bluuebunny/crossref_metadata_2025 huggingface dataset:
Time scales and pathways of vibrational energy relaxation in liquid CHBr3 and CDBr3
Authors: Ramesh Sai G. , Sibert Edwin L.
Published: January 2007

Molecular dynamics simulations are used in conjunction with Landau-Teller, fluctuating Landau-Teller, and time-dependent perturbation theories to investigate energy flow out of various vibrational states of liquid CHBr3 and CDBr3. The CH stretch overtone is found to relax with a time scale of about 1ps compared to the 50ps rate for the fundamental. The relaxation pathways and rates for the CD stretch decay in CDBr3 are computed in order to understand the changes arising from deuteration. While the computed relaxation rate agrees well with experiments, the pathway is found to be more complex than anticipated. In addition to the above channels for CH(D) stretch relaxation that involve only the hindered translations and rotations of the solvent, routes involving off-resonant and resonant excitations of solvent vibrational modes are also examined. Finally, the decay of energy from low frequency states to near-lying solute states and solvent vibrations are studied.
Interfacial and quantum well effects on ac magnetotransport of La0.7Sr0.3MnO3∕La1.4Sr1.6Mn2O7 composites
Authors: Hsu C. Y. , Chou Hsiung , Liao B. Y. , Huang J. C. A.
Published: January 2007

The field-dependent complex impedance (CI) spectroscopy is employed to clarify the origins of ac magnetoimpedance (MI) effects at room temperature near the conduction threshold of [La0.67Sr0.33MnO3(113)]1−x∕[La1.67Sr1.33Mn2O7(327)]x composites. The field-dependent CI spectra in 113-327 granular composites are further transformed to field-dependent magnetoconductance (MC) spectra. The frequency-dependent high-field and low-field MC spectra can be well interpreted by including the trap-state contributions in 113-327 interfaces and 327 grain boundaries, together with the leakage-region-induced spin-dependent quantum well state effect. The principle of this work could be applied to study the magnetoresistance and MI effects of magnetic granular composites.
Dynamics of vortex core switching in ferromagnetic nanodisks
Authors: Xiao Q. F. , Rudge J. , Choi B. C. , Hong Y. K. , Donohoe G.
Published: January 2007

Dynamics of magnetic vortex core switching in nanometer-scale Permalloy disk, having a single vortex ground state, was investigated by micromagnetic modeling. When an in-plane magnetic field pulse with an appropriate strength and duration is applied to the vortex structure, additional two vortices, i.e., a circular and an antivortex, are created near the original vortex core. Sequentially, the vortex-antivortex pair annihilates. A spin wave is created at the annihilation point and propagated through the entire element; the relaxed state for the system is the single vortex state with a switched vortex core.
Quantum efficiency enhancement in top-emitting organic light-emitting diodes as a result of enhanced intrinsic quantum yield
Authors: Huang Qiang , Reineke Sebastian , Walzer Karsten , Pfeiffer Martin , Leo Karl
Published: January 2007

The authors compare red, green, and blue top- and conventional bottom-emitting organic light-emitting diodes (OLEDs) based on iridium complexes. Surprisingly, red top-emitting OLEDs are much more efficient than their bottom-emitting counterpart, while for green and blue devices, top and bottom emitters are comparable. The authors explain these results by an improved internal quantum efficiency only in the red top-emitting OLED: Due to strong microcavity effect, spontaneous emission of emitters in all top-emitting devices is enhanced. However, only the internal quantum yield of the red emitters is then improved due to its comparable radiative and nonradiative decay rates. They also show that the efficiency roll-off at higher current densities is reduced in top-emitting OLEDs.
Trends in spin-transfer-driven magnetization dynamics of CoFe∕AlO∕Py and CoFe∕MgO∕Py magnetic tunnel junctions
Authors: Finocchio G. , Consolo G. , Carpentieri M. , Romeo A. , Azzerboni B. , Torres L. , Lopez-Diaz L.
Published: January 2007

A spin-polarized current is able to excite magnetization dynamics in nanomagnets. A detailed theoretical study of dynamics in low and high field regimes in AlO and MgO magnetic tunnel junctions (MTJs) is presented, considering the maximum value of the applied current which comes from the breakdown voltage of the tunnel barrier. In low field regime, dynamics with a well-defined peak in frequency is observed. In high field regime, AlO MTJ presents the same behavior, while the magnetization in the MgO MTJ shows chaotic motion with a noisy spectrum. Lastly, an effect of the presence of a pinhole in the tunnel barrier is discussed.
Scaling laws for dielectric window breakdown in vacuum and collisional regimes
Authors: Lau Y. Y. , Verboncoeur J. P. , Kim H. C.
Published: January 2007

