bluuebunny/crossref_metadata_2025 huggingface dataset:
Some Points in Bach's Treatment of the Chorale
Authors: Davey Henry
Published: January 2007

There is no department of existing musical compositions which to me seems a more unending subject of interesting study than the chorale as it appears in Bach's works, vocal and instrumental. Bach's chorales have a value of their own, not only in a musical point of view, as a sheer pleasure to the cultivated ear, but as throwing light on the nature, limits, and functions of the tone-art. When the future Lessing appears and writes a new “Laocoön,” he will find that Bach's chorales will considerably assist him in any endeavour to fix the limits of our art and in discussing what the true aim of music should be. I shall have repeatedly to return to this point in the course of my paper. I cannot examine it in detail, as so many matters have claimed mention that I shall but slightly allude to each; and I must ask your pardon if the paper should appear discursive.
Form and Formalism in Music
Authors: Hadow W. H.
Published: January 2007

The Chairman.—Before I call upon Mr. Hadow to read his paper, I wish to say a few words of respect to the memory of our late friend and member, Mr. Banister, who was regular in his attendance at the meetings of the Association and took a deep interest in its welfare. He was in many ways a remarkable man, and one who has left his mark on the profession, especially through the large number of his pupils, to whom he was a most assiduous and enthusiastic teacher. I never met any of his pupils who did not always speak of him with great respect and affection. As members of this Association the least we can do is to pass a vote of condolence to the widow, and send to her our expression of the great appreciation and regard in which we hold his memory.
The Teachings of Harmony as a Basis of Ear Training
Authors: Sawyer Frank J.
Published: January 2007

In commencing a paper the writer frequently feels it a duty to begin with an apology for introducing such a subject. In the present case I feel that no apology whatever is needed, for to those interested in the teaching of music, the training of the ear of their pupils is a subject which is rapidly becoming one of the greatest importance. It is still in its infancy, but to the large number of conscientious teachers it is presenting itself with an ever-increasing force. We have been at great pains in England to secure that the rudiments of music shall be taught intelligently to the young pupil. Every scheme of examination in practical, as well as in theoretical, music has insisted on all candidates properly understanding the basis of the art. How greatly the musical perception and intelligence of the average pupil has improved by this means, anyone may see who will but compare a musical schoolgirl of twenty years ago with one of to-day.
The Vagueness of Musical Nomenclature
Authors: Webb F. Gilbert
Published: January 2007

My object in appearing before you to-day is to secure a discussion that may lead ultimately to greater definiteness in musical nomenclature. On a subject in which so much uncertainty exists, there must be both vagueness and diversity of opinion, and I hope that, however trivial you may deem your own ideas on this matter, you will not hesitate to express them, for “in the multitude of councillors there is wisdom.” For my part, I trust I shall be able to say something sufficiently irritating to cause you to rise, if not in your wrath, at least to contradict me.
The Vitality of Melody
Authors: Kidson Frank
Published: January 2007

On being honoured by a request from your Council for a paper, I chose for a subject “The Vitality of Melody,” for I think that perhaps in these modern days melody is a little apt to be obscured by the delight in triumphs of technical construction where the skilful harmonisation of separate parts is more a feature of composition. Melody pure and simple, I am certain, had a rather better recognised position among the older musicians than it has to-day. It is a generally felt opinion that anything tuney may be set down as cheap; but although tuney music can be both cheap and nasty, it is not the fact of tune being there that makes it so; it is the bad quality of the tune. Where melody and harmony are united I need not tell you that melody has had, in many cases, much right to complain of the union.
The Harp
Authors: Kastner Alfred
Published: January 2007

Those who are acquainted with the harp only as an important constituent of our modern orchestra, will perhaps fail to understand how it is possible to lecture, not only on its history, but on its development as a solo instrument. But the harp has undeniably a great past as such. At present, too, as every attentive concert-goer will have noticed, not only does its importance in the orchestra increase day by day, as modern composers give it more and more prominence, but the literature for solo harp has been enriched in the last few years with numerous works of value.
Dr. Arne
Authors: Cummings William H.
Published: January 2007

It is noteworthy that three generations of the same family were named Thomas Arne. The Bishop of London granted a marriage licence on February 4, 1680, to “Thomas Arne of St. Paul's Covent Garden, Bachelor, 27 and upwards, and Mary Thursfield of St. Martin's in Fields, Spinster 20, with her father's consent at St. Peter's Cornhill, or elsewhere in Diocese.” These were the grandparents of the composer. The register of St. Paul's, Covent Garden, records on December 30, 1682, the baptism of “Thomas, Son of Thomas Arne by Mary his wife.” This was the father of the composer. In April, 1707, he married Ann Wheeler at the Mercers' Chapel, Cheapside, and three years afterward the son was born who became the celebrated musician. The baptismal register of St. Paul's, Covent Garden, contains this entry, dated May 28, 1710, “Thomas, Son of Thomas Arne by Ann his wife.” I can find no contemporary evidence of the day of his birth; but March 12 is the traditionary date which has met with general acceptance. We may note that Arne received only one Christian name at his baptism, Thomas; when and why he adopted the second name Augustine we can only surmise. Probably it was done to distinguish him from his father and grandfather. It has been suggested that he may have assumed the name Augustine when he joined the Roman Catholic Church. I have made diligent inquiry, at the Sardinian Chapel and elsewhere, and have failed to find any evidence of this. An autograph letter of Dr. Bumey in my possession says that “old Mrs. Arne, the mother of Dr. Arne, was a bigotted Roman Catholic.” Doubtless she instructed her son in the tenets of her church; but it is noteworthy that the burial register of St. Paul's, Covent Garden, on the north side of which church the composer was interred, gives his name Thomas Arne.
On a Practical Method for Reading Harmony
Authors: Rhodes Alfred
Published: January 2007

