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The End of Early Music: A Period Performer's HISTORY OF MUSIC FOR THE TWENTY-FIRST CENTURY.

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The End of Early Music: A Period Performer's History of Music for the Twenty-first century. By Bruce Haynes. Oxford: Oxford University Press, 2007. |xix, 284 p. ISBN-10 0195189876; ISBN-13 9780195189872. $35.] Music examples, illustrations, bibliography, index.

Do we ever stop to consider the philosophy behind our approach to performance other than acknowledging that we belong-to a particular pedagogical tradition? My teacher studied with Segovia, your teacher's teacher studied with Galamian, and she can trace her pedagogical lineage back to Beethoven or even farther. More significantly though, we are products of our age, captives of the current performance style that rules our conservatories, stages, and recording studios. Or are we?

Recent years have witnessed an increasing number of superb books devoted to historical performance practice, some very specific such as Ross Duffin's How Equal Temperament Ruined! Harmony (and Why You Should Care) (New York: W.W Norton, 2007) that examine the tree, whereas books such as Peter Walls' History, Imagination, and the Performance of Music (Rochester: Boydell and Brewer, 2003) survey the entire forest. In the cleverly and intriguingly titled The End of Early Music: A Period Performer's History of Music for the Twenty-First Century, oboist Bruce Haynes views the entire landscape.

Bruce Haynes has made his mark as one of the world's finest baroque oboists, as an instrument builder, and as the author of several important essays on the recorder and oboe. His pivotal article, "Beyond Temperament: Non-keyboard Intonation in the 17th and 18th centuries" (Early Musk 19, no. 3 [August 1991]: 357-81) demonstrated that woodwind players did and still can accommodate themselves to unequal temperaments. His other two books, The Eloquent Oboe: A History of the Hautboy, 1640-1760...

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