The scaling laws for the initiation time of radio frequency (rf) window breakdown are constructed for three gases: Ar, Xe, and Ne. They apply to the vacuum, to the multipactor-triggered regime, and to the collisional rf plasma regime, and they are corroborated by computer simulations of these three gases over a wide range of pressures. This work elucidates the key factors that are needed for the prediction of rf window breakdown in complex gases, such as air, at various pressures.
Photocurrent and transmission spectroscopy of direct-gap interband transitions in Ge∕SiGe quantum wells
Authors: Tsujino S. , Sigg H. , Mussler G. , Chrastina D. , von Känel H.
Published: January 2007

The authors studied the direct-gap interband transitions in strain-compensated Ge∕SiGe quantum wells grown by low energy plasma enhanced chemical vapor deposition. A series of excitonic interband absorptions from the quantized hole states to the quantized electronic states at the Γ7c− edge in the Ge wells is observed up to room temperature by photocurrent and transmission spectroscopy. The results are compared with theory. At low temperature, the quantum confined Stark effect is demonstrated in a Schottky diode geometry.
Observation of magnetism in the nanoscale amorphous ruthenium clusters prepared by ion beam mixing
Authors: Wang W. C. , Kong Y. , He X. , Liu B. X.
Published: January 2007

A unique composite of nanoscale amorphous Ru clusters embedded in the amorphous Ru∕Ta matrix was observed in the Ru∕Ta multilayered films upon ion irradiation. It was found that the magnetic moment of the Ru nanoclusters varied with cluster size, i.e., when the diameter of the clusters changed from 1to5nm, the magnetic moment decreased from 0.24μB (parallel) and 0.27μB (vertical) to 0μB and 0μB, respectively, according well with the prediction from ab initio calculations.
The Maltreatment of Music
Authors: Shedlock J. S.
Published: January 2007

The maltreatment of music is unfortunately a matter of daily experience. With schoolboys and schoolgirls it is the rule rather than the exception. This is not surprising, for many young people are forced to learn against their will; they make no effort to play well, on the contrary, indeed, will often strike wrong notes to annoy or exasperate the teacher. And even if we only consider those who are striving to improve and to please their instructors, we still find that imperfect mechanism and partially developed intelligence prevent them from doing proper justice to the works which they are studying. And when, in addition to the ignorance, indolence, and waywardness of children, we find corresponding defects in the teachers, the schoolroom becomes, for the time, a true chamber of horrors. The science of education is progressing, and happily it is becoming more and more difficult for people to earn a living, or add to their incomes, by professing an art for which they are utterly incompetent. With improved instruction the faults of the young will at any rate diminish; but we must, I suppose, always expect to meet with imperfection. Music in the drawing-room is a subject from which I shrink. In many houses of the wealthy and of the middle classes we find earnest endeavours to cultivate only the best music, and to give to it that time and attention which it so imperatively demands; but we cannot ignore the fact that music often forms part of evening entertainments as an amusement, as a means of passing time or stimulating conversation.
Some Aspects of Recent Mozart Research
Authors: Hyatt King Alec
Published: January 2007

Since the Royal Musical Association was founded in 1874, it has heard five papers on Mozart. Perhaps the most notable was read in 1932 by C. B. Oldman, under the title ‘Mozart and Modern Research’. As this gave me the idea for the present paper, and as Oldman's name will recur in it, I might briefly recall what he did for the Association and for Mozart. He was a member of Council for 37 years, and a vice-president for 21. Shortly before he died, in 1969, he gave up the chairmanship of the Proceedings Committee which he had held since 1953. From the mid-1920s, for nearly three decades, it was he in the British Museum, even during the arduous years of his Principal Keepership of Printed Books, to whom visiting musical scholars came for advice, particularly on Mozart, but on much else as well.
Parodies and Parameters
Authors: Westrup Jack
Published: January 2007

It is natural that language should change. Otherwise it would become moribund and inadequate for daily life. Some changes are inevitable, even necessary. Others result from changes in our habits and way of life. Some are the result of adaptation to what is pompously called ‘technology’. Some are capricious and inexplicable. Some pervert the meaning of perfectly respectable words. And there are new words, some of which are necessary to define new things or to express new concepts, while others are entirely unnecessary and become accepted only as the result of a sheepish habit of following where others lead.
Piracy and Panacea in the Dissemination of Music in the Late Eighteenth Century
Authors: Brook Barry S.
Published: January 2007

This paper is concerned with two decades when musical piracy was rampant, the 1770s and 1780s; with two cities where it flourished: Paris, a performing and publishing capital, and Leipzig, a centre of music copying; and with two imaginative men who sought panaceas or, in their view, rational solutions to the problems of piracy in music. One of these was relatively famous, Johann Gottlob Breitkopf; the other, Christian Gottfried Thomas, virtually unknown.
The Creation of the Buffo Finale in Italian Opera
Authors: Heartz Daniel
Published: January 2007

