The Pleasures of Music: An Anthology of Writing about Music and Musicians ed. by Jacques Barzun (review)

84 Books industrial civilization that plastic surgery would not put right. Such naivete is reflected in some of the activities of the D.I.A. recounted in the book. A typical example was a week-end excursion to St. Albans in 1928, during which participants, armed with notebooks and cameras, recorded 'the well-designed and the not-at-all designed' in urban architecture and graphics. Admirable though its intentions were, the D.I.A. embodied the attitude of one of the more persistent, and I believe damaging, influences on British design, namely, that of the well-beloved English middle-class dedicated amateur. Any detailed history of this period would have to take a much broader view. There islittlemention of the increasingrationalism in industry that resulted from the need for a more efficientuse of materials and of manpower to maximize profits in a uncertain market. It made economic sense to employ professional designers, and the Society of Industrial Artists and Designers, a professional body, was already established by 1930,just at the time that Carrington claims the D.I.A. was beginning to have some influence. A history would also have to take into account the underlying conflict between economics, on the one hand, and humanitarian ideals,on the other. It was this that led to the failure in practice of William Morris's arts and craft workshops. By allying themselveswith manufacturers, the D.I.A. tried to come to terms with 20th-century mass production, but, as they discovered, most of the objects they regarded as well designed were not amenable to cheap production. Only brief mention is made of such problems. Most surprising of all is the omission of any reference to the enormous number of technical innovations that occurred in mass-production methods and materials. These provided the designers of the time with the inspiration and the constraints for much of their work. In the finalchapter, Carrington attemps to treat British design after World War 11.As he admits, he has been 'a spectator rather than an zctive participator' since the end of that war, and this is reflected by his evident lack of knowledge and understanding of developments in design. Poor illustrations are alwayslamentable. But, when they occur in a book written about design by someone with a personal and professional involvement in typography and publishing, it is unforgivable. Their quality is sopoor that, in most instances, the important features of the designscannot be discerned. This book disappointed me very much. The Pleasuresof Music: An Anthologyof Writingabout Musicand Musicians. Jacques Barzun, ed. Cassell, London. 1977. 371 pp. f5.50. Reviewed by Barbara Hero* In spite of the fact that Barzun's compilation of writings about music and musicians is so full of contradictory ideas and fragments, ranging in time from B.C. to the 1950s,it does put certain underlying ideas in perspective. The book appears to be intended for the general public that is intrigued by music and by associated ideas and personalities. Topics can be read at random for amusement and edification. They deal with the power and unity ofmusic, with musicaldrama and with politics, patronage, and fantasies to encourage readers to realizethat theseaspects are interrelated. Although the book is devoted to music, much that is in it is relevant to the visual arts. For example, one is struck by the dichotomy between those who have a rational, logicalapproach to making and to reacting to an artwork and those who have an emotional approach. It seemsto me that this dichotomy will continue to be manifested in the future: it is the basis for many lively discussions. The kaleidoscopicchangesin musicalforms.styles.rulesand liidsputs in nice perspective the crystal clear characteristics of Mozart's works, the beauty of which was apparent to only some of his peers. As readers might realize, the composers who were readily accepted at the time when the works of Beethoven, Verdi and Wagner were harshly criticized are now all but forgotten. The personal letters of these composers and the comments of critics provided in the book permit one to vicariously experience the musical atmosphere of the time. The writings Barzun has assembled point to the positive and negative aspects of his book...