bluuebunny/crossref_metadata_2025 huggingface dataset:
Die‐swell behavior during the short‐tube flow of rubber compounds
Authors: Liang Ji‐Zhao
Published: January 2007

In this study, the flow properties and die‐swell ratios (B's) of two kinds of rubber compounds (SI was a calcium carbonate filled natural rubber compound, and SII was a carbon‐black‐filled natural rubber/butadiene–styrene rubber/cis‐1,4‐butadiene rubber compound) in a short‐tube extrusion flow were measured by means of a capillary rheometer under test conditions with a temperature of 90°C and an apparent shear rate varying from 10 to 4000 s−1 to identify the effects of extrusion conditions on the rheological behavior of the materials and to estimate B. The shear flow roughly obeyed the power law, whereas B increased nonlinearly with increasing extrusion rate. Under the same shear rates, the viscosity of SII was higher than that of SI, whereas the values of B of SI were higher than those of SII. Furthermore, B of the rubber compounds was estimated by means of an extrudate swell equation published in a previous work. The results show that the predictions of B were close to the measured data from the experiments. © 2007 Wiley Periodicals, Inc. J Appl Polym Sci 2007
Phase II trial of dose‐dense doxorubicin plus gemcitabine followed by paclitaxel plus carboplatin in patients with advanced urothelial carcinoma and impaired renal function
Authors: Galsky Matthew D. , Iasonos Alexia , Mironov Svetlana , Scattergood Joseph , Boyle Mary G. , Bajorin Dean F.
Published: January 2007

BACKGROUND.

Cisplatin‐based therapy is standard in patients with advanced urothelial carcinoma but a large proportion are ineligible due to renal impairment. The safety and activity of a dose‐dense carboplatin‐based regimen in this patient population were explored.

METHODS.

Patients with advanced urothelial carcinoma who were ineligible for cisplatin were eligible based on at least 1 of the following: 1) serum creatinine >1.5 mg/dL; 2) creatinine clearance of >30 mL/min/1.73 m2 and <60 mL/min/1.73 m2; and/or 3) prior nephrectomy. Patients received treatment with doxorubicin plus gemcitabine every other week × 5 cycles followed by paclitaxel plus carboplatin weekly × 12 cycles.

RESULTS.

Twenty‐five patients were treated. Myelosuppression was the major toxicity, with 28% of patients experiencing grade 3–4 neutropenia; there were only 2 (8%) episodes of febrile neutropenia. Grade ≥3 nonhematologic toxicities were infrequent with the exception of grade ≥3 thrombotic episodes in 4 (16%) patients. There were 5 complete responses and 9 partial responses for an overall response rate of 56% (95% confidence interval [CI]: 35%–76%). The median survival was 15 months (95% CI: 11–30). At a median follow‐up for survivors of 45 months, 7 (28%) patients are disease‐free.

CONCLUSIONS.

Dose‐dense sequential chemotherapy is tolerable and active in patients with urothelial carcinoma and renal impairment. Prolonged disease‐free survival is achievable in a subset of patients with primary unresectable disease or lymph‐node only metastases treated with carboplatin‐based therapy ± surgical consolidation. Randomized trials are needed to define the optimal regimen in patients with advanced urothelial carcinoma and renal impairment. Cancer 2007 © 2007 American Cancer Society.
The use of flow cytometry to study the germination of Bacillus cereus endospores
Authors: Cronin Ultan P. , Wilkinson Martin G.
Published: January 2007

Background:

At present the study of endospore germination is conducted using microbiological methods which are slow and yield data based on the means of large heterogeneous populations. Flow cytometry (FCM) offers the potential to rapidly quantify and identify germination and outgrowth events for large numbers of individual endospores.

Methods:

Standard methods were employed to arrest the germination of Bacillus cereus endospores at defined stages. Endospores were then stained with SYTO 9 alone or carboxyfluorescein diacetate (CFDA) together with Hoechst 33342 and analysed using FCM. Comparisons were made between FCM as a method to measure germination rate and standard microbiological techniques.