Carlo Goldoni left his native Venice to practise law in Tuscany for five years starting in 1743. Up to this point he had written some twenty comic librettos, most of them Intermezzi in two acts for two or three characters, but some of them full-length dramas in three acts for several characters. La Contessina, which ranks as the latest and finest of his dramas in the latter category up to this time, received its première in the San Samuele theatre at Venice during the Carnival of 1743. In his edition of the playwright's complete works, Ortolani suggests that Goldoni's model for La Contessina was a specific Neapolitan comedy, Madama Ciana, with text by Barlocci and music by Gaetano Latilla. The satire in both turns upon a poor family with pretensions to noble rank, manifested most appallingly in the person of the daughter and the question of her dowry. The music of the original production of La Contessina is lost; all we know is that the piece was a pasticcio, involving among others the young Jommelli. There were no revivals, which tells us something even so: Venice at this time was in no position to compete with Naples in the production of original comic operas.
The Hunt's Up
Authors: Ward John M.
Published: January 2007

The subject of this paper deserves an entry in music dictionaries, yet it has received none, no doubt because the Hunt's Up has been studied not as an entity but as different things: a ground, a type of song, a few pieces of instrumental music, a musical genre, a custom. To my knowledge, no writer has discovered what if anything beyond a name relates the various aspects, though it is in the ways they are related that the importance of the Hunt's Up for the history of English music is to be found. The purpose of this paper is to establish what those relationships are. My indebtedness to the work of other scholars – William Chappell, Anne Gilchrist, and Claude Simpson, to name but three – will be evident to anyone who has worked with this subject.
Songs, Carols and Contrafacta in the Early History of the Tudor Anthem
Authors: Milsom John
Published: January 2007

The Tudor anthem in its earliest stages of development has generally been considered in the light of the English Reformation, of which it is both a product and a characteristic form. Many of its most distinctive features result directly from the new theological attitudes of the Protestant reformers: the use of Biblical texts, in English rather than Latin; a less strictly prescribed function than that of the ritual music of the Sarum liturgy; and an emphasis both upon sobriety of musical language and clarity of text-declamation. There can be little doubt that the development of features such as these can be attributed more to the changing attitudes of theologians than of composers; but it is equally possible to view the early history of the anthem within the wider context of the evolution of English musical style, an evolution in which the Reformation, however important, acted only as a catalyst. To achieve a deeper understanding of the anthem as a musical phenomenon, it is necessary to set aside those useful but sometimes unrealistic distinctions generally adopted by historians between secular and sacred, Catholic and Protestant, Henrician, Edwardian and Marian: for composers of the period, the sense of connection and continuity was almost certainly as strong as that of distinction and change.
Music Printing
Authors: Cummings William H.
Published: January 2007

The limited time at our disposal this evening will only permit a brief sketch of the history of music printing.

I need not expatiate on the benefits conferred on mankind by the invention of printing—the art which has done more for the advancement of civilisation than even the steam engine or the electric telegraph. Printing was practised in the East many centuries before the Christian era. The British Museum library possesses a roll from Japan which must have been printed in the early part of the eighth century. It is probable that the art was introduced into Europe by the Venetians, who traded largely with China. The Chinese and Japanese printed from wood blocks, as they do to this day. This block printing was adopted by the Venetians, who carried the art into Germany, where it was undoubtedly practised early in the fourteenth century.
The Origins of English Recitative
Authors: Walls Peter
Published: January 2007

While masque texts tell us a great deal about some aspects of musical performance, on other issues they are reticent and equivocal. Textual information is at its most frustratingly perplexed on the question of the extent to which the new Italian monody influenced the music for the Jacobean masque. There is some difficulty in deciding when recitative was first introduced to England, and it depends on the reliability of two references in the 1640 Folio edition of Ben Jonson's Works. In the text of Lovers Made Men performed on the 22 February 1617, Jonson begins by describing the opening scene and then adds,

And the whole Maske was sung (after the Italian manner) Stylo recitative, by Master Nicholas Lanier; who ordered and made both the Scene, and the Musicke. (lines 26–28)1
Rameau's Last Years: Some Implications of Re-discovered Material at Bordeaux
Authors: Sawkins Lionel
Published: January 2007

More frequent performance of Rameau's major works is beginning to stimulate long-overdue analysis of those aspects of his technique that make the sound of his scores so immediately recognizable. Such analysis enables us to distinguish these characteristics from the body of traditional French baroque procedures which Rameau inherited in common with his contemporaries. Some of these procedures had remained virtually unchanged since their development by Lully, but many others were evolved by the generation between these two great masters of the French stage. It was the achievement of Lalande, Couperin, Campra and their contemporaries to absorb successfully stimuli from Italy while retaining a distinctive Gallic flavour, a process openly acknowledged in works such as Couperin's Les goûts réunis. It is particularly important to recognize these developments in different periods of the French baroque when we consider the evolution of the orchestra, and the new technical demands that were made of players, since without a knowledge not only of the Lullian tradition but also of that which followed it, we cannot properly evaluate Rameau's contribution to style and technique.
Beneventan and Milanese Chant
Authors: Kelly Thomas Forrest
Published: January 2007

