bluuebunny/crossref_metadata_2025 huggingface dataset:
Plasmacytoid dendritic cells prime IL-10–producing T regulatory cells by inducible costimulator ligand
Authors: Ito Tomoki , Yang Maria , Wang Yui-Hsi , Lande Roberto , Gregorio Josh , Perng Olivia A , Qin Xiao-Feng , Liu Yong-Jun , Gilliet Michel
Published: January 2007

Although there is evidence for distinct roles of myeloid dendritic cells (DCs [mDCs]) and plasmacytoid pre-DCs (pDCs) in regulating T cell–mediated adaptive immunity, the concept of functional DC subsets has been questioned because of the lack of a molecular mechanism to explain these differences. In this study, we provide direct evidence that maturing mDCs and pDCs express different sets of molecules for T cell priming. Although both maturing mDCs and pDCs upregulate the expression of CD80 and CD86, only pDCs upregulate the expression of inducible costimulator ligand (ICOS-L) and maintain high expression levels upon differentiation into mature DCs. High ICOS-L expression endows maturing pDCs with the ability to induce the differentiation of naive CD4 T cells to produce interleukin-10 (IL-10) but not the T helper (Th)2 cytokines IL-4, -5, and -13. These IL-10–producing T cells are T regulatory cells, and their generation by ICOS-L is independent of pDC-driven Th1 and Th2 differentiation, although, in the later condition, some contribution from endogenous IL-4 cannot be completely ruled out. Thus, in contrast to mDCs, pDCs are poised to express ICOS-L upon maturation, which leads to the generation of IL-10–producing T regulatory cells. Our findings demonstrate that mDC and pDCs are intrinsically different in the expression of costimulatory molecules that drive distinct types of T cell responses.
The Oratorios of Alessandro Stradella
Authors: Gianturco Carolyn
Published: January 2007

Much of the early history of the musical oratorio is still unknown. It seems that by the 1620s it was customary for religious confraternities to have music at their services before and after the sermon. In Rome the Congregation of the Oratorio, Philipp Neri's group which eventually met at the Chiesa Nuova, preferred music with Italian texts, whereas the Arciconfraternitàdel Santissimo Crocifisso, named after a cruxifix unharmed in a terrible fire at S. Marcello, preferred Latin texts. Apparently it is these two organizations, with their great emphasis on music and their financial support of trained musicians, which provide the background for the creation of the new musical genre and the impetus for its spread to other centres.
Orchestra and Image in the Late Eighteenth Century
Authors: Charlton David
Published: January 2007

There seems to be evidence in German and French-language opera in the second half of the 18th century and beginning of the 19th, that certain musical phenomena could carry extra-musical connotations. Some work, for example, has been carried out on the significance of wind instruments, particularly in relation to Masonic ceremonies. The extension of the enquiry into purely instrumental music has also been pursued, both from the point of view of a single composer'soeuvreand that of the presence of folk material. On the whole, the expressive power of the Classical orchestra and the ubiquity of opera in the repertory under discussion provide a solid basis for the type of empirical enquiry necessary in this type of investigation.
Vivaldi's ‘Manchester’ Sonatas
Authors: Talbot Michael
Published: January 2007

Charles Jennens (1700–73) is best remembered as the friend and protector of Handel who was also the composer's literary collaborator inMessiah, Saul, BelshazzarandL'Allegro.A connoisseur and collector of music, Jennens subscribed to all Handel's published scores from 1725 to 1740 and had a large number of works by his friend especially copied for him. An understandable predilection for Handel's music did not, however, lessen his curiosity about the works of Italian composers, some of whom were Handel's colleagues or rivals in England. This interest is fascinatingly charted in the surviving correspondence, spanning the years 1729–46, between Jennens and the Latin poet and classical scholar Edward Holdsworth (1684–1746), which was acquired by the Gerald Coke Collection in 1973. Jennens's letters – at least, those written from 13 November 1735 onwards – were returned to him after Holdsworth's death, so that the two sides of the correspondence are today united.
Intellectual Bases of the Handelian Tradition, 1759–1800
Authors: Weber William
Published: January 2007

When we study the rise of the Handelian tradition in eighteenth-century England, we are studying the early history of musical classicism. Here the term ‘classicism’ does not refer to musical style, to the classical style, but rather to a performing repertory of music from the past which is valued as a set of masterpieces, as models for judgment of new works. Before this time musical life had had no classicism of the kind found in literature or the plastic arts. Even if the names of a few composers were passed on as great men, their music was performed only in exceptional circumstances. Rarely did Italian operas appear after the death of the composer; most did not even last ten years. Handel was the first composer a large body of whose works were performed continuously after his death. Most significant of all, his name was the first to be enshrined in the highest reaches of the modern musical Pantheon, to be linked to those of Haydn, Mozart and Beedioven. That such composers as Pergolesi or Corelli also enjoyed English performances after their death for a few of their works, shows how a broad movement toward historical repertory began in the eighteenth century. Handel's music did not persist alone; it was part of a new musical order.
Related Motets from Fourteenth-Century France
Authors: Leech-Wilkinson Daniel
Published: January 2007