I think it advisable first of all, to explain a little more fully the title announced in, the Syllabus for this evening's paper, viz. ‘A Practical Method for Beading Harmony.’ The title originally sent was, ‘A Practical Method for Reading Harmony, adapted to performers on the organ or pianoforte, and distinct from the composer's manner of analysis.’ I was kindly recommended to leave something to be explained, rather than adopt a title too long to be well remembered.
Moussorgsky
Authors: Montagu-Nathan M.
Published: January 2007

I am, I believe, justified in imagining that because your membership must have greatly altered since the day when Mrs. Rosa Newmarch came amongst you as the prophetess of Russian music, and gave that wonderfully illuminating series of lectures on the rise of the Nationalist opera, and because very little connected information has since been forthcoming in book form (in the English tongue at least), it will not come amiss if, before proceeding to discuss and appraise Moussorgsky, I give you some slight sketch of the events which led to the formation of the Koutchka, as the little circle of five musicians—Balakireff, Cui, Borodin, Moussorgsky, and Rimsky-Korsakoff—was called, and to the formulation of their principles and aims.
Sea Songs and Shanties
Authors: Terry R. R.
Published: January 2007

[The following is an abstract∗ of Dr. Terry's address on the above occasion.]

There is a great deal of literature on the subject, but the lecturer has been long familiar with Shanties from hearing his own sailor relatives sing them. There is this to be said about sailors' Shanties : there are so many variants of all the tunes that there is plenty of material for a lecture without having recourse to compiling from existing literature.
John Wilbye
Authors: Fellowes Edmund H.
Published: January 2007

There are, I suppose, no two English madrigals more universally known than “Sweet honey-sucking bees” and “Flora gave me fairest flowers.” Small as is the proportion of first-rate English Madrigals which has been rescued from the regions of oblivion to which these splendid compositions were consigned as early as the seventeenth century, yet these two at least, in company with a tiny handful gleaned from other composers belonging to the same school, have achieved a very wide and permanent popularity, with the result that the name of their composer, John Wilbye, is known wherever English vocal music is practised at all. So far, so good. But at this point we are faced with a surprising reflection. Who was this John Wilbye ? And what else did he write besides these two popular masterpieces? To the first of these questions the only available answer until recently was, that but one trivial detail of this composer's life and circumstances was known; to the second, that though many madrigal enthusiasts (themselves a small minority among musicians) might know, or know of, another ten or twelve of Wilbye's compositions, at a very liberal estimate, yet our ignorance of the rest of his work was on a par with our ignorance of his personal history. This is indeed a strange reflection, when it is stated as a fact that in his two published Sets alone, Wilbye produced as many as sixty-four madrigals, scarcely any of which fall below the very highest standard of excellence, characterized, as they are, by a polished style, a keen sense of imagination and a seriousness of purpose, showing also that their composer had a rare skill in all the musical devices known at the period in which he lived.
An Arne Portrait
Authors: Griffin Ralph
Published: January 2007

The Chairman : Before calling upon Mr. Lennox Atkins, I am going to ask Mr. Griffin to say a few words about the picture, exhibited on the easel, of Dr. Arne. He suggested showing it at the last meeting, but I thought it would be better to defer bringing it till to-day, when I hoped we should have magnificent sunshine. But my anticipation, you see, has not been realised. Notwithstanding this, you will have pleasure in seeing the picture and in hearing his remarks.
Thomas Weelkes
Authors: Fellowes Edmund H.
Published: January 2007

A year ago when addressing this Association I dealt with the subject of John Wilbye, who by general consent is regarded as the greatest figure in the English Madrigal School. This afternoon I propose to say something about another of the English madrigalists, Thomas Weelkes, whose work in this class of composition closely approaches the excellence attained by Wilbye, although in many details the styles of these two madrigal-writers are dissimilar. I should mention that Weelkes also composed quite a considerable amount of Church music which has survived to our day, although I believe I am right in stating that not a single note of it is sung in any cathedral or collegiate church in this country at the present time; my paper this afternoon will, however, be confined exclusively to the consideration of his secular vocal work.
Classicism and False Values
Authors: Clutsam G. H.
Published: January 2007