In 1058 Pope Stephen IX visited Montecassino, of which he had been made abbot only shortly before his elevation to the papacy the previous year. This German Pope was the former papal chancellor Frederick of Lorraine, the second northern abbot of Montecassino. On the occasion of this visit the Pope strictly forbade the singing at Montecassino of ‘Ambrosian chant’: ‘Tune etiam et Ambrosianum cantum in ecclesia ista cantari penitus interdixit.’
New Light on Mozart's ‘Linz’ Symphony, K. 425
Authors: Eisen Cliff
Published: January 2007

Autographs survive for all of Mozart's symphonies from K.112 to K.551 with one exception: the ‘Linz’ Symphony, K.425, composed in October and November 1783. Alfred Einstein thought it might have been among the autographs sold by Constanze Mozart to the King of Prussia in February 1792; however, it also could have been one of the symphonies cited by her in a letter of 31 May 1800 to Breitkopf und Härtel, according to which the Grand Duke of Tuscany owned autographs of two Mozart symphonies and Capellmeister Stoll of Baden, for whom Mozart had composed the motet Ave verum corpus, K.618, another. In any event, it was not among the autographs and copies sold in 1799 to the Offenbach publisher Johann Anton André.
Puttick's Auctions: Windows on the Retail Music Trade
Authors: Coover James
Published: January 2007

At the auction sale of Sterndale Bennett's library in 1875, Thomas Taphouse paid £52 for the autograph manuscript of Fingal's Cave Overture. Two months earlier, at another auction, the publisher John Williams paid £990 for the plates and copyrights of Charles Coote's Prince Imperial Galop, a music-hall favourite (done – it was reported – to the applause of those in attendance). This essay will not attempt to account for such seemingly irreconcilable events and values – the market-place was always alive with such contrasts – but will, instead, focus attention on the auctioneer at both of those sales, the London firm of Puttick & Simpson, sketching its history from 1846 to 1971, describing its music sales, and demonstrating the singular importance, today, of its surviving catalogues. It will, it is hoped, persuade others to consider different and more painstaking studies of those relics than have been undertaken to this point.
Mozart's Requiem: A Revaluation of the Evidence
Authors: Moseley Paul
Published: January 2007

The front cover of Cod. 17561a in the Österreichische Nationalbibliothek, Vienna, bears the following inscription: ‘Dieses vollständige Requiem, bestehend aus Bl. 1–64, wurde im Jahre 1838 angekauft’ (‘This complete Requiem, consisting of ff. 1–64, was acquired in 1838’). Similarly, on Cod. 17561b we read: ‘Dieses unvollständige Requiem ist aus zwei Bruchstücken zusammengesetzt: (1) Bl. 65–86 (alt 11–32) wurden vom Abbé Stadler gekauft. (2) Bl. 87–99 (alt 33–45) wurden vom Hof-Kapellmeister Eybler geschenkt’ (‘This incomplete Requiem is assembled from two fragments: (1) ff. 65–86 (olim 11–32) were bought from Abbé Stadler. (2) ff. 87–99 (olim 33–45) were presented by Hof-Kapellmeister Eybler‘).
J. C. Bach and the Early Piano in London
Authors: Maunder Richard
Published: January 2007

A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of piano first made in London, and what musical use did other composers and performers, as well as J. C. Bach, make of them?
The Language-Character of Music: Some Motifs in Adorno
Authors: Paddison Max
Published: January 2007

Questions concerning Western art music's relation to language can be seen to arise directly from the most fundamental paradox of so-called ‘autonomous’ or ‘absolute’ musical works: that they seem to say something, the precise meaning of which remains concealed. It is the aim of this article to explore the ‘linguisticality’ of autonomous music – its similarity to, and yet difference from, language – through a close reading of certain motifs in the work of T. W. Adorno. Crudely stated, Adorno identifies the fundamental polarity underlying autonomous music's ‘language-character’ (Sprachcharakter) as that between the internal relations of the hermetically sealed musical work and the external social relations of music's production, reproduction, distribution and consumption. It is the tension between these extremes which generates music's dynamic context or ‘complex of meaning’ (Sinnzusammenhang). Implicit in the approach taken here, therefore, is the argument that linguistic (or indeed any other) theories applied to music make sense only in the context of a larger cultural theory.
A Conjunction of Rhetoric and Music: Structural Modelling in the Italian Counter-Reformation Motet
Authors: Fromson Michele
Published: January 2007