Even the most enthusiastic admirer of fourteenth-century isorhythm would have to admit that the collection of French motets published in the series Polyphonic Music of the Fourteenth Century must present a somewhat forbidding appearance to the casual reader. Certainly a large number of the surviving pieces are characterized by a uniformity of melodic, harmonic and rhythmic style which contrasts all too clearly with the remarkable diversity to be found in contemporary song repertories. And while, upon closer acquaintance, characteristics individual to particular works may increasingly be discerned, it remains surprising just how alike many of these pieces continue to seem to be. That this is not simply a failure on the part of the reader to distinguish more widespread differences between works becomes clear as soon as one begins to investigate their structures in more detail: far from each work being unique in itself, many of the motets surviving from the are nova are found to be related quite closely in matters of compositional detail. Thus instead of representing, as one might expect, widespread activity over a large geographical area, the motet repertory appears increasingly to be confined in matters of both form and content, and thus also, it might be argued, in place and date of origin.
On Some Bearings of the Historical Method upon Music
Authors: Parry C. H.
Published: January 2007

It appears to me that in this world all things move onwards together, and that just as in things external, and what we are accustomed to call material, so in things which concern the mind, there is no department of philosophy, or science, or art which goes on quite by itself, without influencing and being influenced by the progress which goes on in other lines. The tone and predisposition of men's minds, and the character of the prevalent courses of speculation, seems to be determined by causes which affect all branches of mental activity in a similar way, and the tendencies which show themselves strongly and effectively in one branch are sure to appear sooner or later in another.
The Politics of Reception: Tailoring the Present as Fulfilment of a Desired Past
Authors: Treitler Leo
Published: January 2007

The discourse of history can appear as a medium of proud self-portraiture, as the ritual of a culture in narcissistic self-contemplation, glorying in its uniqueness and superiority and in its descent from revered ancestors. This thought catches history as a kind of myth and opens history to anthropological, as well as to historiographical, description.
Schoenberg's Concept of Variation Form: A Paradigmatic Analysis of Litanei from the Second String Quartet, Op. 10
Authors: Dale Catherine
Published: January 2007

Liztanei, the third movement of Schoenberg's Second String Quartet, op. 10, and the first of its two vocal movements, is cast in the instrumental form of theme and variations. Schoenberg's analysis of the movement in ‘An Introduction to My Four Quartets’ identifies ‘a total of five variations, a coda … [and] a short instrumental postlude’. His conception of variation form as ‘a very strict form’ in which freedom is ‘absolutely to be forbidden‘ underlay Schoenberg's decision to construct the movement as a series of interlocking variations, for this decision was motivated to a large extent by his concern to curb the expressionistic tendencies of Stefan George's text. In the same essay the composer writes:

In a perfect amalgamation of music with a poem, the form will follow the outline of the text. The Leitmotif technique of Wagner has taught us how to vary such motifs and other phrases, so as to express every change of mood and character in a poem. Thematic unity and logic thus sustained, the finished product will not fail to satisfy a formalist's requirements.

Variations, because of the recurrence of one structural unit, offer such advantages. But I must confess, it was another reason which suggested this form. I was afraid the great dramatic emotionality of the poem might cause me to surpass the borderline of what should be admitted in chamber music. I expected the serious elaboration required by variation would keep me from becoming too dramatic.
La compositione lacrimosa: Musical Style and Text Selection in North-Italian Lamentations Settings in the Second Half of the Sixteenth Century
Authors: Bettley John
Published: January 2007

In the autumn of 1564, the abbot of the Benedictine monastery of S. Giorgio Maggiore in Venice recounted his experience on a recent journey from Rome to Venice of hearing the Lamentations sung during Holy Week in Perugia and Arezzo. It was a source of considerable annoyance to the abbot that, instead of the anticipated refined, devout and pious rendition appropriate to the liturgical occasion, the performance had been a confused uproar owing to the large number of participating singers and the extensive use of ornamentation, with the result that the mournful character of the Lamentations text had not been comprehensible. The direct consequence of the abbot's criticisms was the published compilation, by the anonymous monk to whom the observations had been made, of a comprehensive collection of polyphonic settings by the Benedictine monk Paolo Ferrarese of the constituents of the Holy Week liturgy. The editor stresses that the settings demonstrate the required qualities of piety, devotion, gentleness and smoothness, as well as clarity of text setting in which each verbal emphasis and nuance is realized.
The Musical Form of the Hymn Tune
Authors: Curwen J. Spencer
Published: January 2007

I chose this subject, when your Secretary asked me for a Paper, because I felt it to be one of general interest. We all of us have to listen to hymn tunes; most of us have to play them, and we are compelled to think about them, whether we will or no.
On the Differences Between Ancient and Modern Art
Authors: Rowbotham J. F.
Published: January 2007

