL: http://www.jstor.org/stable/900120 . Accessed: 05/03/2013 09:17
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Book Reviews
verses, and sequences as well as to lesserknown votive Masses. Volume 2 of Gozzi's catalogue ends with 127 pages of necessary indexes and an index of figures that requires one to flip pages back and forth. Another table of abbreviations at the beginning of this volume would have been convenient. All three volumes represent a model effort to make an important collection available to scholars and will serve as research tools of lasting value. Different as the presentation of both collections is, study of material in the collection of editions should inform research on the manuscripts. Indeed, essays on both catalogued collections, with facsimiles of important exhibited items, were published as Musica e liturgia nella riforma tridentina, edited by Danilo Curti and Marco Gozzi (Trent: Servizio beni librari e archivistici, 1995).
BARBARA HAGGH

449
the collections indexed. In the area of popular song, Patricia Pate Havlice provided an initial volume, Popular Song Index (Metuchen, N.J.: Scarecrow, 1975) and three supplements (Metuchen, N.J.: Scarecrow, 1978, 1984, 1989), which have been regarded as a standard resource for years. William D. Goodfellow is already a veteran creator of song indexes. His contributions include Where'sThat Tune?: An Index to Songs in Fakebooks(Metuchen, N.J.: Scarecrow Press, 1990) and WeddingMusic: An Index to Collections (Metuchen, N.J.: Scarecrow Press, 1992). This new volume, SongCite, is an index to 7,000 compositions in 248 music books. Consisting primarily of vocal music, the anthologies indexed contain popular songs arranged for piano and voice, although guitar chords may also be included. Goodfellow's criteria for inclusion of anthologies are: (1) publication in or after 1988, (2) songs of recent or longlasting popular appeal, and (3) anthologies not indexed in any other index currently in print. In fact, the coverage is broad based in terms of popular music, including anthologies of folk, rock, country, hymns, easy listening, jazz, musicals, and children's songs. The work offers the standard bibliography of collections indexed, including the number of songs in each collection, and a combined index of titles/first lines of the songs. Goodfellow also provides an index of composers, and an index of works from musicals, motion pictures, and television. The book is laid out well for easy use; its two columns, running heads, and typography make it clear and readable. This work is a valuable addition to the song index genre for popular songs. Gary Lynn Ferguson's Song Finder provides more extensive coverage by indexing 621 song books from the collection of the State Library of Louisiana dating from 1854 to 1992. According to the preface, over 75 percent of these books have never been indexed and 85 percent are not included in any index currently in print. Because the index began in 1978 as a working tool for reference staff, the intent was to index all the song books in the collection not covered by existing indexes. The result is an index that includes a wide variety of genres and styles including theater songs, folk songs, children's songs, religious music, and folios of rock, country, and pop hits

Royal Holloway, Universityof London

SongCite: An Index to Popular Songs. By William D. Goodfellow. (Garland Reference Library of the Humanities, 1918.) New York: Garland, 1995. [433 p. ISBN 0-81532059-0. $60.00.] Song Finder: A Title Index to 32,000 Popular Songs in Collections, 1854Reference Collection, 46.) Westport, Conn.: Greenwood Press, 1995. [xvi, 344 p. ISBN 0-313-29470-4. $79.50.]
Do music librarians and other reference librarians need more song indexes? Those frontline librarians attending the reference refresher session at the February 1996 Music Library Association meeting answered with a strong affirmative because of the daily questions requiring access to songs in published collections. From the pioneering work of Minnie Earl Sears's Song Index (New York: H. W. Wilson, 1926) and its supplement (New York, H. W. Wilson, 1934), librarians learned the purpose of a song index is to provide references to the location of songs in collections, giving access at least by title and a bibliography of 1992. By Gary Lynn Ferguson. (Music

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450
plus African-American music, movie and television themes, seasonal, patriotic, and military music. Song Finder provides access to song titles only. Other indexes that take this limited approach are Robert Leigh's Index to Song Books (Stockton, Calif.: n.p., 1964) and Florence Brunnings's Folk Song Index (New York: Garland, 1981). Ferguson explains that the "limitations of this approach are offset by the opportunity it affords to index more songs in fewer pages, and by the addition of useful details of each printing of a song." One is able to distinguish versions that contain only lyrics or only instrumental versions from those containing complete songs. Lyrics in foreign languages are noted as is the availability of an English translation. Librarians and other users will have to decide for themselves whether access by song title alone is sufficient to their needs. It is certainly true that this approach allows indexing of 32,000 songs in fewer than 350 pages. Ferguson also provides an

NOTES, December

1996

excellent annotated bibliography of published song indexes through 1992. Both authors have been careful to provide new indexing, that is, they have confined their work to collections not previously included in published song indexes. The only place that their work may duplicate others is in the online song indexes now available. Two extensive indexes available only via computer are: (1) Popular Song Index (Tempe: Arizona State University Music Library [URL: telnet://129.219. 10.8.23]) presently covers 850 collections including 50,000 songs with name and key- word access, and (2) UTK Song Index (Knoxville, University of Tennessee Music Library [URL: http://toltec.lib.utk.edu/ which cur-music-songlist-home.html]), rently provides keyword access to 44,500 songs of all types in 1,250 collections. PAULINE S. BAYNE Universityof Tennessee,Knoxville

MEDIEVAL AND RENAISSANCE

Papal Patronage and the Music of St.

Peter's, 1380-1513. By Christopher A. Reynolds. Berkeley: University of California Press, 1995. [xvii, 439 p. ISBN 0-520-08212-5. $60.00.] In his introduction to Papal Patronageand the Music of St. Peter's, 1380-1513, Christopher A. Reynolds admits to having been occupied with St. Peter's basilica in Rome for twenty years. Since 1981 he has regularly published the results of his research into its music of the fifteenth and early sixteenth centuries. This book represents a worthy summation of that work, in the course of which Reynolds has contributed much to our understanding of the southward migration of northern musicians and the important part played by benefices in this process. Some material here has been published before, but much is new and all has been revised, taking into account recent work on fifteenth-century musicians by scholars such as Rob Wegman and Pamela Starr. The book covers the period between the first papal return to Rome from Avignon in 1377 and Pope Julius II's restructuring of the basilica's choir in 1513. Although the

title highlights papal patronage, an alternative might have been "Northern Musicians and the Music of St. Peter's" since this is really the theme of the book. Certainly papal patronage was ultimately behind the influx of northerners, but the real stories here are the personal ones of composers such as Philippe Caron, Giullaume Faugues, Johannes Martini, and Barbingant and their association-both personal and musical-with St. Peter's. The relationship between pope and basilica was a complicated one, as between any bishop and his cathedral-except that, of course, St. Peter's was not the cathedral of Rome (this title belongs to St. John Lateran). From Martin V's entry into the city in 1420 (which also marked the end of the Great Schism), the papal court was centered on the Vatican, with St. Peter's acting as a Cappella Palatina until the building of the Sistine Chapel by Sixtus IV (dedicated in 1483). Even after this date the most important feastday liturgies continued to be celebrated in the basilica, with at least some input by its singers. Discussion of specific papal patronage is confined to the first two chapters and the last, but, as Reynolds points out in his introduction, issues of pa-

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