MLR, 99.1, 2004 195 origin by participating willingly in colonial ventures (which included collusion in the slave trade). Overall, the Protestant refugee experience, completed in the course of the nineteenth century, constitutes mutatis mutandis an important model fordiaspora studies and offersone measure of what happens over time to a displaced community which, interestingly,frequently compared itselfas a result of its own biblical culture to the dispersal of the Jewish people. Studies of other diasporas have much to learn from mechanisms of assimilation, issues of identity,relations with indigenous inhabitants, and eventual dissolution and disappearance of communities. The policies adopted towards French Protestant refugees by host communities merit equally close study. Protestants in German lands were offered commercial and administrative privileges, helping too in the repopulation of Lithuania. At the same time, explanations for the decline of Huguenot communities must be placed in other contexts, since, as these books demonstrate, they could not escape wider historical developments, such as the Enlightenment, the more general decline of religious fervour in significant parts of continental Europe and among men. New Protestant arrivals in Germany did not lead to the refilling of the churches, with the result that members of communities looked firstto social rather than religious cohesion. These two books therefore open up a number of interesting new horizons in our consideration of the Protestant diaspora. Despite their wealth of detail and breadth of reference, it is therefore unfortunate that, except in one or two cases, a sense of strong theoretical definition is lacking in the distinctions that need to be drawn between the terms 'Refuge' and 'Diaspora', some contributors using the latter term to referto the wider dispersal of Protestants in the New World. It would also be important to establish the evolution of the terms 'immigre', 'emigre', and a fortiori'refugie'. It is clear, however, that Huguenot studies now look very different,and these two books do a wider service in reminding us of that. University of Manchester Henry Phillips La Musique au temps des Encyclopedistes. By Claude Dauphin. Ferney-Voltaire: Centre international d'etude du xvme siecle. 2001. 148 pp.; 4 b&w ills. ?30. ISBN 2-84559-010-5. Though it is not explicit in the title,this book roughly covers the period 1750 to 1772: 1750 marks the publication ofthe prospectus forthe Encyclopedie, 1772 its completion. On p. 8 Claude Dauphin further notes that the dates 1750 and 1770 correspond to the death of Bach and the birth of Beethoven respectively, between which two musical 'revolutions' took place: classicism and romanticism, not to mention Sturm und Drang. Positing an implicit link between the development of theory in France and musical style elsewhere in Europe, one could expect a book whose outlook would be cosmopolitan. In reality the focus of this work is very largely French, and while a welcome attempt is made at opening the field of enquiry (so that a brief skim through the index will throw up the names Bach, Beethoven, Bemetzrieder, Burney, Calzabigi, Corelli, etc), the six brief chapters of which this book is composed cover familiar ground, particularly since the 'temoin principal de cette periode cruciale' (p. 9) is taken?albeit in my view correctly?to be Rousseau. Furthermore, despite the presence of the Encyclopedists in the work's title, the most serious discussion of the Encyclopedie itself is delayed until Chapter 6, with the result that the study suffers markedly from a lack of clarity and direction throughout, and an uneven treatment of material. Hence Dauphin will give over three pages to a discussion of Paul Claudel, as an example of the destiny of musical drama after Rousseau's criticism, but only one page to the linguistic substratum of this criticism itself. 196 Reviews Towards the end of Chapter 1 Dauphin is at pains to point out that the variety and pluridisciplinarity of the object of study justifies some liberties with chronology, where musical works are concerned, but the works chosen sometimes fitawkwardly with the theoretical works in question. More serious is the anachronistic use of musi? cal and rhetorical terms, and particularly a seeming conflation of dessein with unite de melodie (p. 27). Chapter 2, which considers the place of music in the...
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