Ladies and Gentlemen,—Before commencing this paper, I must crave a certain latitude, if you will allow me, with reference to the synopsis or resumé in which I intimated to the Secretary and thence to you the substance of the lecture. This statement was written somewhat hurriedly, and I purpose, with your permission, to depart from it when I think proper.
Brotherhood's Technicon: The Necessity of a Systematic and Scientific Development of the Muscles of the Hand and Arm for Pianoforte Players
Authors: Prentice Ridley
Published: January 2007

When I undertook to read a paper on the necessity of a scientific development of the muscles of the hand and arm, apart from the keyboard, I was not aware how fully and admirably the subject had been treated during our last session by Mr. Southgate. The matter is however of such vital importance that it cannot be too frequently insisted upon; and I trust, therefore, those members of our Society who are devoted to branches of the art other than pianoforte-playing will pardon us if we again occupy their time.
Notes on the Action of Musical Reeds
Authors: Blaikley D. J.
Published: January 2007

The members of this Association, since its foundation, have been again and again both delighted and instructed by discourses on subjects connected with the art and the history of music. Those of us who have ventured to speak on any scientific point have doubtless considered that as the Association was formed for the investigation and discussion of subjects connected not only with the art and history, but also with the science of music, the framers of its constitution had in view a certain object in admitting science. This object I take to be the wholesomeness and desirability of an occasional descent from the realms of art and imagination, and even of a turning aside now and again from the more human and sympathetic interest called up by the study of the history of musicians and their works. I am encouraged to think that this province, the science of music, may be taken to include not only the study of the laws of the art as deduced from our mental perceptions, but also the examination of all those mechanical actions by which music, the conception and thought of one man, becomes a reality to listening thousands.
On Some Points in the Received Method of Writing an Orchestral Score
Authors: Monk W. H.
Published: January 2007

I very much fear that the observations I have undertaken to bring before you to-day, under the dignified title of a ‘Paper,’ may be disappointing, for more reasons than one. I fear that they should have been illustrated by diagrams, for one thing; but I found that their adequate illustration in such a manner would have been too cumbrous for this, or any other like room, since they have to do with an orchestral score. Then I fear you may think me very revolutionary; for I am proposing to quarrel with old-established customs: with the way in which the pitch of certain orchestral instruments is represented on paper; and with which I cannot, probably, give any very scientific reasons for quarrelling.
On Standards of Musical Pitch
Authors: Stone W. H.
Published: January 2007

Dr. Stone said he did not intend to go into the question of any particular pitch, but rather to deal with the difficulties of keeping to a pitch when it was obtained. This was a constant source of difficulty, particularly in orchestras, where the wood instruments were constantly varying. In almost all cases the pitch tended upwards. The process of ascertaining with exactness the number of vibrations per second, either by means of the siren or any other instrument, was long and tedious; but in taking the French pitch as a standard, there was this advantage, that it had been ascertained once for all, by very competent men, and tuning forks had been made in accordance with it which varied very little, and could be produced in great numbers with considerable accuracy. Such forks, therefore, formed a good practical standard for experimental use, because, if you set two forks in vibration the beats were clearly perceptible. On the other hand, they had disadvantages. In the first place, the sound was very feeble and evanescent, and in the noise of an orchestra almost inaudible; besides which the beats, on account of the pure and rather dull character of the tone, were very faint at a distance; and after all it was by means of beats that tuning must be accomplished. Temperature again affected these forks very much. He had on the table several common tuning forks, such as were generally supplied by the trade, and although they were not so well made as the French, still they were very fair. There was a slight amount of beating usually perceptible between two of the same pitch arising from defective workmanship; but on warming one fork even to the temperature of the body, the difference became greatly increased. A tuning fork, then, was not absolutely accurate. Their evanescent tone might be made more permanent by exciting it with a fiddle bow; but with an ordinary high-pitched fork you rapidly wore away the hair of the bow without producing much effect. There was no doubt a better way which deserved to be tried, although he had not been able yet to carry it out, namely, to put them in vibration by means of galvanism. On passing an intermittent current through them you might obtain a permanent tone; but it would require care to bring it to pitch Helmholtz had succeeded in doing this, and it was no doubt sufficient for the purposes of the physical cabinet, but for an orchestra, or for tuning an organ, it was hardly practicable.
On the Musical Inventions and Discoveries of the Late Sir Charles Wheatstone, F.R.S.
Authors: Adams William Grylls
Published: January 2007