I would like to say a few words on a subject that may appear, at first consideration, to be highly controversial. To those whose appreciation of the classical in music is perfectly sincere, who feel that a large proportion of it is irrevocably established as a fully adequate expression of the beautiful, with the beauty that brooks no denial, my view of the matter may possibly savour of the irreverent, not to say impertinent. I desire to be neither irreverent nor impertinent, but merely venture to suggest that we place an unduly high value on much musical work that has come into the category of the classical, either by reason of its remoteness from our current thought and methods, or by reason of its historical position in revealing definite points of development and expansion in an art that is still seeking an approach to maturity.
The Viols in England
Authors: Pulver Jeffrey
Published: January 2007

It is doubtful if a subject more essentially English could have been chosen from the pages of musical history than that of the Viols. Although of foreign origin, they became so thoroughly naturalised in this country, and exercised so great an influence upon the history of English instrumental music, that I think no apology will be needed for my having selected them to be the theme of the present paper. I have written it in order to bring together all the information I could collect, and out of the whole to construct an account that may possibly be useful for purposes of reference. But before going further into the matter it will be well if I state my programme in more detail. By “Viols,” I mean the members of that family of bowed instruments with flat backs, sloping shoulders, and C-shaped sound-holes. They were instruments of the greatest possible importance, looked at from any point of view, and, in consideration of their worth in the artistic, historical and sociological aspects, they certainly merit detailed treatment. The period to which I propose to devote myself is that which lies between the date of our first authentic piece of documentary evidence and that at which the Viola da Gamba vanished before the conquering Violoncello. With Rebecks, Vielles, Fiedels and Gigues I shall have nothing to do; we have seen all too often into what misty tangles such research can lead the antiquarian. I wish to indulge in speculation as little as possible, and shall do my utmost to avoid propounding theories as to the ultimate source of the Viols. It will be best, I think, if we accept these instruments as accomplished facts and see what can be discovered of their English history. I am of opinion that a consideration of the Mediæval bowed instruments—interesting though it might be from the antiquarian and social points of view—would scarcely be worth the time spent upon it by the modem musician. It has not yet been conclusively proved—to my mind at any rate—that these instruments of the Middle Ages were the direct lineal ancestors of the Viols. A discussion of this question is not my purpose to-day; but I must say, in passing, that I do not believe the former had any more or less to do with the latter than had one style of architecture with another. I propose taking up my subject at the transition period when the music for these instruments ceased to be a mere duplication of a voice-part and became instrumental music pure and simple. That motley throng of fiddlers, jongleurs and troubadours, must go on fiddling their improvised accompaniments in the romantic borderland between legend and established facts; while we confine ourselves to the time when our beautiful soft-voiced Viols were making scientifically correct music of distinct artistic worth.
On the Early Italian and Spanish Treatises on Counterpoint and Harmony
Authors: Ouseley F. A. Gore
Published: January 2007

The object of the paper I am about to read is to introduce to your notice some of the principal Italian and Spanish treatises on music of the fifteenth and sixteenth centuries. It is a subject which has never been much attended to in this country, probably on account of the excessive rarity of the works in question; but which possesses a great deal of interest, when viewed in connection with the History of Musical Art. In order to illustrate the subject more fully, I have placed on the table a few of the rarest of these ancient treatises, from my own library, in hopes that some of those who are here to-day may care to examine them, and thus verify the observations I shall have to make concerning them.
Comedy and Drama in Folk Song
Authors: Pearson Arthur A.
Published: January 2007

Coming among this assembly of cultivated musicians I feel rather like an ancient barbarian, because really I know very little about music. It is true I am a singer “of sorts,” as you will have occasion to hear very shortly, but my singing will be of very unorthodox kind; some would say of a barbaric kind, and many would not call it singing at all.
Worcester Harmony of the Fourteenth Century
Authors: Hughes Dom Anselm
Published: January 2007

The most important of the remaining examples of English musical composition in the five centuries before Dunstable have been fairly well explored by musical historians and are known, at least by name, to our educated musicians of to-day. Such are the Winchester Troper, the Reading Rota, the theoretical work of Walter Odington and many others, the Agincourt song, the Selden Carols, and the Old Hall MS. But no one can yet claim that our musical history up to 1226, and from 1226 to 1415, is anything but a series of missing chapters. It is a period of mystery, and for that reason we might have expected that more serious attempts would have been made to explore it. Not that a good deal of efficient work has not been already done, but it is sadly little when we compare the abundant supply of specialised literature available in other departments or ages of English history, and we have only to look at the lists of the Henry Bradshaw Society, the Early English Text Society, and such bodies to realise what might have been done for our English Mediaeval Music.
Some Problems in the Performance of Bach's Church Cantatas
Authors: Whittaker W. G.
Published: January 2007

There are three fruitful sources of error with regard to these problems. One is that many conductors proceed from a work like the B minor Mass to the church cantatas instead of in the reverse direction, and so get a wrong angle of vision. The second is that it is customary to try to adapt Bach to our modern conditions instead of trying to adapt our modern conditions to Bach. The third is that there has been a tendency to regard Bach as a crude and erring orchestrator and to think that his works are only palatable when modernised. Fortunately, these ideas, like many others concerning the composer, are passing away, though much too slowly.
Some Musical Instruction Books of the Seventeenth Century
Authors: Colles H. C.
Published: January 2007