Results:

Germinating endospores displayed increases in permeability to SYTO 9 and hydrolysis of CFDA compared with controls. Statistically significant correlations were found between the standard plate count method and both FCM methods for measuring the percentage of germinating and outgrowing endospores up to 75 min after addition of germinant.

Conclusions:

Using FCM, the percentage of germinating or outgrowing endospores at various time points during germination and/or outgrowth can be quantified. FCM with CFDA/Hoechst 33342 staining may be used to estimate overall germination rate, whereas FCM with SYTO 9 staining may be used to quantify ungerminated, germinating and outgrowing endospores. © 2007 International Society for Analytical Cytology.
Magnetic field effects on the polymerization of 6‐N,N‐dioctylamino‐1,3,5‐triazine‐2,4‐dithiol
Authors: Wang Fang , Mori Kunio , Kang Zhixin , Oishi Yoshiyuki
Published: January 2007

Electrochemical polymerization of monosodium salt (1b) of 6‐N,N‐dioctylamino‐1,3,5‐triazine‐2,4‐dithiol on stainless steels was investigated in zero (0T), perpendicular (5T⊥), and parallel (5T//) magnetic fields which are arranged perpendicular and parallel to the direction of electrolytic current. 5T⊥ magnetic field enhances the formation rate of poly(6‐N,N‐dioctylamino‐1,3,5‐triazine‐2,4‐disulfide) 2 films but suppresses the crystallinity of 2. However, 5T// magnetic field enhances the formation rate and the crystallinity. © 2007 Wiley Periodicals, Inc. Heteroatom Chem 18:60–64, 2007; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/hc.20257
Robust feedforward design in the presence of LTI/LTV uncertainties
Authors: Ferreres Gilles , Roos Clément
Published: January 2007

A practical method is proposed for the convex design of robust feedforward controllers which ensuresH∞/L2performance in the face of LTI and arbitrarily time‐varying model uncertainties. A technique that computes the global minimum of this difficult infinite dimensional optimization problem is proposed, as well as a suboptimal but computationally less involved algorithm. Convergence is proved. An efficient way to analyse the robustness properties of a closed loop with or without feedforward controller is obtained as a subproblem. A missile example illustrates the efficiency of the scheme: a robust feedforward controller is designed either on the continuum of linearized time‐invariant models (corresponding to trim points) or on a quasi‐LPV model representing the non‐linear one. Copyright © 2007 John Wiley & Sons, Ltd.
Scaling of space–time modes with Reynolds number in two-dimensional turbulence
Authors: KEVLAHAN N. K.-R. , ALAM J. , VASILYEV O. V.
Published: January 2007

It has been estimated that the number of spatial modes (or nodal values) required to uniquely determine a two-dimensional turbulent flow at a specific time is finite, and is bounded by Re4/3 for forced turbulence and Re for decaying turbulence. The usual computational estimate of the number of space–time modes required to calculated decaying two-dimensional turbulence is ${\cal N}\sim{Re}^{3/2}$. These bounds neglect intermittency, and it is not known how sharp they are. In this paper we use an adaptive multi-scale wavelet collocation method to estimate for the first time the number of space–time computational modes ${\cal N}$ necessary to represent two-dimensional decaying turbulence as a function of Reynolds number. We find that ${\cal N}\sim{Re}^{0.9}$ for 1260 ≤ Re ≤ 40400 over many eddy turn-over times, and that temporal intermittency is stronger than spatial intermittency. The spatial modes alone scale like Re0.7. The β-model then implies that the spatial fractal dimension of the active regions is 1.2, and the temporal fractal dimension is 0.3. These results suggest that the usual estimates are not sharp for adaptive numerical simulations. The relatively high compression confirms the importance of intermittency and encourages the search for reduced mathematical models of two-dimensional turbulence (e.g. in terms of coherent vortices).
Engineering of PHB Synthesis Causes Improved Elastic Properties of Flax Fibers
Authors: Wróbel‐Kwiatkowska Magdalena , Zebrowski Jacek , Starzycki Michał , Oszmiański Jan , Szopa Jan
Published: January 2007