The work of the late Sir Charles Wheatstone was very varied in character, and was not limited to one, or even two, of the branches of physics. He investigated the laws of sound, of ordinary and polarised light, and he greatly advanced our knowledge of electricity and magnetism. But there is one characteristic, at least, which runs through all his investigations: he always sought to embody the results of his study of the laws of nature in a practical form, so that they might be beneficial to mankind. Thus he made use of the polarisation of the light of the sky to determine the correct solar time by means of his solar clocks; and again, in his electric instruments, he has enabled us to make electric measurements, and also to interchange ideas with our fellow-creatures all over the globe.
On Medical Science in Relation to the Voice as a Musical Instrument
Authors: Browne Lennox
Published: January 2007

The subject which I have chosen for the consideration of the Musical Association presents to the most casual observer so many obstacles in the way of treatment that it will be easily believed I approach my task with feelings of diffidence. The largeness of the field for discussion, the difficulty of treating the musical or, to me, unfamiliar portion in a manner worthy of this Association, and the fear lest the medical portion may be tediously or too technically dwelt upon, have tended to render me distrustful of success. Were I not well assured of the generous forbearance shown by professional men to those who have real desire to contribute to our common knowledge, I had many times turned back from the plough to which I have put my hand.
The Art of Clavier Playing, Past and Present
Authors: Cummings William H.
Published: January 2007

Clavier playing with the fingers can scarcely have been practised before the middle of the fourteenth century. At the period referred to organ keys varied in width from three inches to six inches; the organ-player was therefore sometimes very accurately called a striker, his method of playing requiring either a stroke with closed fingers or a decided pressure with the whole of the fingers extended; we can see a pictorial representation of the latter method in the “Theorica Musica,” by Gaffurius, published in Milan in 1492.
Samuel Wesley: His Life, Times, and Influence on Music
Authors: Higgs James
Published: January 2007

The period covered by the life of Samuel Wesley, 1766–1837, is remarkable in the history of modern music, following, as it did, close on the time of Bach and Handel, and being coincident, as it was, with the times of all the most illustrious of those composers whose works have become our classical heritage. To have been eminent amid such surroundings as he lived in implies much, and I hope may justify my endeavour to engage your attention and interest while I speak for a short time this evening upon the life, times, and influence of Samuel Wesley.
On Some Causes of the Changes of Tone-Colour Proceeding in the Most Modern Orchestra
Authors: Maclean Charles
Published: January 2007

The limits of a paper such as the present are too confined, and perhaps the subject itself is too impalpable, to afford any hope that all the causes in the case mentioned in the title can be here set out in one view; the paper is therefore designated as only illustrating some causes. The term “tone-colour” has come to this country translated from the German, it is a word involving a metaphor, and it is just possible that twenty-five years ago it might have been resented by some as an affectation; but it is an accepted term of the enlarged musical diction of the present day. It conveniently expresses that total effect made on the ear by musical sounds, especially the collective sounds of the orchestra, which is dependent not on art structure proper but on the qualities and employment of the instruments which give interpretation to the art-idea. In a concert-room of to-day, an orchestra constituted so as to perform a Handel score, and one constituted so as to perform a Wagner score, differ entirely in tone-colour. Even where the constitution of the orchestra is the same, as say in performing works by Mendelssohn and Schumann respectively, the tone colour is different, because those two composers used the instruments differently. By the most modern orchestra in my title I mean that of a period not exceeding say the last fifty years, or the lifetime of many in this room, and in some particulars the remarks will have reference to the orchestra actually of the present day; many most able writers have treated of the historic growth of the orchestra, and the present paper is not to be regarded as historical in its aim except in the sense of drawing attention to some facts connected with the most recent developments.
The Evolution of Fugue
Authors: Shedlock J. S.
Published: January 2007

Cui bono ! may have been the exclamation of some on reading the title of this paper. We already know, they might say, from Spitta, that Bach was considerably indebted to his predecessors; we are content to leave the study of their works to evolutionists and examiners. To any such I would make answer thus: In order fully to appreciate the works of a great composer you must know at least something of what those who preceded him accomplished; and the greater those predecessors, the greater one's admiration for the man who not only assimilated what was best in them, but who rose to higher eminence. Surely acquaintanceship with the best symphonic work of Haydn and Mozart intensifies one's appreciation of Beethoven's symphonies. To such argument it may, however, be opposed that Haydn and Mozart were geniuses; that though Beethoven surpassed them he did not cast them into oblivion, whereas Bach practically put an extinguisher on his predecessors. But for a long time Bach himself, just as much as his predecessors, was neglected, ignored by the majority of musicians. He was resuscitated in the nineteenth century by Nägeli, Wesley, Mendelssohn, and others; and various publications or reprints of early publications of the works of his predecessors (Sweelinck, Scheidt, Frescobaldi, Buxtehude) appear from time to time in Germany. The predecessors of Bach are as important in the history of the development of fugue, as Haydn and Mozart in that of the symphony.
Bells and Bell Tones
Authors: Starmer W. W.
Published: January 2007

