A Concise History of Western Music.

A Concise History of Western Music, by Paul Griffiths. Cambridge University Press (32 Avenue of the Americas, New York, NY 10013), 2006. 348pp. $35.

It is often said that one should not judge a book by its cover, but Paul Griffiths's new book is certainly an exception. The beautiful angels and musicians that grace the colorful jacket perfectly foreshadow the book's marvelously engaging contents. This book is an ideal introduction to Western music for high school students, amateur musicians and university students. Unlike many of the more traditional music history texts that are often dull and filled with so many details that one becomes overwhelmed after reading a few pages, Griffiths's book is easy and enjoyable to read from beginning to end. He avoids arcane language and technical jargon, undoubtedly as a result of his 30 years as a music critic in New York and London.

Griffiths's ideas are penetrating and thought-provoking. He has the ability to make composers come alive: Machaut, Beethoven and Stockhausen spring forth as human beings instead of remaining as mere names. Griffiths helps the reader visualize the past, as is illustrated by the book's opening lines: "Someone, sitting in a cave, punctures holes in a bone, raises it, and i blows.... Breath becomes sound, and time, through that sound, is given a shape. Being sound and shaped time, music begins."

The book is divided into eight parts, each containing several easily digestible chapters. The author is careful to highlight important musical trends and illustrate the reasons behind them. He avoids overwhelming the reader with unnecessary details by eliminating those composers, pieces and events that are not essential.

Significantly, there are no musical examples anywhere in the book. Fortunately, most readers will not miss or need them. If this book is to be used as the primary textbook for a college music appreciation or music history course, however, it should probably be supplemented with an anthology. It should be noted that Griffiths does provide a list of additional resources for each chapter. Additionally, he has marked those books and audio recordings that he considers to be the most essential. Finally, the author also provides a helpful glossary of terms at the end of the book.

This book is a refreshing musical resource for readers, both young and old. It is a delightful introduction to music history for beginners, as well as a thoughtful review for professionals. Griffiths's unique book should be on every music lover's bookshelf. Reviewed by Ernest Kramer, Maryville, Missouri