I offer no apology for introducing an academic subject to the attention of the Musical Association. Our Association is unique among Societies which employ the musical lecturer. Whereas all others that I know call on him either to instruct or amuse an audience (which may have to be cajoled into giving him its attention), the Musical Association allows its members to instruct or amuse themselves; to talk about their own interests in their own way. It is generally understood that there will be an audience of some sort, a few members and their guests, who will be sufficiently long-suffering to sit the lecturer out, in the hope that he will be equally complaisant towards them on some other occasion.
Music in Mediæval Scotland
Authors: Farmer Henry George
Published: January 2007

The history of music in North Britain1 during the Middle Ages may conveniently be divided into three periods: (1) The Beginnings (a.d. 563–1124), (2) The Anglo-Norman Period (a.d. 1124–1424), and (3) The Golden Age (a.d. 1424–1542).
Philippe De Monte
Authors: van Nuffel Canon J.
Published: January 2007

Mr. Chairman, ladies and gentlemen, I feel highly honoured that this opportunity is offered to me of addressing you, to enable you to make a closer acquaintance with the work and the personality of the great Belgian musician, Philippe de Monte.

The importance of the English polyphonic school of the fifteenth and sixteenth centuries, and the efforts made in your country also to bring to the fore so many masterpieces of your classical polyphony, make me confident of the interest you will take in the revelation of one of the greatest masters of the Flemish School of the same famous period.
A New Enquiry Into the Life and Work of Dr. Burney
Authors: Scholes Percy
Published: January 2007

Having been for some years engaged in collecting Burney correspondence and other manuscripts, visiting all the places of Burney's residence in the provinces and in London, studying his published works and those of members of his family, and getting in touch with his descendants, I am glad to have an opportunity of bringing before my fellow-members of the Association both some of my findings and some of my unsolved problems. I propose very briefly to summarise Burney's career (as a mere reminder to any who have not lately been reading him or reading about him) and then to bring forward a series of particular points on which I feel myself either able to offer a little enlightenment or to be in need of asking for it.
The Romance of the Phagotum
Authors: Galpin Francis W.
Published: January 2007

Eighteen months ago, as the first paper of our Sixty-sixth Session, Mr. Lyndesay G. Langwill gave a graphic account of the development of the Bassoon. In his opening remarks he briefly alluded to a singular instrument called the Phagotum, and very rightly deprecated any close association between it and the well-known subject of his paper. My present purpose therefore is to supplement his allusion to this early sixteenth century instrument by giving the fullest details available of its character, together with the romantic story of its invention, as described by a contemporary writer. In this way we may place it in its true perspective; and for ease of reference our subject will be divided into four headings, viz., our sources of information, the details of its invention and completion, its scale and technique, and the position it may properly occupy in the general development of wind instruments.
Some Aspects of Song Interpretation
Authors: Webb Dorothea
Published: January 2007

I think I had better warn you that, since sending in my synopsis to the Secretary, I have completely rewritten my lecture—so that, in my case, the relation between promise and fulfilment is likely to be strained. In this connection you may recall the words of Coleridge in introducing his lectures on Shakespeare:—

Unaccustomed to address such an audience, and having lost by a long interval of confinement the advantages of my former short schooling, I had miscalculated in my last lecture the proportion of my matter to my time, and by bad economy and unskilful management, the several heads of my discourse failed in making the entire performance correspond with the promise publicly circulated in the weekly annunciation of the subjects to be treated.
Prokofiev's Piano Sonatas
Authors: Merrick Frank
Published: January 2007

The giants of the Viennese school, Haydn, Mozart, Beethoven and Schubert, produced over one hundred and thirty piano sonatas between them. Among the “minor prophets” Hummel wrote nine, Dussek over thirty and Clementi (according to Grove) about sixty. Clementi's pupil, Field, although he wrote seven concertos for the instrument, was more niggardly with sonatas; there are perhaps four of them, three being his Opus 1. The prolific era was followed by a great drop in numbers; from Schumann, Chopin and Brahms we have three each and from Liszt one. Subsequently Grieg, Tchaikovsky and Balakirev contributed one each, Glazounov two, Szymanowski three, Ravel a sonatina. Benjamin Dale's one monumental effort seems to deserve a separate sentence. Some great masters of piano writing, Debussy for example, refrained entirely. Three Russian composers have alone made any attempt to “stop the rot”, Scriabin with ten, Medtner fourteen, and Prokofiev eight. No other noted living composers have got anywhere near Medtner and Prokofiev in regard to numbers; Bax has given us four sonatas, Ireland two (if we count the sonatina, but Prokofiev has two of those), Pizzetti and Bloch one each, and there is even an early one by Sibelius. These figures make no attempt to be exhaustive.
A Keyboard Fugue by ‘Bach’
Authors: Picken Laurence E. R.
Published: January 2007