I have chosen this subject for consideration to-night because there is much to say from the musician's point of view, and because comparatively nothing of importance has been written on the harmonics of bells (I prefer to call them bell tones) and the way they should be tuned so as to produce the purest musical sound. I do not wish to pose as an expert on the manufacture of bells, but would prefer that my remarks, other than the statements of historic fact, should be looked upon as observations of a musician on the various characteristics and peculiarities of bells, from which I shall strive to lay down certain conditions with reference to the perfecting of the tone of bells, rather than the consideration as to how such results are to be obtained. This is undoubtedly the business of the bell-founder, and for the present must be left with him. For the sake of completeness, I shall give as concisely as possible a history of church bells, with some explanation of their construction, before dealing with the matter of bell tones.
Rhythm in National Music
Authors: Trotter T. H. Yorke
Published: January 2007

Modern music is derived from two sources—the music of the church, and the music of the people. The one was the result of rules and principles carefully laid down and strictly adhered to, the other was the instinctive expression of emotion and fancy; the one was the work of the highly-trained professional musician, the other came into existence we know not how; the one depended for its effect on elaborate contrapuntal devices, the other on its rhythmical melody. The music of the Church was slowly built up to the state of severe perfection we find in Palestrina's work; the music of the people attained truth of expression, as it were, intuitively. We are able to trace the growth of what may be called scientific music from Dufay to Bach. We have no such knowledge of the music of the troubadours, minnesingers, jongleurs, gleemen and bards, and we are frequently in doubt whether the specimens we possess are genuine transcriptions or whether they have not been altered to suit the ideas of the musician who wrote them down. And yet it may be doubted if we owe more to the music of science than to the songs of the people. Rhythm is the very essence of the art, and it is to the folk-music that we are indebted for rhythm and all that results from it. Without this element we could never have arrived at our modern form so obviously founded on balance and proportion. Without it our scale system might never have been attained, for it is not difficult to see how the introduction of cadences must have influenced tonality. Indeed, we actually find on comparing the two kinds of ancient music that the folk-music much more closely resembles our present system. Again, it is to the folk-songs that we must turn when we seek for characteristic national music. It is no doubt true that there is a marked distinction between the Church music of different countries, but this distinction arises more from the diversity of Church services in different countries than from a variety of musical idiom, whereas in the case of folk-music the musical idiom unmistakably varies in different nationalities, making it perfectly easy even for the casual observer to distinguish, for example, between Hungarian, French, and English music.
On the Collecting of English Folk-Song
Authors: Broadwood Lucy E.
Published: January 2007

Mr. Chairman, Ladies and Gentlemen,—Before beginning this paper on the Collecting of English Folk-Song, may I ask indulgence should I seem unduly egotistical this afternoon?

The subject when approached proved so wide, and to lead to my poaching so heavily upon the preserves of far better collectors and lecturers than myself, that there seemed nothing for it but to limit myself to my own experiences and collection.
Spanish Music
Authors: de Lafontaine Henry Cart
Published: January 2007

The Gaceta Musical de Madrid published, thirty years ago, in its number of March 18, a quotation from M. Adrian de la Fage, in which he says : “How numerous are the difficulties and how obscure is the history of music, and how many points remain yet to be cleared up ! … A proof of this is the almost complete ignorance which we are in concerning the ancient school of Spanish music before Palestrina.'
Music in Rhythm—As Exemplified by the Timpani
Authors: Cleather G. Gordon
Published: January 2007

Before beginning what I have to say on the subject of the timpani, I wish to thank Mrs. Stansfeld Prior for so kindly playing with me, and for the time she has given to rehearsal.

It is quite probable that papers have already been read before this Society on the subject of drums, perhaps from a scientific, or historical, point of view, so I propose to-day to say something on the matter from a player's standpoint. Whether that can be made interesting I must leave you to determine, but I am not without hope that I may be able to bring before you some unsuspected musical qualities of the instruments, not only as instruments of percussion for the expression of rhythm, but. to demonstrate, if I can, that they can give it in a manner which is musical and not offensive to sensitive ears.
Rhythmical Gymnastics
Authors: Nicole Louis
Published: January 2007

Ladies and Gentlemen,—I cannot pretend to give you, in the short time allotted to me, a thorough insight into a subject so entirely new, at least in this country. Some people, because they never heard of rhythmical gymnastics before, think the thing has only just been discovered, only last week, perhaps. It is not quite so new, as I taught it at a girls' school here in 1906 already, and then it had been taught for over three years at Geneva and in other places, so that there has been ample time to give it a thorough test. Since then it has been adopted at several Conservatoires: Carlsruhe, Stuttgart, Hamburg, Berlin, Frankfort, Cologne, Turin, and many other places and schools in France, and in Switzerland where it originated.
The Modern Orchestra and its Combination with the Singing Voice; Especially with Regard to Conductors and Composers
Authors: Rootham Cyril Bradley
Published: January 2007