Flax stem is a source of fiber used by the textile industry. Flax fibers are separated from other parts of stems in the process called retting and are probably the first plant fibers used by man for textile purposes ( 1). Nowadays flax cultivation is often limited because of its lower elastic property compared to cotton fibers. Thus the goal of this study was to increase the flax fiber quality using a transgenic approach. Expression of three bacterial genes coding for β‐ketothiolase ( phb A), acetoacetyl‐CoA reductase ( phb B), and PHB synthase ( phb C) resulted in poly‐β‐hydroxybutyrate (PHB) accumulation in the plant stem. PHB is known as a biodegradable thermoplastic displaying chemical and physical properties similar to those of conventional plastics (i.e., polypropylene). The fibers isolated from transgenic flax plants cultivated in the field and synthesizing PHB were then studied for biomechanical properties. All measured parameters, strength, Youngapos;s modulus, and energy for failure of flax fibers, were significantly increased. Thus the substantial improvement in elastic properties of fibers from the transgenic line has been achieved. Since the acetyl CoA, substrate for PHB synthesis, is involved not only for energy production but also for synthesis of many cellular constituents, the goal of this study was also the analysis of those metabolites, which interfere with plant physiology and thus fiber quality. The analyzed plants showed that reduction in lignin, pectin, and hemicellulose levels resulted in increased retting efficiency. A significant increase in phenolic acids was also detected, and this was the reason for improved plant resistance to pathogen infection. However, a slight decrease in crop production was detected.
Introduction of a Nuclear Marker for Phylogenetic Analysis of Nepenthaceae
Authors: Meimberg H. , Heubl G.
Published: January 2007

Abstract:Nepenthaceae, the pitcher plants of the Old World tropics show a remarkable diversity in SE Asia, especially on the islands of Borneo and Sumatra. This region is considered as a secondary center of diversity. Sequence analysis of the cpDNAtrnK intron supports this hypothesis showing the species of the Malay Archipelago as neighbour group to the isolated species from Sri Lanka, the Seychelles, and Madagascar. Based on phylogenetic reconstructions an origin of recent Nepenthaceae in the Indian subcontinent is assumed. A recent investigation focused on a non‐plastid, translocated copy of thetrnK intron has revealed an incongruence to tree topology based on the cpDNAtrnK intron. Although the translocated copy emerged as insufficient for phylogenetic reconstruction of Nepenthaceae some taxa showed, contrary to the cpDNA dataset, relatively high distances to the rest of the taxa. These results indicated that the phylogeny of thetrnK intron could not reflect true phylogenetic relationships. We investigated the peptide transferase 1 (PTR1), to develop a phylogenetic marker that is based on a nuclear low copy gene in Nepenthes. All sequences obtained were probably functional, indicated by the ratio of point mutations of the single codon positions in exon and intron regions. Comparative analysis showed that this locus is of similar variability as the cpDNAtrnK intron and, contrary to the translocated copy oftrnK, potential useful for phylogenetic reconstruction. While in parts congruent to the plastidtrnK intron phylogeny, a higher divergence of some sequences in PRT1 and in the previously reported, non cpDNA dataset indicates that remnants of an older species stock persisted east of Wallace's line and on the Sunda Shelf. This suggests that plastid haplotypes existing today in the main distribution center of the Nepenthaceae could be descendants of more recently dispersed lineages that had been transmitted to an old species stock.
Contractions of low-dimensional Lie algebras
Authors: Nesterenko Maryna , Popovych Roman
Published: January 2007

Theoretical background of continuous contractions of finite-dimensional Lie algebras is rigorously formulated and developed. In particular, known necessary criteria of contractions are collected and new criteria are proposed. A number of requisite invariant and semi-invariant quantities are calculated for wide classes of Lie algebras including all low-dimensional Lie algebras. An algorithm that allows one to handle one-parametric contractions is presented and applied to low-dimensional Lie algebras. As a result, all one-parametric continuous contractions for both the complex and real Lie algebras of dimensions not greater than 4 are constructed with intensive usage of necessary criteria of contractions and with studying correspondence between real and complex cases. Levels and colevels of low-dimensional Lie algebras are discussed in detail. Properties of multiparametric and repeated contractions are also investigated.
Observation of high energy ion tail in the SINP tokamak plasma
Authors: Raychaudhuri S. , Saha S. K. , Chowdhury S. , Banik D. , Hui A. K.
Published: January 2007