For there can be no doubt that a great part of art lies in imitation. Discovery clearly came first, and is of first importance. But it is none the less profitable to follow up other people's successful discoveries. And every technique in life is founded on our natural desire to do ourselves what we approve in others. Hence children follow the shapes of letters to attain facility in writing; musicians look for a model to the voice of their instructors, painters to the works of their predecessors, countrymen to methods of growing that have been proved successful by experience. In fact, we can see that the rudiments of any kind of skill are shaped in accordance with an example set for it. Certainly we must either be like or unlike those who excel. It is rarely that nature makes one man like another: but imitation often does.
The Musical Activities of Alfred Satie and Eugénie Satie-Barnetche, and Their Effect on the Career of Erik Satie
Authors: Orledge Robert
Published: January 2007

Erik Satie is now thought of as a precursor and a man of ideas whose unconventional career took its direction from his continual rethinking of every aspect of contemporary music and aesthetics, largely as a reaction to nineteenth-century tradition and excesses. Eugénie Satie-Barnetche, whose ultimate aim for her stepson was a brilliant career as a pianist with an official seal of approval from the Paris Conservatoire, provided just one example of such a tradition, whilst her husband Alfred, the gifted and impulsive dilettante and a Romantic at heart, might well be seen as another. In fact, it is easy to conclude that Eugénie's academic approach helped to turn Satie into a left-wing revolutionary, whilst the uninspired salon music of both his parents made him determined to become a serious professional composer. But that is by no means the whole story, for Erik was very close to his father, even if he disliked his stepmother, and Alfred's love of the music-hall (whose songs he both wrote and published) was enthusiastically inherited by his son. Even after Satie abandoned his work as a cabaret pianist around 1911, the influence of this popular medium still ran as a thread through his later compositions. Similarly, he was often forced to resort to his stepmother's profession of piano teaching to make ends meet, and in the 1920s he delighted in moving in the exalted social circles that his aspiring stepmother had only dreamt about as she mounted her bourgeois musical soirées in the Boulevard de Magenta in the 1880s. Like Alfred and Eugénie, Satie also spent much of his composing time with short piano pieces that he hoped would reach a popular market, and dance music runs as another thread throughout his career, just as it did in their own compositions. Above all, Satie's parents provided domestic surroundings in which music played a substantial part, with the emphasis on the present rather than the past, though it remained for Satie alone to take music into the future.
On the Treatment of Ancient Ecclesiastical Melodies in Modern Instrumental Composition
Authors: Pearce Charles William
Published: January 2007

Mr. Chairman, Ladies, and Gentlemen,

A few remarks of an explanatory nature are necessary by way of introduction to the subject of the present paper. The term “Ancient Ecclesiastical Melody” must be defined; and certain limits should be assigned to the somewhat broad idea conveyed to the mind by the use of the words “Modern Instrumental Composition.”
On Musical Beats and Their Relation to Consonance and Dissonance
Authors: Heffernan James
Published: January 2007

When two musical tones nearly, but not quite, in unison are sounded together we hear an alternate increase and diminution of sound, and the tones are said to beat with each other. The beats are caused by the alternate coincidence and interference of two systems of sonorous waves generated by bodies vibrating at different rates. The coincidence is felt as a reinforcement of the sound due to the coalescence of sound waves, and the interference as a silence due to the destructive effect of sound waves on each other. According to the generally accepted rule, the number of beats in a second is always equal to the difference between the vibration numbers of the sounding bodies. We shall have to take exception to this rule hereafter; but for the present we will use the term calculated beats to express the number of beats in a second which it gives for any interval. As it is received by physicists, the above rule does not imply that the beats can always be heard. Circumstances, as we shall see, may render them quite inaudible.
The Character and Influence of the Late Sir Frederick Ouseley
Authors: Stainer John
Published: January 2007

Though not one of that class of musicians about whom the public talks with feverish excitement, and though his ways and words were not the object of journalistic curiosity, Frederick Arthur Gore Ouseley was a man of wide influence, and one whose character and labours deserve careful study. He was distinctively a representative man, and in furthering the objects he had in view in life he was uniformly consistent, as indeed every man must be who conscientiously draws up a scheme of work founded on a sense of duty, and turns neither to the right nor left while pursuing it. Whether he chose the best scheme of life or not, we shall by-and-bye try to discover; but the simplicity of his mind, the purity of his motives, the calm persistence with which he aimed at his object, and his immense self-sacrifice in securing it, seem to point more to the chivalrous knight of a bygone age than to the modern worldly artist, who rapidly faces about this way or that way, but who, somehow or other, is always found treading the path which leads to the best market for his wares.
Music in the Royal Navy. An Appeal!
Authors: Havergal Arthur
Published: January 2007

It was with great diffidence that I undertook, at the request of the President of this Association, to write this paper.