The purpose of this paper is to discuss several different, but closely-connected problems which obtain under modern musical conditions. I have found it difficult to embrace them under one short title: so perhaps it would be well to summarize at the outset the detailed points which I propose to put forward for your consideration. They are: The composition and management of the modern orchestra; modern technique in choral writing; and the position of the composer and conductor with regard to these two factors.
The Galin-Paris-Cheve Method of Teaching Considered as a Basis of Musical Education
Authors: Bullen George W.
Published: January 2007

If an apology be necessary for bringing before a learned society like the Musical Association the details connected with teaching, it is, I think, found in the supreme importance, both from an artistic and professional standpoint, of a sound basis of musical education.
The Tribulations of a Translator
Authors: Kalisch Alfred
Published: January 2007

Painful as it is in any case for a lecturer to address an audience, the most painful part is listening while the Chairman describes the qualifications or want of qualifications of the Lecturer. I do not wish to indulge more than is necessary in irrelevant autobiography; but I want to tell you briefly what I consider to be my own qualifications for daring to stand up and address you to-day. My strongest credentials, I believe, are these : Some years ago a certain opera of which I had perpetrated an English version of the libretto was being performed in the provinces, and I saw the Press notices of the performance : and being myself a journalist naturally I attach the greatest importance to what a free and enlightened Press has to say. I read on one occasion that the gentleman who took the leading part in that Opera, not being an Englishman, had entirely misread one of my sentences; in fact had spoken what was absolute rubbish. In a certain provincial journal this passage was quoted at length, and the writer said, “This will serve as a good example of the translation of this libretto as a whole.”
The Clarinet and Its Music
Authors: Street Oscar W.
Published: January 2007

I have been asked to give a minimum of “history” in this paper, and therefore, although from the very nature of the subject-matter it must be dealt with historically, I will only very briefly trace the evolution of this, the youngest of the wood-wind of the orchestra. But by “youngest” I mean the last to reach such a stage of development as entitled it to a place in the orchestra. For the clarinet—and this is the important point to remember about it in any discussion of its peculiarities—is a cylindrical tube sounded by means of a single beating reed, and such instruments are of great antiquity. They were in common use in the early civilisation in Egypt.
Purcell's Dramatic Music
Authors: Gray Alan
Published: January 2007

I have been asked to give some account of Purcell's “Dramatic Music.” This term is meant to include such of his stage works as are not of a sufficient scale to justify their being termed Operas. In the latter class are included “Dido and Æneas,” “Dioclesian,” “King Arthur,” “The Fairy Queen,” “Timon of Athens,” “The Indian Emperor,” and “The Tempest” These works therefore I shall not discuss. I may say also that I shall deal only with the musical side of this “Dramatic Music,” the editing of which for the Purcell Society has fallen to my lot. And this for two reasons, both very forcible ones. The first is that the dramatic point of view can be far better dealt with, when the operas are under consideration. For most of the music I have to deal with is really not dramatic at all. The second and even more convincing reason is that owing to an imperfect sympathy with stage matters I have not the requisite knowledge to deal with the subject, and it is better that I should leave it to more skilled hands.
Modern French Organ Music
Authors: Grace Harvey
Published: January 2007

It may be well to begin by explaining that in this paper the term “modern” refers not so much to the date of a composer as to the character of his music. This appears confusing until we remember that Guilmant (none of whose admirable pieces strike a modern note, and many of which show distinct signs of age) was born fifteen years after Franck, whose music is so much in the idiom of to-day that it is only now beginning to be fully appreciated. Again, Boëllmann is surely more modern than Bonnet, in spite of the occasional tonal and other spicy chords in the works of the latter. The fact is, a sprkinling of up-to-date progressions no more makes a work modem than do a few casual swallows make a summer. Of course, harmonic colour and melodic style count, but the main factor is vitality in idea and development, and I hope to be able to show that this vitality is a prime characteristic of the group of composers of whom I am to speak.
Some Acoustical Properties of Wind Instruments
Authors: Dunstan Ralph
Published: January 2007

The following remarks are based on a lifelong familiarity with musical instruments of every kind. In my practical and experimental researches I am constantly observing phenomena which do not appear to conform with established acoustical theories, and some of these I will now lay before you. It will be first necessary to state briefly certain theories commonly taught.
Criticism of the Living
Authors: Dyson George
Published: January 2007

(Note.—The line of approach to the appraisement of contemporary music which it is the purpose of this essay to suggest is one which in its argument must necessarily depend on precise musical illustrations. These illustrations cannot be given in terms other than those of the sound-impressions themselves. Extended quotations in music-type might in some measure supply this deficiency, but the analysis which it is possible to demonstrate aurally would further require a very elaborate technical description in words. I hope that my point of view will be clear in its outline, in spite of the fact that most of the detailed examples played and discussed during the delivery of this paper are here omitted.)
The Musical Nature of Speech and Song
Authors: Paget Richard A. S.
Published: January 2007

