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indeed be. Some readers also might find more information about the collectors, their travels and possibly their publications useful to assess the general reliability of a collector. Published 83 years after Ankermann’s reference work based on the same collection, Wegner’s book shows US evidence of the strides that research in African music has taken in those 8 decades. The use of Hornbostel and Sachs’s modified classification system [4] may seem to imply an evolutionary line or development from the simple (musical bow) to the complex (harp). Like Schaeffner’s approach [5], however, the methodology is entirely in keeping with modern research. Hornbostel and Sachs’s classification of simple and composite chordophones is abandoned and so are many categories hitherto taken forgranted. The term Harfenlaute (harp lute) is correctly replaced by the two categories Bogenharje (bow harp) and Stegharfe (harp with bridge), the bridge being the main criterion of classification [6]. Wegner correctly points to the West African technique of attaching the corpus membrane to the stick inside the resonator, a widespread feature that seemed to have escaped Hornbostel and Sachs’sattention. His grasp of the current literature is impressive, although in some cases important sources are neglected. The discussion of the goge, for example, relies heavily on the work of DjeDje, Harris and Krieger, but the inclusion of some of Surugue’s findings on the Songhai gojk would have been useful. Surugue makes important observations on the acoustical side of the goje, the use of a bass bar substitute and the function of the bridge as sound post [7]. Wegner justly gives ample space to a discussion of the modern extensions of traditional African string instruments, and his detailed treatment of the guitar (pp. 153-157) is one of the positive features of the book. This affords important insights into connections and parallels between North African and subSaharan musical instruments, but the extensive discussion of such instruments as qaniirn and C-ud appears artificial. It seems strange to note the dissemination of the Arab C-ud in Europe and Asia and the Arab etymological root in such European terms as alaude, laud, lute etc. (p. 153)but not to mention a term like the Ful hoddu in Mali. Certainly, these are minor points that donot diminish the value of theimpressive amount of information about African stringed instruments. One hopes that this new series of the Berlin Museum will expand and that other volumes will follow. 1. 2. 3. 4. 5. 6. 7. REFERENCES Gerhard Kubik, Ostafrika, Musikgeschichte in Bildern No. I (Leipzig, 1982) p. 170. Bernhard Ankermann, Die afrikanischen Musikinstrumente,Ethnologisches Notizblatt No. 3, (Berlin 1901) p. 3. Perceval R.Kirby, TheMusicalInstruments of the Native Races of South Africa (Oxford: Oxford University Press, 1934). Erich Moritz von Hornbostel and Curt Sachs, “Systematik der Musikinstrumente . Ein Versuch”, Zeitschrift fur Ethnologie 46, No. 4-5,553-590 (1914). Andre Schaeffner, Originedes instruments de musique (Paris: Mouton, 1980). Roderic Copley Knight, “Mandinka Jaliya: Professional Music of the Gambia” (Ph.D. diss., University of California, LosAngeles, 1973)pp. 19-126. B. Surugue, Contribution a I’etude de la musique sacrie Zarma Songhay, Etudes Nigtriennes No. 30 (Niamey [Niger]: Centre nigtrien de la recherche en sciences humaines, 1972) p. 34. SOUND RECORDING PRACTICE John Borwick, ed. 3rd Ed., Oxford University Press, Oxford, U.K., 1987.557 pp., illus. Trade, f39.50. ISBN 0-19-31 1927-7. Reviewed by A. John Mallinckrodt, Joint Science Department, The Claremont Colleges, Claremont, CA 91711, U.S.A. In the third edition of this handbook of sound engineering, editor Borwick forsakes a simple insert-mode revision in favor of a cold shower, a brisk shake of the head and an honest new look at practices in the studio. The emerging digital techniques in recording, signal processing and synthesis, which prompted many of the revisions in the second edition in 1980, have by now had such a strong impact on the industry that it must have been difficult to consider any other approach. Although Bonvick retains the same basic organization, with a technical introduction to electronics,acoustics and studio design followed by major sections on equipment (microphones, consoles, signal processors, loudspeakers, analog and digital recorders, mobile units...


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