I felt, in the first place, that there are many of my brother officers who could have done it much better, and, in the second, that as a very humble amateur, I should be addressing a distinguished body of musicians. I trust, however, they will patiently hear me, as I am actuated by none but sincere and patriotic motives.
The Foundations of National Music
Authors: Webb F. Gilbert
Published: January 2007

There are musicians who hold that what are termed National characteristics in music are due solely to the peculiarities of the languages, instruments, and scales used in different parts of the world, and that therefore the style and characteristic phrases of a national music are not the outcome of the character and peculiarities of a nation. They tell us that the deeper feelings of mankind are alike all the world over, and that consequently the peculiarities of national music are only national in the narrow and superficial sense of the word, and are therefore unworthy of adoption by composers of distinction. It will be my endeavour to show, however, that the many distinct peculiarities found in the music of various nations have a deeper significance than is commonly supposed. Whilst of course the same emotions are common to all mankind, some nations, owing to their surroundings and vicissitudes, experience certain emotions more frequently than others, and such emotions finally leave their permanent imprints on the whole nation and form what is called a national character. I need hardly say that, viewed from this standpoint, the subject is a very comprehensive one. It embraces the physical and mental peculiarities which distinguish the different races of mankind; the history of the sub-division of races; the resultant character and temperaments produced by the mixture of races; their gradual formation into nations; the alterations in language consequent on its corruption and development; and the effect of climate on religion, mode of thought, customs, and institutions. Obviously I can but touch on these points, but I trust with sufficient clearness to show their relative importance. As my subject is somewhat complex, I should like first to explain what I mean by the terms “race,” “nation,” and “character.”
Fugal Structure
Authors: Prout Ebenezer
Published: January 2007

Your Council have done me the honour of inviting me to read a paper before you this evening, and have suggested as a subject “Fugal Structure.” It gives me very great pleasure to accede to their request. I presume that the choice of the subject proposed to me is due to my having recently published a book on Fugue, in which I have ventured to express views differing considerably in some respects from those to be found in most other text-books; and I think I may probably take it that I am virtually invited to explain and justify the position I have taken up. If this be so, I most willingly accept the challenge; for my only object is the truth, and there is everything to be gained by full and free discussion. I fear, however, that for those who have already read my book on Fugue, the present paper will present but little novelty; for it will necessarily be little more than an abstract of the contents of my volume. There is one advantage at least; it will furnish an opportunity for thrashing the subject out thoroughly; and I think it very probable that the discussion which I hope will follow my paper may prove to be the most interesting and profitable part of this evening's proceedings. In order to leave as much time as possible for discussion, I shall endeavour to condense what I have to say, as far as I can do so without sacrifice of clearness.
Considerations on the History of Ecclesiastical Music of Western Europe
Authors: Ouseley Frederick Gore
Published: January 2007

It has been suggested to me that the subject of Ecclesiastical Music treated from the historical point of view might prove suitable and interesting for a paper to be read before this Association. It appears, however, too large a subject for a single paper, and moreover there are some branches of it which trench too much upon questions of religious observance to be fitting matter for such a meeting as the present. Under these circumstances it seems best, on the whole, to confine our attention this afternoon to a few important considerations arising out of the historical aspect of Church Music, some of which, as it appears to me, have not hitherto received that amount of attention which they deserve.
The Bardi Coterie
Authors: Brownlow Jane M. E.
Published: January 2007

All revolutions, however apparently sudden in their actual dénouement, are the result of causes which have long been working in preparation for the final event. Unless the minds of men have reached that point of preparedness which enables them to comprehend its principles, and to a certain extent to forecast its immediate possibilities of development, no movement can be said to have much chance of continuance.
The Characteristic Traits of Irish Music
Authors: Patterson Annie W.
Published: January 2007

In studying the characteristics of a people's native music, some preliminary considerations necessarily claim our attention. First, it is of interest to ascertain by what means or through what channels the particular music in question came to be known and practised as an art of sufficiently distinctive qualifications as to claim comparison with the music of other countries; secondly, we like to inquire, especially with the aid of such literature on the subject that may be extant, what are the internal and external evidences that exist with regard to the power and influence of that music; and then alone can we turn to an analysis of the music itself, noting its peculiar forms of structure—accounting for same when possible—and contrasting the artistic and emotional effects obtained with those general musical traits with which we are already familiar.
The Notation of Mensurable Music
Authors: Stainer J. F. R.
Published: January 2007

I suppose it is safe to say that at the date of the Norman Conquest measured music did not exist. Rhythmical music there must have been from the earliest times, music of the dance, music of the march; but no system had been invented by which the duration of musical sounds could be presented to the eye. The reason for this may perhaps be found in the close association that existed between music and language, and the fact that in this association music was formerly the handmaid, not, as now, the mistress. The ancient subordination of music to language still survives in the plain-song of the Church, which, for this very reason, remains to the present day unmeasured.
“Chromaticism” in Harmony
Authors: Westerby Herbert
Published: January 2007

