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REVIEWS 115 Canadians havelongbeenactivein thefieldof industrial archaeology in North Americaand internationally,so Canadiansitesand topicsreceive ample room in this volume.The consultant-editor for Canadais Louise Trottier, a curatorwith Canada'sMuseumof ScienceandTechnology.She alsowrotetheentriesforQuebec.DeryckHoldsworth, anurbangeographer whoco-edited volume2 of the Historical AtlasofCanada, wrotemostof the other Canadianentries.The amountof wrongor missing informationin whattheyhaveproduced isunexplainable. Choosing atrandom,theTrentSevernCanal is said to connectPort Severnon Lake Superior to Lake Ontario.The address for the nationallycelebratedBritannia(BC)copper mine and museumis listedasdowntownNorth Vancouver.Hull, Quebec, quaintly referred toas'HullLandlng,' isidentified as being '129 miles swof Montreal.'The entryon 'Ontario'attributes theprovince's development to navigational improvements, omittingto mentionthe role of railways, while theentryfor 'Niagara'discusses hydrodevelopments andtheMerrickcanal, but not the extraordinary featsof engineering represented bytheNiagara bridges(nor isRalphGreenhill's scholarship on Niagaramentioned).The historicsalmoncanneries ofBritishColumbiaarecategorized as'bunkhouse communities,' andthesteam-pumping engines of theHamiltonwaterworks identifiedas'Cornishengines.' With thesingleexception of theprovince of Quebec,forwhicheverysitewitheventheremotest connection to industry and engineering isincluded(andwheretheentryfor 'Quebec'[province] getstwiceasmuchink asthatfor 'Ontario'), themostsignificant Canadian sites areeitherbarely mentioned(Toronto'suniqueGooderham andWorts distillerycomplexis datedat 1832and getsonlya half line), or entirely ignored (there is no mention of the Grand Trunk Railway's pioneering subaqueous StClair tunnelat Sarnia,whichisa NationalHistoricSite,nor of the surviving 1850s GrandTrunk railwaystations sprinkledacross southern Ontario). Likewise, the Canadianmaterialscitedin the bibliography contain major editorial errors.The industrialand engineeringhistory experts attheCanadian Parks Service shouldhavebeenconsulted. The poor treatmentof Canadasimplyreflectsthe failureof the larger work,whichBlackwell, apublisher specializing in reference works, claims to be an authoritative 'landmark' reference in the field. DIANNE NEWELL University ofBritish Columbia Encyclopedia ofMusicin Canada, 2nded.EditedbyHELMUT KALLMANN et al. Toronto: University ofTorontoPress 1992. Pp.xxxii,1524,illus.$95.00 The Encyclopedia ofMusicin Canada, firstedition1981,waspartof a musicologicalwaveof encyclopedizing whichincludedthe NewGrove Dictionary of MusicandMusicians, its manyspinoffs, includingthe 4-volumeNewGrove Dictionary ofAmerican MusicandMusicians, therecentlyabortedUniverseof 116 THE CANADIAN HISTORICAL REVIEW MusicprojectinitiatedbytheInternationalMusicCouncil,andthe Garland Encyclopedia of World Music(in preparation).It differedfrom mostencyclopedias in several respects, however. The mandate definedbytheeditors Helmtit Kallmann, Kenneth Winters, and Gilles Potvin - was(like that of the Canadian music history authoredbysenioreditorKallmann)extraordinarily broad, and included historiesof individuals and institutions, score-oriented styleanalyses of variousmusicgenres,and a widerangeof historicaland sociological topics. Unlikemostencyclopedias, filrthermore,onlya portion of theresearch presented in EMC, firstedition,hadeverbeendone.In other words,thiswasnot a compendiumof the knownbut a boldexhortationto scholars tofillin themissing pieces, toreducethetinknown. The musicologicalcommunity (asmallgrouprelativetothescholars ofadiscipline suchas history)ofno nationotherthantheUnited States, withtheentireinfrastructure of Grovedictionaries and the entire copyof their complete1981 edition,hadtriedsuch aproject. Onlytheboldvision oftheeditors andthe bravefinancial backing ofFloydChalmers enabled thedaringprojecttobe completed. Theresult, thoughpredictably uneven withregardtoacademic/ documentarystandards, was,nevertheless, astonishingly successful. That Canadianmusicstudies had madea quanttimleapforwardwasacknowledgedbybothascholarly andageneralreadership, since EMC hadmanaged to beasengaging in manyregards asit wasacademically usefid. In fact,the publication of •:MC wasgenerally regarded assucha momentotis occasion that mostreviews of the first editionwerecloserto eulogiesthan critical assessments. The decision tomakeasecond editionafteronlytenyears was,in part,a restiltof the extensive researchactivityof the 1980swhichEMC had in no small measure stimulated: the CanMus series of the Institute for Canadian Music, the dozen voltimes of the Canadian Musical Heritage Society, numerousbiographies, regionaland subdisciplinary histories, and soon. The needfor a neweditionat a relatively shortdistance from the original alsoreflectedchangesin the musicindustryand in the musicologies. Popularmusic,clearlygivenmarginalstaulsin the firstedition,wasnow treatedmuchmoreextensively, constituting, bymycount,about30percent of the over800newentries.In thisregard,the additionof Mark Miller to the editorialboardshouldbe noted,sincehe authoreda largeproportion of thejazzand(English-language) popularmusic entries. A newgeneration of concertmusiccomposers wasacknowledged in another20 per centof thoseadditionalarticles. The expansion of organizations andassociations for the arts,both nationallyand provincially(perhapsmostnotablyin Quebec), had both changedthe infrastructureof music-making and engagedan increasing numberof scholars, as issues of hegemony, the interface of policy andpractice, andinstitutional access acquired academic currency in the 1980s. In theirnewintroduction, theeditors notethehuge REVIEWS 117 expansionof musicians' discographies, another indicationof a rapidly expanding industry andchanging Canadian listening practices. In comparison, a relativelysmallnumber of articles(about200) were deletedfrom EMC1. A samplingof theseindicatesthat the majoritywere biographical pieces on musicians whose contributions wereregional.That suchmusicians haveplayedadefinitiverolein thecountry's musichistory is evidentand, while their exclusionfrom the secondedition isnot a surprising editorialdecision, the exclusions, aswell asthe additions(with their emphasis on internationalsuccess, institutionalization, and soundrecordings ),all contributeto changethe biasof EMC 2 slightly. The newedition presents a picture of publiclyaccessible and widelyrecognizedfacesof Canadian music, but the earlier one will remain valuable for some additional informationit conveys aboutthe localcontributionsof manyimportant but lesser-known individuals...


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