The present study examines the possibility of acceleration of ions by large scale magnetohydrodynamic activities in the SINP tokamak. The analysis is done with a retarding field ion energy analyzer looking into the plasma in the tangential direction. The experiment shows the presence of high energy ions escaping the confinement zone along with the bulk low energy ions. This process seems to have a close connection with electron acceleration due to the electric field of the m∕n=2∕1 tearing modes.
Novel probe for the in situ measurement of particle size distributions
Authors: Francis Michael K. , Calabrese Richard V. , Phongikaroon Supathorn
Published: January 2007

The development of a novel instrument for the in situ measurement of particle size distributions in the size range of 3–200μm is presented. The system uses high magnification optics, housed in a stainless steel probe, which can be inserted into a process stream or vessel, where images of the dispersed phase particles are recorded. A pulsed light source is used to freeze the motion of the particles in the field of view and present an image of the dispersion onto a charge-coupled device camera chip. The images are digitized and stored for later processing. Automated image analysis routines have been developed for extracting particle size information from the acquired images. An extensive validation of the instrument has been performed for spherical particles, which has produced several important findings. First, a size bias in the depth of field (DOF) exists which favors larger particles. An experiment procedure was developed for the direct measurement of DOF size biases. Additionally, the behavior of the instrument is dependent on the environmental conditions, such as dispersed phase concentration and the difference in index of refraction between continuous phase and dispersed phase.
Enhanced mast cell activation in mice deficient in the A2b adenosine receptor
Authors: Hua Xiaoyang , Kovarova Martina , Chason Kelly D. , Nguyen MyTrang , Koller Beverly H. , Tilley Stephen L.
Published: January 2007

Antigen-mediated cross-linking of IgE bound to mast cells via the high affinity receptor for IgE triggers a signaling cascade that results in the release of intracellular calcium stores, followed by an influx of extracellular calcium. The collective increase in intracellular calcium is critical to the release of the granular contents of the mast cell, which include the mediators of acute anaphylaxis. We show that the sensitivity of the mast cell to antigen-mediated degranulation through this pathway can be dramatically influenced by the A2b adenosine receptor. Loss of this Gs-coupled receptor on mouse bone marrow–derived mast cells results in decreased basal levels of cyclic AMP and an excessive influx of extracellular calcium through store-operated calcium channels following antigen activation. Mice lacking the A2b receptor display increased sensitivity to IgE-mediated anaphylaxis. Collectively, these findings show that the A2b adenosine receptor functions as a critical regulator of signaling pathways within the mast cell, which act in concert to limit the magnitude of mast cell responsiveness when antigen is encountered.
The London Revision of Haydn's Instrumental Style
Authors: Somfai László
Published: January 2007

The most trustworthy contemporary biographer of Joseph Haydn, Georg August Griesinger, interviewing the aged composer, asked him whether it was true that he had composed the Andante of the ‘Surprise’ Symphony in order to waken the English who fell asleep at his concert. Haydn replied:

No, but I was interested in surprising the public with something new, and in making a brilliant debut, so that my student Pleyel, who was at that time engaged by an orchestra in London (in 1792) and whose concerts had opened a week before mine, should not outdo me. The first Allegro of my symphony had already met with countless Bravos, but the enthusiasm reached its highest peak at the Andante with the Drum Stroke. Encore! Encore! sounded in every throat, and Pleyel himself complimented me on my idea.
Aspects of the ‘L'Homme armé’ Tradition
Authors: Lockwood Lewis
Published: January 2007

The tune called ‘L'Homme armé’ has long been famous as the structural basis for more than 30 Mass settings ranging from Dufay to Palestrina and even beyond, ending anachronistically with Carissimi. Yet many questions that were raised by pioneering scholars 40 and 50 years ago about the melody and its elaborations are as open now as when they were first proposed, and it seems likely that a review of several major problems—in so far as this is possible within a single paper—may serve to redefine the boundaries of the present state of knowledge and perhaps to stimulate new initiatives.
The Keyboard Suites of Gottlieb Muffat (1690–1770)
Authors: Wollenberg Susan
Published: January 2007