The human race must have been interested in the subject of Speech and Song from the earliest days. But scientific interest in the nature of human speech may be said to date from the year 1779. In that year the Russian Academy propounded for their annual prize the question “What is the Nature of the Vowel Sounds of the Human Speech?” and “Can these be Imitated by any mechanical device such as the vox humana stop of the organ?” I am quoting from memory. That naturally stimulated scientific interest throughout Europe, and from that year onwards various advances have been made.
Modern Harmony from the Standpoint of the Teacher
Authors: Kitson C. H.
Published: January 2007

It is probably true to say that there has been no more difficult period for the teacher of harmony than that in which we are now living. Not only are problems much more complex and much wider in their sphere than ever before,—problems of resource, medium, technique, form, and aim—but, living as we are in the throes of the second great harmonic upheaval that the evolution of resource has produced, we are confronted with the additional problem of what is practically a new language. The great English school with which we associate the names of Parry and Stanford was not remarkable for anything new in the idiom, but rather for the quality of what was said. But compare any score of these men with any page in Vaughan Williams's “London Symphony,” and you will see that the composer of to-day uses a new language, not because the old one is inherently bad or has necessarily worn itself out, but because the new language is the vogue of the time and the reflex of the progress of thought in other spheres. Greek music reflected the individual nature of Greek religion Greek religion, early Western music reflected the congregational principle of Christianity.
Ear, Eye, and Hand in Music-Study
Authors: Fowles Ernest
Published: January 2007

A general review of modern musical education brings into prominence many interesting facts. It is, for instance, possible to trace five phases in the comparatively recent development of the teacher's craft.
Town Waits and Their Tunes
Authors: Bridge Joseph C.
Published: January 2007

“The music of Waits—rude as may be their minstrelsy—breaks upon the mid-watches of the night with the effect of perfect harmony.” So writes Washington Irving, and though the experiences of those present will perhaps fail to endorse this description, we may, I think, spend an hour profitably in considering the origin, history, decay and disappearance of this old musical combination.
The Harpsichord: Its Present and Its Future
Authors: Pilkington C. Vere
Published: January 2007

Music is nothing if it is not alive. I happen to have chosen the harpsichord as my instrument—or it has chosen me, I am never quite sure which—and in consequence to have made a special study of the fine and extensive range of music written for it, most of which is largely incomprehensible if played on another instrument. But the music written now must have a far more, vital importance for those who are alive to-day than what is after all “museum” music; therefore I have chosen to speak of the Present and Future of the Harpsichord rather than of its past.
The Historical Significance of the Counter-Tenor
Authors: Hough John
Published: January 2007

This is by no means the first occasion of the introduction of the alto voice as a subject for a paper and discussion. In the eighth Session of the Proceedings of the Musical Association there appears an interesting and animated discussion of the use of this voice after a reading by Dr. W. H. Monk on church music. The late Dr. A. H. D. Prendergast wrote on Man's Alto in English Music for the International Musical Society in August, 1900. This paper is an attempt to show the use of the alto and counter-tenor voice from early times up to the present day.
A Neglected Musical Benefactor
Authors: Cummings William H.
Published: January 2007

In studying the story of the progress of music, as narrated by the historians of the art, I have looked in vain for some account of the rise and development of accompaniment music; and yet I can hardly imagine a more interesting subject for investigation than the history of the gradual development of accompaniment music specially written for keyboard instruments, represented in days gone past by the organ, the virginals, the spinet, the harpsichord, and the clavichord. Let us carry our minds back a couple of centuries. What had the performer of that time to guide him in playing accompaniments to vocal music on either of the instruments I have named? If fortunate, the accompanist might possibly have put before him a manuscript score of the music he had to accompany, but generally he would be compelled to content himself with a meagre skeleton in the shape of a treble and bass, and in both these cases he would be without the aid of figures to represent the harmonies which ought to be superposed on the bass; and further, in both cases, supposing the vocal bass-part ceased for a beat, or for any number of bars, an instrumental bass would then not be written at all. A very skilful musician at the organ or clavichord might possibly contrive to produce a decent accompaniment from a score, and might fairly represent the mind of the composer; but in the other case, where there was only a melody and a bass, he would be compelled to invent his own harmony, which might or might not be like that intended by the author.
Modern Research on Schumann
Authors: Abraham Gerald
Published: January 2007

Musicologists are sometimes reproached for being interested only in the music that lies outside the normal répertoire. Against the reproach they have numerous sound lines of defence: that the ‘normal répertoire’ covers a relatively small range, that their work helps materially to widen that range, and so on. All the same, there is (I think) a general and quite natural tendency on the part of scholars to neglect the very familiar composers, to assume that we already know all that is worth knowing about the music of, for instance, Schumann and Mendelssohn and Chopin, Dvorak and Tchaikovsky. There may, they feel, still be some gleaning to do but the main harvest has already been gathered in. It is perhaps a natural assumption but it is a quite false assumption.
Carols and Court Songs of the Early Tudor Period
Authors: Stevens John
Published: January 2007