In the early part of the war I became interested in fragments of the works of Johann Sebastian Bach quoted in books on the theory or history of music, or in albums of pieces, printed during his lifetime or in the fifty years from his death to the appearance of the first collected editions. In Marpurg's Abhandlung von der Fuge (1753, 1754), I found unexpected treasure; not only were there many quotations from a wide range of Bach's compositions, showing clearly that Marpurg was acquainted with the whole of Bach's output, but I found the subject and answer of a tonal fugue unknown to the complete edition of the Bach-Gesellschaft.
The Pedal Clavichord and Other Practice Instruments of Organists
Authors: Jeans Susi
Published: January 2007

Of all musicians, organists have always had the greatest difficulty in getting regular practice on their instruments. Electric organ blowers were first used about 1900 and up to this time big church organs were usually blown by human power. One, or more often several men, called the “calcantores” or “calcants,” had to do this hard work. A big organ built at Halberstadt in 1361 had twenty bellows and ten men were needed to tread them. The church engaged these calcants for the services on Sundays and festival days. Organists had not much opportunity to play the organ except during services; they were always badly paid, could not afford to hire calcants, and, moreover, the Church did not encourage practice on what was probably a costly instrument intended only for use in the worship of God. So organists had to practice at home. In the fourteenth century some of them possessed small organs called positives. Perhaps a kind wife or other member of the family did the blowing, but hardly to such an extent as to make regular practice possible. A still smaller organ was the portative. This could be carried about and was often blown by the organist himself. As one hand was used to work the bellows, playing with both hands was not possible.
Musical Taste and Concert Hall Design
Authors: Bagenal Hope
Published: January 2007

May I ask you to consider with me some questions such as these:—Whether, historically, musicians and listeners, have known what they wanted acoustically and have made demands upon, and modelled, a building type. Or whether conversely an existing building has been the deciding factor? Whether we are now in a historical era quite different from the past and ought to make clear acoustic demands? And if so what demands? And what degree of consent have we on the present musical situation and its vital needs?
Consecutive Fifths
Authors: Gladstone F. E.
Published: January 2007

When first I was honoured by an invitation to read a paper before this Association, I shrank from the undertaking, because of the difficulty of selecting a topic upon which I might venture to discourse with any hope of interesting my hearers. But upon reflection it occurred to me that this was a difficulty which would certainly not decrease as time went on, and session after session witnessed the production of lectures on new subjects. Therefore when, at the beginning of the present session, I was again invited to read, I thought that my wisest course was to gather together some ideas without further delay. My subject suggested itself to me during the preparation of a paper on “Triads, their Relationship and Treatment,” which I read recently before the College of Organists. The title of that paper would properly have included to a great extent the subject of the present one; but I soon found it impossible to deal with the whole question within reasonable limits, and then arose the idea of taking “consecutive fifths” as the theme for a separate paper.
Sigismondo d'India
Authors: Fortune Nigel
Published: January 2007

Of the early life of Don Sigismondo d'India, Nobleman of Palermo and Knight of the Order of St. Mark, we know next to nothing: we know neither the date of his birth nor where and with whom he studied music. An eighteenth-century document tells us that he was born in 1562 and died in 1630, and one or two present-day scholars have accepted these dates. I think, however, that they ought to be regarded with suspicion, for they happen to be the dates of birth and death of Charles Emmanuel I, Duke of Savoy, in whose service d'India spent twelve years of his life. Certain later events in d'India's life suggest that he was probably born about 1580. We do know for certain, however, that he was born at Palermo. Now, towards the end of the sixteenth century Palermo was already a fair-sized city: its population in 1593 has been estimated at 90,000. Yet neither there nor anywhere else in Sicily did the arts really flourish. Like most of the southern half of Italy, Sicily at this time was under Spanish domination: she was, as has been said, ‘a tiny ship towed by the great Spanish galleon’.
The Life and Works of John Okeover (or Oker)
Authors: Ford Wyn K.
Published: January 2007

In a paper read some years ago before this Association, Thurston Dart included Okeover's name amongst those whom he described as almost unknown. It is my purpose to attempt to throw some light on this musician's activities and career.
Recent Trends in Ethnomusicology
Authors: Wachsmann K. P.
Published: January 2007

In recent years a far-reaching change in musical habits was brought about by the development and increase in sound-recording. This is especially true in the field of non-European music. Some forty years ago the music of Bali on discs was a curiosity on the collector's shelf, but today exotic discs from the four corners of the earth are commonplace. In consequence there has grown up a generation of music students which no longer depends solely on travellers' tales and descriptions, but can listen for itself. Not unnaturally, these new opportunities and habits have tended to strengthen an old belief, namely, that music is eloquent and can speak for itself.
The Blackfriars Plays and their Music: 1576–1610
Authors: Eggar Katharine E.
Published: January 2007

The ‘Blackfriars’ of which I wish to talk today is a mystery; and the Notes which I offer have to be to some extent speculative; but perhaps you will concede that speculation is the spice of research, and that deduction and intuition are both valid guides in probing into the past.
Delius the Unknown
Authors: Cooke Deryck
Published: January 2007