Among the main reasons for drawing attention to the work of a relatively obscure and neglected composer must be that his music is sufficiently attractive in style and skilful in construction to merit recognition, and that a study of it will add to our understanding of that particular period or form of music. Viennese music from approximately 1660 to 1740 has been relatively neglected outside German-speaking countries, especially when compared with the vast amount of scholarly interest and effort lavished on the adjoining period, 1740 to 1790. Historians of the music of the early 18th century have naturally tended to concentrate on the larger works—oratorios, operas and masses—and on the most impressive figures in the Viennese court establishment, such as Fux and Caldara.
Rhythm in Tippett's Early Music
Authors: Kemp Ian
Published: January 2007

Rhythmic energy is the most striking single feature of Tippett's music – and especially of that written during the first ten years or so of his creative maturity, the period with which this paper is concerned. Tippett's significance lies less, however, in the fact that he has made a major contribution to a vital trend in twentieth-century music than in the particular complexion of his contribution. By associating rhythmic energy so closely with the idea of regeneration, he has given rhythm the decisive role in the formulation of a philosophy; and by articulating this philosophy broadly in terms of a received musical language he has shown that regeneration can grow from within and need not be imposed from without. With one exception, the components of his rhythmic language are drawn from the common currency of the present and previous centuries. The disposition of these components may be unexpected, but their identity remains familiar and is rarely distorted – by melodic angularity or rhythmic displacement, for example. When Tippett uses syncopation it is readily heard as such (as in bar 2 of ex. 2 below or the second half of bar 6 of ex. 3) and thus can easily be distinguished from the exception, anticipatory rhythm, with which it bears a superficial resemblance.
Szymanowski–An Interior Landscape
Authors: Samson Jim
Published: January 2007

In 1920, after the first concert of his music in a newly independent Poland, Szymanowski wrote the following: ‘I do feel, where Polish culture is concerned, that I am in a vacuum. But I cannot afford a complete abnegation, for my inner life is developed too strongly’. The concert took place at an important turning-point in his development, and the adverse critical reception which greeted it brought into sharp focus a creative crisis which had been with the composer since 1918. It is an interpretation of that crisis which I intend to offer in this paper.
Musical Psychics
Authors: Cobb Gerard F.
Published: January 2007

The papers which you kindly allowed me to read before you last year consisted solely of an examination of the question whether music had a physical basis. In the course of them it was pointed out that many of the more important English text-books on harmony were more or less drafted on the lines of an affirmative answer to this question. A reference to the natural phenomena of sound, and appeals to the laws which govern the physical universe are (as was shown) the keystone of their system, and if not always obvious in the body of those works, at least form the leading idea in preface and appendix, or, if we may venture on a musical metaphor, furnish the dominant theme of both prelude and coda.
Constructing Le nozze di Figaro
Authors: Heartz Daniel
Published: January 2007

Lorenzo Da Ponte is our main witness as to how he and Mozart put together their three operas. His memoirs, first published in 1823, mystify the topic more than they illuminate it. Some additional light is shed by an earlier publication entitled An Extract from the Life of Lorenzo Da Ponte, with the history of several dramas written by him, and among others, II Figaro, II Don Giovanni e La Scuola degh Amanti set to music by Mozart. Whoever translated this from Da Ponte's original Italian worked from a text different in many details from what was published four years later as the Memorie. The well-known passage about how the poet must rack his brains in order to invent situations for the buffo finales will be familiar to most readers from its version in the memoirs.
The Musical Patronage of Robert Cecil, First Earl of Salisbury (1563–1612)
Authors: Hulse Lynn
Published: January 2007