Mr. Chairman, Ladies and Gentlemen,—Before I begin my paper, I wish to say how highly I value the privilege of putting my ideas before you on this occasion. As regards my subject, I might say that I have given it a good deal of thought for a long time past, and it is one which I should probably not have worked out but for the kindly encouragement at the outset of your late lamented President, Sir John Stainer. I may also say that your esteemed Secretary took me by surprise some ten or twelve days ago by asking me if I were prepared to come forward at this time. I was not altogether prepared, but I shall endeavour to do my best.
The Influence of the Organ in Musical History
Authors: Richardson A. Madeley
Published: January 2007

Gazing at the stones of some great Cathedral, filled with wonder and admiration at its grace and beauty, as we watch the sweep of its Gothic arches, the intricacy of its tracery, the perfection of its proportions, our eye falls upon the organ, and we are set a-musing. Some five hundred years ago the last word was said in the development of Gothic architecture. Since then fashions have come and gone; one generation has praised its virtues, another has ignored them altogether, but none has been able to improve upon them. Reproduction and imitation we have had in plenty, but no advance. The architecture of the Middle Ages culminated some time in the fifteenth century; it has left its witness in stone poems all over the land. Since then all attempts at development have meant decadence, all endeavours after improvement, corruption.
Carillons
Authors: Starmer W. W.
Published: January 2007

Some three years ago I had the privilege of addressing the members of this Association on the subject of “Bells and Bell Tones.” On that occasion I dealt with the bell as a musical instrument, and the paper I am about to read on Carillons is nothing more or less than a further instalment of information respecting bells on the same lines. Those of you who are conversant with that lecture will the more readily understand some of the remarks I shall make with reference to the requisite conditions necessary to produce good tone and tune in bells. On this occasion my statements concerning some of their most important characteristics must of necessity be very brief. Any who so desire can find a fuller treatment of these characteristics in the lecture I have mentioned.
Some Characteristics of Heinrich Schütz (1585–1672)
Authors: Naylor E. W.
Published: January 2007

It is twelve years since I read a paper before this Society; and circumstances have prevented me from attending the meetings as I should have wished.

I am all the more pleased to accept the invitation of the Council to speak to-day on a subject which is partly of the Council's choice, having been selected by them from several alternatives.
Chimes
Authors: Starmer W. W.
Published: January 2007

On two previous occasions I have had the pleasure of addressing the Members of this Association on the subject of bells, and I have ventured to choose for consideration this evening another aspect of the same subject in which there is a great deal to be done by musicians, and which is of much interest to them.
Spanish Music
Authors: de Lafontaine Henry Cart
Published: January 2007

In a little brochure by Albert Soubies, eńtitled “Musique Russe et Musique Espagnole,” there occur these words : “One cannot but realise what an important rôle the Arabs during their domination of Spain played in the civilization of that fair country. The verve and colour which distinguished this conquering race have left a deep impression on all the Spanish arts, and have most certainly had great weight in determining to a large extent the really bizarre and at the same time elegant style of some of the native songs, which have since assumed a character of so wide an importance. Amongst the Arabs of Spain who, in a theoretical or practical manner, have cultivated the art of music, we shall content ourselves by simply pointing, so far as regards the period previous to the tenth century, to the predecessors—a somewhat misty memory—of Alfarabi.”
Dr. John Blow
Authors: Cummings William H.
Published: January 2007

Two hundred years ago, or, to be precise, a little more than two hundred years, lived an eminent musician highly esteemed for his artistic gifts and for his honourable life. Dr. Blow was a prosperous man, and in addition to his town residence in the Broad Sanctuary, Westminster, he possessed a small country estate at Hampton-on-Thames, where he was wont occasionally to retire to recuperate his energies; he was there in the beginning of 1708, his health being considerably disordered, and, as a prudent man, he made his will and set his worldly affairs in order; subsequently he returned to the Broad Sanctuary, and died there on October 1 of the same year, 1708. He was honourably buried in a grave in the North Aisle of Westminster Abbey, near to the organ and adjacent to the resting-place of his former pupil, Henry Purcell. A tablet to his memory was speedily erected by his friends and admirers, on which was engraved a Gloria Patri in canon, taken from his Jubilate Deo in the key of G. This canon was sung on occasion in St. Peter's Church in Rome, and obtained world-wide fame. Only a few years ago the Emperor of Brazil, being on a visit to London, went to Westminster Abbey, and was conducted through the ancient building by Dean Stanley; after the latter had called the Emperor's attention to the salient features of the edifice, and its most important monuments, he suggested a return to the Deanery, when the Emperor said, “There is one monument I much wish to see, which you have missed.” The Dean, in surprise, inquired what it was, and the Emperor replied, “I want to see the celebrated canon which is engraved on Dr. Blow's monument.” The incident is equally creditable to Blow's fame and to the Emperor's intelligence.
Continental Chimes and Chime Tunes
Authors: Starmer W. W.
Published: January 2007