I Must confess to feeling a certain trepidation, confronting you here this evening to talk about Frederick Delius. I could scarcely feel more uneasy if your committee had been unwise enough to let me offer you some thoughts on the art of Amy Woodforde-Finden, or Albert W. Ketélby, or Irving Berlin.
The Avant-garde in America
Authors: Mellers Wilfred
Published: January 2007

In a sense, avant-garde music is a rear-, not an advance-guard action, for it is both a consequence of, and a reaction against, five hundred years of European ‘consciousness’. The Renaissance started with man's dualistic awareness of the distinction between the Self and the Non-Self: which in musical terms became the dualistic, and peculiarly European, phenomenon of harmony. Perhaps this burden of harmonic consciousness begins to work itself out in Wagner's Tristan. At the opening of the third act, Tristan lies in a state of near paralysis in his cobwebby castle, and hears the unaccompanied monody of the Shepherd's pipe. Alternating shiftily between God's perfect fifths and fourths and the Devil's imperfect ones, it is a ‘horizontal’ sublimation of the dualism of the notorious ‘Tristan’ chords. Harmonic resolution, after four and a half hours, is at last achieved, and Tristan sheds sensuality and guilt to enter Nirvana. Debussy's Pelléas et Mélisande, an opera closely related to Tristan, carries the process a stage further, for although harmonically sensuous, it dispenses with even the desire for resolution. It's a premature existential opera, for it concerns, both dramatically and musically, what happens to passion when the will is extinct.
Berlioz's Self-Borrowings
Authors: Macdonald Hugh
Published: January 2007

To have borrowed the music of one work for the composition of another is, understandably I think, not a confession that composers are fond of making. If they are afraid of the misunderstanding and sarcastic comment that it might arouse in the minds of the unthinking, it is our duty, it seems to me, to study and explain (where explanation is necessary) this pelican-like habit. Berlioz has suffered particularly in this respect for being a ‘programmatic’ composer, although, as I shall later try to show, the very existence of so much borrowed material demonstrates the fatuity of such a term as an attempt to isolate one particular type of composer.
The Cultivation of Music in English Cathedrals in the Reign of Elizabeth I
Authors: Smith Alan
Published: January 2007

At no other time in its history has the Anglican Church had so many major composers writing polyphony for its services as in the century following the Edwardian Reformation. It is this abundance of service settings and anthems, many of which are of the highest artistic merit, which has earned for this period the accolade ‘the golden age’. It is dangerously easy to regard the epithet as referring to all aspects of church music-making at this time, not least the performance of the music and the conditions under which the musicians worked. As far as the reign of Elizabeth I (1558–1603) is concerned, however, this is decidedly not so. Except for the Chapel Royal, and a few cathedrals and collegiate foundations, it seems certain that conditions of residence, pay and performance were of a very low standard indeed.
The Tonal Analogue in Schumann's Music
Authors: Sams Eric
Published: January 2007

Nearly all of Schumann's music contains or derives from words, whether as texts, titles, programmes or epigraphs. It is also famous for its structure of music qua mosaic, an aggregation of small-scale motifs. Now, surely these two basic facts about Schumann—his obviously verbal content, his obviously motivic form—may well be related? He works by way of motto-themes, I suggest, because that is literally what they are—mottoes turned into themes.
The Four-Part Consort Music of John Jenkins
Authors: Ashbee Andrew
Published: January 2007

The fame of John Jenkins as a composer has rested almost entirely on his magnificent series of fantasias. There are more than 100 of these embracing a variety of instrumental groupings and differing styles. The quality of the music and the pre-eminence of the fantasia as an instrumental form in the early seventeenth century made these works a natural starting-point for modern scholars seeking some assessment of Jenkins's contribution to the development of English instrumental music. There are, however, many other compositions by him worthy of detailed study and I hope that the collection published recently in Musica Britannica will focus attention on some of these, among them not only the large-scale fantasia-suites, but also the very attractive, though relatively humble airs.
Carlo Pallavicino
Authors: Smith Julian
Published: January 2007

Little enough has been written on the Venetian operas of the second half of the seventeenth century, and to all save a few, familiar perhaps with Hellmuth Christian Wolff's pioneering work on that subject, or with Simon Towneley Worsthorne's more recent study, Carlo Pallavicino can hardly be more than a name. Indeed, doubts have been raised about the name itself. The libretti to three of his operas name the composer as Pallavicini, and perhaps following these, or impressed by his prolific output, Burney and others since have also pluralised the composer. However, there is good authority for the spelling which I adopt for this paper, for two documents preserved in the Venetian archives bear the composer's signature, and without doubt he signs himself, in a neat and confident hand, Carlo Pallavicino.
Emerging Role of Platelet-Derived Growth Factor Receptor-β Inhibition in Radioimmunotherapy of Experimental Pancreatic Cancer
Authors: Baranowska-Kortylewicz Janina , Abe Michio , Nearman Jessica , Enke Charles A.
Published: January 2007

Purpose: Thus far, the therapy of pancreatic cancer remains an insurmountable challenge. Not a solitary therapeutic modality in the battery of available therapeutic options is capable to cure or, at the very least, stop the progression of this disease in any meaningful way. The purpose of reported here studies was to implement a multimodality approach to radioimmunotherapy of pancreatic cancer and, ultimately, to develop a course of therapy with the clinical value.