Most of you will already be familiar with the mediaeval idea of the carol as a strict, metrical form. To others it may come as a surprise to discover that the bravely all-embracing definitions of modern editors are, for the late Middle Ages, superflous. To poets and musicians of the fifteenth and early sixteenth centuries a carol was not ‘a song with a religious impulse, simple, hilarious, popular and modern,’ but simply ‘a song on any subject, composed of uniform stanzas and provided with a burden’; this burden, a distinct formal unit, starts the piece and is repeated after each verse.
English Tunes Common to Playford's “dancing Master,” the Keyboard Books and Traditional Songs and Dances
Authors: Dean-Smith Margaret
Published: January 2007

John Playford, one of whose minor works, albeit that now best-known, is the subject of this paper, stands in the midst of a landscape that is musically almost barren, and one that is, by chance circumstance, almost a terra incognita. By comparison with the ‘golden’ Elizabethan age a great part of the 17th century, lustrous in literature, science and architecture, has almost nothing to offer to the musicologist; the great body of work on English printing and publishing accomplished by the Bibliographical Society still awaits continuation after 1640; an intimate knowledge of music does not necessarily invest bibliography, nor can the musicologist necessarily identify at sight the press at which a page of music was printed, nor the provenance of its type or ornaments; lastly, the material with which John Playford sought to revive the English appetite for music, the contents of the lesson-books, by which he hoped to re-instil musical knowledge, is so slight, so small in compass, or possessed of so little except melody, that to the musician of to-day it is scarcely ‘music’ at all.
Sir William Sterndale Bennett: A Brief Review of his Life and Works
Authors: O'leary Arthur
Published: January 2007

With no startling incidents or striking events to mark its course, the life of Sterndale Bennett will yet be always interesting to every one who likes to trace the progress and development of a truly artistic genius. It will be my endeavour to put before you plainly and simply the salient features of a career highly important in the history of musical art in England. The Bennett family were of Derbyshire orgin. Sterndale Bennett's grandfather, John Bennett, was born in the picturesque village of Ashford-in-the-Peak in 1750. Whilst still a youth he left for Cambridge, where he was appointed lay clerk at King's. He married, and had a numerous family. Robert, one of the elder sons, father of Sterndale Bennett, studied the organ and composition with Dr. Clarke. He became a musician of ability, and settled in Sheffield, where he took an excellent position and held the office of organist at the parish church. Amongst his many friends were Mr. William Howard and Mr William Sterndale, the latter a man of literary tastes, some of whose verses were set to music by Robert Bennett and published by subscription. In 1812 he married Elizabeth, daughter of James Donn, curator of the Botanical Gardens, Cambridge, and author of a classified catalogue of plants. He had two daughters and a son— William Sterndale Bennett—who was born on April 13, 1816, in Norfolk Row, Sheffield. Little Sterndale was not fated to know for long a father's care or a mother's love. He lost his mother when two years old, and his father died a year afterwards. Thus he was doubly orphaned in tender age. Happily his grandfather adopted him, and Mr. Howard took charge of the child until he could be sent to Cambridge. Here he was placed, when eight years old, as chorister at King's College, and had the educational advantages afforded to the boys of the various choirs.
Jacobean Consort Music
Authors: Dart Thurston
Published: January 2007

The history of English music composed for the viols in consort begins in about 1530 and ends in about 1680—one hundred and fifty years of chamber music, comprising a repertory that is as rich as it is varied, and one that is almost overwhelming in its sheer bulk. Above all it is players' music, music to be heard from the inside; yet even Roger North, a judicious and public-spirited antiquary, writes in 1728 of consort music in terms of its effect on the audience or of its appearance in score. He complains that:

‘in In nomines I never could see a cadence compleat but proffers & Baulks Innumerable. That wch is properly termed Ayre was an Intire stranger to this sort of harmony, and ye Audience might sitt with all ye tranquillity in ye world, & hear continuall shiftings of tones, with numberless sincopes & varietys, such as they were, and not be in ye least moved, if pleased it was enough.’
Music in Mediaeval Drama
Authors: Stevens John
Published: January 2007

Music in mediaeval drama is, to some extent, a ghost subject. I hope in the course of this paper to enable you to hear nearly all the surviving music from the vernacular drama of late mediaeval England—from the cycles of religious plays known variously as the Miracle Plays, the Mystery Cycles, the Corpus Christi plays. My chief endeavour will be to build up a picture of a lost musical world. But—and this is why it must be described as a ‘ghost subject’—the actual musical remains are tantalizingly small: two English songs in the ‘true-Coventry’ plays; some Latin polyphony in the York cycle; a snatch of plainsong in the Chester cycle. The paucity also of stage-directions about music in some plays (especially of the Towneley cycle) is much to be regretted. But as there are over thirty clear directions in the Chester cycle and the same number in the Hegge plays, we do not work entirely in the dark.