I am very pleased to have a further opportunity of speaking to you on the subject of chimes, and of completing the part of the subject I was unable to deal with in my last paper given before this Association about two years ago. On that occasion I was only able to treat of chimes and chime tunes of our own country. To-night I propose to deal with Continental Chimes as fully as possible, both as to the music played, and as to the mechanism which is employed to produce it, comparing them with such as exist in England. As far as possible, I shall endeavour to make this paper complete in itself, although there will be, of necessity, references which will presuppose a knowledge of some things I have already fully set forth here on previous occasions. To give an accurate knowledge of the finest Continental Chimes, I have decided to take in detail one of the best known, and for this purpose I have chosen M alines, of which I shall give the fullest particulars. I have been fortunate enough to obtain them through the courtesy of the officials, and of M. Jos Denyn, the famous carillonneur, in particular, as well as by my own personal observation on the many occasions I have visited the city. A comparison with our own chime mechanism and chime music will accentuate the differences which exist, and this comparison I shall frequently draw in the course of my remarks.
The Significance of Monteverde
Authors: Parry C. Hubert H.
Published: January 2007

Everyone who has any idea at all of what the name of Monteverde represents must see that a proposal to discuss him fully in a single paper, even of abnormal length, would be absurd. So I must assume that you already know enough about him to make it safe for me to dispense with personal biographical matters, except so far as they have bearing upon his work, and confine myself to the salient facts which minister to the understanding of his peculiar importance in the development of modern music. The attention of the musical world has been concentrated on one side of his career only, one might almost say on one single vocal piece of some dozen bars in length. Yet he is referred to as the fountain-head of modem opera, as the originator of modern orchestration, the prototype of the noble band of artistic revolutionaries, the triumphant vindicator of the right to break rules. And all the while people know nothing of him but what they get at second hand. There is certainly not one man in a million who has ever heard a single bar of his compositions: so it is difficult to bring what is said about him to a practical test; and this makes him a safe subject for that familiar type of explorers who want to tell travellers' tales which are unlikely to be found out He is indeed quite exceptionally inaccessible. A great number of his compositions have been lost, and a further large number exist only in rare part-books in libraries in scattered parts of Europe; and till such works are scored from the part-books it is idle to pretend that anyone can get any idea of them. And even when they are made accessible in substance they are still inaccessible in spirit; for in order to understand Monteverde's compositions one has to have a clear understanding of the kinds of music he did not write, and capacity to see into the spirit of many crude and venturesome experiments, and to free oneself entirely from the conventions of mechanical theory. Indeed, to understand a man like Monteverde one must be able to guess what he wanted to do even when he did not succeed.
Provincial Memories
Authors: Parker Louis N.
Published: January 2007

What can I talk about that is likely to interest a scientific society such as the Musical Association? It is now twenty-six years since I was a practising musician, and I was never scientific. I have no business in a learned society, and certainly no claim to be addressing one. I can only speak about things I know, and have experienced, and remember. In my musical life I did not experience what you would call great things: my lines were laid in a pleasant but obscure place. Perhaps, however, it is true that the greatness of things is relative. The first hearing of a certain strain of music, even of a certain harmonic combination, may be for the hearer a psychological event. The first hearing of Schubert's C major Symphony may be as great an adventure to one man as the first ascent of the Matterhorn is to another, and a man may faint on catching his first salmon.
The Performance of Music in Spain
Authors: Trend J. B.
Published: January 2007

On the last occasion on which the subject of Spanish music was discussed at a meeting of this Association, we were able to listen to the finished product—a product “finished” in every sense of the word, for, as members will recollect, the illustrations, consisting of a number of Spanish madrigals, were beautifully performed by the English Singers. This time, I should like to begin at the other end, as it were—with the remains of early Spanish music as they confront the researcher, and the traveller. For the researcher is not confined to musical MSS. or to the statements of the theorists. Sculpture, ivories, miniatures and contemporary descriptions in prose or verse, often throw more light on the conditions of performance and the character of the music itself, than the actual MS. with the musical notation (supposing it to exist and to be intelligible), and they are certainly more illuminating than the treatises on musical theory.
The Apprehension and Cognition of Music
Authors: Vernon Philip E.
Published: January 2007

When we listen to a piece of music, whether it be a fugue by Bach, a song by Schubert, or a symphony by Beethoven, the actual physical, objective, stimuli which reach our ears consist of incredibly complicated pulsations of air pressure. These produce equally complicated vibrations of the tympanum or ear-drum, and so set up successions of nervous impulses in the brain. But our subjective experience of the music, the thing that we actually hear, consists of a logical and meaningful sequence of harmoniously interrelated auditory impressions, possessing form and unity both as a whole and in detail. How then does this series of discrete air vibrations, which are produced by the musical instruments or voices of the performers, become transformed and organised into the mental thing that we call music? In other words, what is the psychological nature of our perception or cognition of music?