Experimental Design: Animal model was NCr-nu/nu mouse bearing s.c. xenografts of SW1990 pancreatic adenocarcinoma. Radioimmunotherapy based on 131ICC49, a TAG-72-targeting monoclonal antibody, was augmented with imatinib, a potent inhibitor of platelet-derived growth factor receptor-β. The postulated interactions between these two modalities depended on the imatinib-induced drop in the tumor interstitial fluid pressure and the subsequent increase of 131ICC49 uptake into the tumor, resulting in improved tumor responses to radioimmunotherapy.

Results: Biodistribution studies revealed a 50% improvement in the tumor uptake of 131ICC49 in mice treated with imatinib. Tumor development was practically arrested for ∼3 weeks in response to the treatment composed of 131ICC49 and imatinib with tumor quadrupling time (TQ) of 40.8 days. 131ICC49 alone and imatinib alone also delayed the tumor growth to TQ of 30.2 and 31.2 days, respectively. Unanticipated was the significant response of SW1990 to a brief treatment with imatinib given i.p. at 100 mg/kg b.i.d. for 3 days. Xenografts in control mice receiving injection of PBS had TQ of 23 days.

Conclusions: The inclusion of imatinib in the radioimmunotherapy regimen is beneficial and it does not produce any overt side effects. The improved responses of pancreatic cancer xenografts to the multimodality treatment comprising radioimmunotherapy and platelet-derived growth factor receptor-β inhibition suggest that this approach to therapy of pancreatic cancer may also be successful in patients.
Podocyte as the Target for Aldosterone
Authors: Shibata Shigeru , Nagase Miki , Yoshida Shigetaka , Kawachi Hiroshi , Fujita Toshiro
Published: January 2007

Accumulating evidence suggests that mineralocorticoid receptor blockade effectively reduces proteinuria in hypertensive patients. However, the mechanism of the antiproteinuric effect remains elusive. In this study, we investigated the effects of aldosterone on podocyte, a key player of the glomerular filtration barrier. Uninephrectomized rats were continuously infused with aldosterone and fed a high-salt diet. Aldosterone induced proteinuria progressively, associated with blood pressure elevation. Notably, gene expressions of podocyte-associated molecules nephrin and podocin were markedly decreased in aldosterone-infused rats at 2 weeks, with a gradual decrease thereafter. Immunohistochemical studies and electron microscopy confirmed the podocyte damage. Podocyte injury was accompanied by renal reduced nicotinamide-adenine dinucleotide phosphate oxidase activation, increased oxidative stress, and enhanced expression of aldosterone effector kinase Sgk1. Treatment with eplerenone, a selective aldosterone receptor blocker, almost completely prevented podocyte damage and proteinuria, with normalization of elevated reduced nicotinamide-adenine dinucleotide phosphate oxidase activity. In addition, proteinuria, podocyte damage, and Sgk1 upregulation were significantly alleviated by tempol, a membrane-permeable superoxide dismutase, suggesting the pathogenic role of oxidative stress. Although hydralazine treatment almost normalized blood pressure, it failed to improve proteinuria and podocyte damage. In cultured podocytes with consistent expression of mineralocorticoid receptor, aldosterone stimulated membrane translocation of reduced nicotinamide-adenine dinucleotide phosphate oxidase cytosolic components and oxidative stress generation in podocytes. Furthermore, aldosterone enhanced the expression of Sgk1, which was inhibited by mineralocorticoid receptor antagonist and tempol. In conclusion, podocytes are injured at the early stage in aldosterone-infused rats, resulting in the occurrence of proteinuria. Aldosterone can directly modulate podocyte function, possibly through the induction of oxidative stress and Sgk1.
XXY (Klinefelter Syndrome): A Pediatric Quantitative Brain Magnetic Resonance Imaging Case-Control Study
Authors: Giedd Jay N. , Clasen Liv S. , Wallace Gregory L. , Lenroot Rhoshel K. , Lerch Jason P. , Wells Elizabeth Molloy , Blumenthal Jonathan D. , Nelson Jean E. , Tossell Julia W. , Stayer Catherine , Evans Alan C. , Samango-Sprouse Carole A.
Published: January 2007

OBJECTIVE. An extra X chromosome in males (XXY), known as Klinefelter syndrome, is associated with characteristic physical, cognitive, and behavioral features of variable severity. The objective of this study was to examine possible neuroanatomical substrates of these cognitive and behavioral features during childhood and adolescence.

METHODS. MRI brain scans were acquired for 42 XXY and 87 healthy XY age-matched control males. We compared these 2 groups on regional brain volumes and cortical thickness.

RESULTS. Total cerebral volume and all lobar volumes except parietal white matter were significantly smaller in the XXY group, whereas lateral-ventricle volume was larger. Consistent with the cognitive profile, the cortex was significantly thinner in the XXY group in left inferior frontal, temporal, and superior motor regions.

