Written by one of the world's most distinguished musicologists, this is the first comprehensive history of musical instruments. It traces their evolution from prehistoric to modern times, combining scholarship with insight in a remarkable fusion of music, anthropology, and the fine arts. Includes 24 plates and 167 illustrations.
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16 of 18 people found the following review helpful:
4.0 out of 5 stars
Exhaustive but Aged,
By
This review is from: The History of Musical Instruments (Hardcover)
As it is really the first complete work on the history of musical instruments, this is a foundational text. In the sixty years since its publication, though, opinions and interpretations have changed, and better research has been done.Nonetheless, the very readable style and global scope make this a worthwhile investment. The illustrations are very good for the time it was published. The organization is clearly structured by chronology and geography, yet connections are made across these boundaries. I enjoy the book immensely, both as a reference and for pleasure.
12 of 14 people found the following review helpful:
4.0 out of 5 stars
An aged must-read,
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This review is from: The History of Musical Instruments (Hardcover)
This book provides a thorough description of the evolution of musical instruments from a multidisciplinary point of view from prehistoric times to mid-20th century. It comprises most historical epochs and geographical regions.Good things about the book: it's a classic, very comprehensive (except for the electrophones), very clear in the technical descriptions, nice figures and pictures (although not enough for the many instruments discussed), it's a must-read for people interested in musical instruments and its evolution. I've learned a lot reading the book. Bad things: it's aged in many respects. The language isn't politically correct when referring to some countries and peoples; it's too European-focused; gives too much importance to several simphonic orchestra instruments in comparison to other very popular instruments (the guitar family and its evolution is poorly treated, for instance); the electrophones are very badly treated and with some contempt. I know this is a 1940/1968 book and the electromechanical and electronic instruments were still in it's infancy, but some were already there (theremin, ondes Martenot, electric guitar, early synths) which would have deserved a much better treatment. Finally, I didn't like the author's remarks about some other people's work. Although he is an acknowledged scholar, sometimes he sounds very petulant. I also disagree with the author in some technical aspects. For instance, his classification of musical instruments, although universally accepted, has several weak points in my opinion. Many scholars have followed Sachs' terminology too literally; that's why nowdays some people call 'lute' to any stringed instrument with a handle and neglect its original local name. The results is that a Spanish 'bandurria' is a 'lute' as well as a German 'Laute', or a North African 'gnbri'. That is very confussing and wrong.
0 of 2 people found the following review helpful:
5.0 out of 5 stars
History of Musical InstrumentsTh,
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This review is from: The History of Musical Instruments (Dover Books on Music) (Paperback)
This is exactly the type of book I was expecting. I received it extremely fast, within one week of ordering. I am overall pleased.
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Citations (learn more)
67
books
cite this book:
See all 67 books citing this book
- Musical Women in England, 1870-1914: "Encroaching on All Man's Privileges" by Paula Gillett on 4 pages
- Encyclopedia of Percussion (Garland Reference Library of the Humanities) by John H. Beck on 4 pages
- The Cambridge Companion to Brass Instruments (Cambridge Companions to Music) by Trevor Herbert on 4 pages
- Musica Getutscht: A Treatise on Musical Instruments (1511) by Sebastian Virdung (Cambridge Musical Texts and Monographs) by Sebastian Virdung in Back Matter (1), Back Matter (2), and Back Matter (3)
- Music in Greek and Roman Culture (Ancient Society and History) by Giovanni Comotti in Back Matter (1), and Back Matter (2)
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