416 Notes, March 2021 retreading of contextual ground and heighten the elements that distinguish them from each other? Unfortunately, some articles do not provide for sufficient expansion or complication of their subject. For example, “Performance Spaces” offers useful information and commen- tary on various theaters and concert sites to which Haydn’s compositions responded. It gives only marginal atten- tion, however, to the churches and chapels that not only influenced his liturgical music but also fostered his formative musical experiences. Miss- ing is a thorough cross-referencing to all the articles that might aid read- ers in finding information germane to this area elsewhere in the book. The entry “Enlightenment” correctly emphasizes that “we should consider Haydn’s engagement with a multi- plicity of Enlightenment movements (national, regional, thematic, etc.)” (p. 101), yet it proceeds to focus mainly on Scottish and German currents without sufficiently introducing or aiding the reader in exploring the “Enlightened” developments specific to Haydn’s Aus- trian cultural context. The entry “Jew- ish Culture” addresses a compelling research area that has developed in Haydn studies only recently, but it recy- cles a number of assertions that have been questioned or refuted in scholarly literature. These stand without scru- tiny, as there are no articles that can be cross-referenced to acknowledge such challenges. Substantive concerns such as these, along with various minor informational and orthographical errors that occur in some places, are unfortunate, since the contributions to The Cambridge Haydn Encyclopedia very often display clarity and thoroughness. Many entries and essays are eminently useful for research and teaching purposes. The struc- tural issues arising from its unconven- tional “ideas” approach are what tend to hinder its effectiveness as a single- volume reference compendium. They weaken the sense of user-friendliness that often characterizes works in this vein, making it less inviting and prac- tical for the nonspecialist. For this rea- son, I would hesitate to suggest it to a student as a starting point for Haydn research as I would usually recom- mend The Cambridge Mozart Encyclopedia to a student beginning a Mozart proj- ect. The Cambridge Haydn Encyclopedia should indeed be recognized as a major contribution to the literature and a worthwhile addition to reference col- lections, but mainly for presenting an intensive and stimulating window on the dynamic state of Haydn studies in our time. Erick Arenas San Francisco Conservatory of Music Music in the Classical World: Genre, Culture, and History. By Bertil van Boer. New York: Routledge, 2019. [xix, 342 p. ISBN 9781138503830 (hard- cover), $125; ISBN 9781138503847 (paperback), $59.95; also available as e-book, ISBN and price vary.] Illustra- tions, music examples, bibliographical references, index. Musicological scholarship has under- gone radical transformations in the last thirty years, as scholars draw on a new range of methods and questions from other disciplines to critically examine the systems of power, oppression, and representation in music’s histories. By comparison, music history texts aimed at undergraduate students have changed at a glacial pace (unaffected by global warming but by risk-averse publishers). Most have done little to modify their underlying structures but instead supplement canonical histories with token acknowledgments of new scholarship. In the pages of Bertil H. van Boer’s new survey of music in the