CONCLUSION. The brain-imaging findings of preferentially affected frontal, temporal, and motor regions and relative sparing of parietal regions are consistent with observed cognitive and behavioral strengths and weaknesses in XXY subjects.
The Status of Academic General Pediatrics: No Longer Endangered?
Authors: Cheng Tina L. , Markakis Diane , DeWitt Thomas G.
Published: January 2007

Our study objective was to assess the current state of general academic pediatrics in the United States. A confidential survey of division directors was conducted. At the beginning and end of the survey period, programs were called to verify the director's name. Of 199 divisions surveyed, 119 were returned. The number of physician and nonphysician division faculty has grown from a mean of 12.1 (±8.2) and 1.7 (±1.8), respectively, 5 years ago to 15.6 (±11.7) and 2.1 (±2.6). Over a 15- to 18-month period, 21% of programs had a change in division director leadership. Over 90% of divisions rated the clinical care and education missions as “very important,” with research and advocacy thus rated by 29% and 50%. Ninety-five percent of divisions have primary responsibility for residency continuity clinics, 51% residency program, and 64% medical student clerkship. The mean number of annual outpatient visits was 29 821 (26 487). Academic general pediatrics divisions have grown and play a large role in clinical care, education, and research at their institutions. There is a need for continued focus on recruitment, fellowship training, faculty development, and leadership development. Although these divisions are now well established, many continue to feel “endangered“ because of funding uncertainties in supporting their missions.
Efficacy, Immunogenicity, and Safety of a Pentavalent Human-Bovine (WC3) Reassortant Rotavirus Vaccine at the End of Shelf Life
Authors: Block Stan L. , Vesikari Timo , Goveia Michelle G. , Rivers Stephen B. , Adeyi Ben A. , Dallas Michael J. , Bauder Jeffrey , Boslego John W. , Heaton Penny M. ,   for the Pentavalent Rotavirus Vaccine Dose Confirmation Efficacy Study Group
Published: January 2007

BACKGROUND. Rotavirus is the leading cause of dehydrating acute gastroenteritis in infants worldwide. Previous studies of a live pentavalent human-bovine reassortant rotavirus vaccine have shown it to be efficacious across a range of potencies.

OBJECTIVE. Our goal was to evaluate the efficacy, immunogenicity, and safety of pentavalent rotavirus vaccine at the end of shelf life in healthy infants.

PATIENTS AND METHODS. During 2002–2004, 1312 healthy infants ∼6 to 12 weeks old from the United States (47%) and Finland (53%) were randomly assigned to receive 3 oral doses of vaccine (vaccine at ∼1.1 × 107 infectious U per dose) or placebo ∼4 to 10 weeks apart. Infants were to be followed for acute gastroenteritis through 1 rotavirus season after vaccination and for adverse events postvaccination.

RESULTS. Three doses of pentavalent rotavirus vaccine at the end of shelf life demonstrated efficacy against rotavirus gastroenteritis caused by human G-serotypes included in the vaccine (G1–G4). Efficacy against severe rotavirus gastroenteritis was 100%, and efficacy against any rotavirus gastroenteritis regardless of severity was 72.5%. A threefold rise in G1 serum neutralizing was observed in 57% and in anti-rotavirus immunoglobulin A in 96% of pentavalent rotavirus vaccine recipients. No statistically significant increase in vomiting, diarrhea, or irritability was observed among pentavalent rotavirus vaccine recipients compared with placebo recipients within the 7-day period from each dose. A statistically significant increase in fevers (≥100.5°F, rectal equivalent) was observed among pentavalent rotavirus vaccine recipients compared with placebo recipients after dose 1.

CONCLUSIONS. This pentavalent human-bovine rotavirus vaccine was generally well tolerated, efficacious, and immunogenic at the end of shelf life.
Agriculture and groundwater development in northern China: trends, institutional responses, and policy options
Authors: Wang Jinxia , Huang Jikun , Rozelle Scott , Huang Qiuqiong , Blanke Amelia
Published: January 2007

Despite the growing importance of groundwater in Chinese agriculture, there is a lamentable lack of systematic information on the groundwater economy, especially on the agricultural consequences of groundwater depletion. This paper makes an attempt to overcome this limitation with information and analysis on trends in the expansion of agricultural groundwater use, resource management challenges, and institutional and policy responses in the particular context of northern China. The results show that groundwater problems and their agricultural consequences in northern China are heterogeneous across space and changing rapidly over time. While the problems are serious, they do not present everywhere with the same severity. As result, policies for their solution should be clearly discriminatory and carefully targeted. Even targeted policies will be difficult to implement, and government has had little success in controlling the extraction of groundwater or protecting its quality with the many formal laws and regulations now in existence. In contrast, farmers have been responsive to increasing shortages. Individual farmers (i.e. the private sector) have taken control of most well and pump assets, developed groundwater markets, changed cropping patterns and adopted water savings technologies. While market forces and economic incentives can change use, public initiatives for agricultural groundwater regulation to balance short term economic efficiency with long resource sustainability are urgently needed.