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Reuiews of Books

and nicasure it against, memories of previous performances" (pp. 123-124). Wright then connects what hc calls the “inevitable circularity” of the musie with the idea of “a morę privatc and discreet form of homecoming, that of the performer himself ‘ (i.e., Kiaras, who fled Iran and public musical performance, and who has only recently resurrected it as an ołfering to a western public) (p. 127). Again, one wishes that the author would morę readily acknowledge the ways in which his admittedly ‘western-style’ analysis facilitates and deepens such insight.

As enlightening and important as Wright s contributions to world musie theory in this work are, one perplexing and seemingly unnecessary problem mars an otherwise positive reading experience: the omission of a track list for the included CD, and indeed of any mention \vhatsoever of its inclusion as part of the publication. This reviewer happily discovered the CD by accidcnt attached to the inside of the back cover. Listening to the tracks that correspond to the appropriate sections of the analysis proved somewhat difficult, at least initially, sińce the various parts of the performance are not identified with track numbers in the text, and sińce, to the uninidated, ccrtain portions of the musie are difficult to distinguish from others (even though one comes to discover that they are in the same order as the written analysis). Moreover, therc is an cxtra track of musie at the end of the CD that does not appear to be connected to any specific portion of the book. Though one assumes it is an additional performance by Touraj Kiaras, this one accompanied by a fuli western-style orchestra, the reader is puzzled in having to speculate on the mystery of its relation to Wright s work.

This irritation aside, however, Touraj Kiaras and Persian Classical Musie stands favourably alongside Wrights other foundational Middlc Eastern studies as a refreshingly pcrformancc-focused foray into the increasingly cross-cultural character of twenty-first-century musical analysis.

Mark Hijleh Houghton College, New York

Etymological Dictionary of the Iranian Vf.rb. By Johnny Cheung (Leiden Indo-European Etymological Dictionary Series, ed. Alexandcr Lubotsky, 2). pp. xxiv, 600 Leiden and Boston, Brill, 2007.

doi: 1 o. 1017/S13 56186310000337

Compilation of this dictionary was carried out within the Indo-European Etymological Dictionary research project at the Department of Comparative Indo-European Linguistics at Leiden University. The project, superviscd by Alexander Lubotsky and Robert Beekes, aims to produce an online dictionary containing all words in the Indo-European languagcs that can be traced back to the proto-language (PIE). Dictionaries on the following branch families of languages have becn published to this datę: Albanian, Anatolian, Armenian, Baltic, Celtic, Germanie, Greek, Indo-Aryan, Iranian, Italie, Slavic, Tocharian.

This reviewed volume on Iranian consists of the Dictionary (pp. 1-475), References (pp. 476-504), Indices (pp. 505-588), and an English-Iranian glossary (pp. 58(^-600). The first complete etymological dictionary of Iranian, the work attempts to give a critical survey of all the verb roots that may havc existed in proto-Iranian (PIr.) as dcduced from the attested Iranian desccndants as well as the Sanskrit and l^łIE evidence. This is occasionally accompanied by an analysis of the morphology and assessment of the pedigree. Notwithstanding those reconstructed I*Ir. roots which are formed in the Indo-Iranian era or even after the split thercof, many Iranian verbs do show PIE provenance. The dictionary s lemmata are PIr. roots arranged in Roman alphabetical order. Each is followed by a gloss, a list of derivatives in the dead and łiving Iranian languages, the Sanskrit and PIE roots and a selective list of IE cognates, and references. In many cases, Cheung has inserted his comments and suggestions within the entry.