‘Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.‘ So wrote John Dowland of Robert Cecil, first earl of Salisbury, in the dedicatory epistle ofAndreas Ornithoparcus his Micrologus, published in 1609. Beneath the hyperbole natural to a dedication lie the essential characteristics of Cecil's musical patronage. The first part of this paper examines his royal entertainment of music in terms of the form and scale of his patronage and the ways in which music could be used within the patron-client relationship. The second part explores Cecil's excellent understanding of music and comments on his personal taste.
Pastourelle jolie: The Chanson at the Court of Lorraine, c. 1500
Authors: Freedman Richard
Published: January 2007

The focus of this study is an anonymous four-voice chanson of the early sixteenth century. On its own the piece is enigmatic at best, a densely contrapuntal arrangement of a simple monophonic song. The importance of Pastourelle jolie, however, transcends the apparent simplicity of these musical materials. Its ‘meanings’, according to this argument, are multiple, dwelling at once in the lyric traditions on which it draws, in its place in the history of French secular music around the year 1500, and in its important links with popular and aristocratic cultures of the day. This essay, therefore, reads and rereads this song in a series of related contexts. It dwells, for instance, upon the conventions of French pastoral poetry and the habits of composers who reworked the popular tunes with which songs like Pastourelle jolie are associated. But the piece has a highly specific meaning, too, one suggested by the only source to preserve this particular chanson and by the literary tastes of the ducal household that was its special audience.
New Light on Secular Polyphony at the Court of Holland in the Early Fifteenth Century: The Amsterdam Fragments
Authors: Wegman Rob C.
Published: January 2007

Around 1400, the northern Netherlands were little more than a loose collection of quarrelling principalities, unified to some degree by their common language, Middle Dutch. Formally this unruly area was part of the Holy Roman Empire, but the German emperor's political weakness laid it wide open to the territorial ambitions of the Burgundian dukes. Under their rule, the Netherlands saw centralized regional government for the first time in their history. But it was not until the sixteenth century, when their Spanish Habsburg successors were increasingly regarded as foreign oppressors, that anything like a unified sovereign Dutch state came within sight.
Music at the Church of the SS Innocents, Paris, in the Late Eighteenth Century
Authors: Eby Jack
Published: January 2007

That there was a lively tradition of French sacred choral music in the second half of the eighteenth century is a fact that has to some extent been obscured by the vivid personalities, the querelles, the wide public appeal and the overall vitality of the contemporary opera world. The French church, however, did support a nationwide system of choir schools (or maîtrises), and many establishments maintained music programmes of a size and excellence that reflected the church's wealth and taste.
John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’
Authors: Swack Jeanne
Published: January 2007

In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided with a title-page designed to simulate that of Jeanne Roger, bears the manuscript inscription ‘NB This is not Mr. Handel's’ in an eighteenth-century hand at the beginning of the tenth and twelfth sonatas, precisely those that Walsh removed in his second edition of this collection (c. 1731–2), advertised on the title-page as being ‘more Corect [sic] than the former Edition’. In the second edition Walsh substituted two equally questionable works in their place, each of which bears the handwritten inscription ‘Not Mr. Handel's Solo’ in a copy in the British Library (BM g.74.h). Two of the sonatas attributed to Handel in Walsh's Six Solos, Four for a German Flute and a Bass and Two for a Violin with a Thorough Bass … Composed by Mr Handel, Sigr Geminiani, Sigr Somis, Sigr Brivio (1730; in A minor and B minor) are also possibly spurious, while three of the four movements of the remaining sonata attributed to Handel in this collection (in E minor) are movements arranged from his other instrumental works. And in 1734 Johann Joachim Quantz, to whom Walsh devoted four volumes of solo sonatas (1730–44), complained of the publication of spurious and corrupted works:

There has been printed in London and in Amsterdam under the name of the [present] author, but without his knowledge, 12 sonatas for the transverse flute and bass divided into two books. I am obliged to advertise to the public that only the first, second, fourth, fifth and sixth [sonatas] from the first book, and the first three from the second book, are his [Quantz's] compositions; and that he furthermore wrote them years ago, and besides they have, due to the negligence of the copyist or the printer, gross errors including the omission of entire bars, and that he does not sanction the printing of a collection that has no relationship with the present publication that he sets before the public.
Voice Figures, with Illustrations
Authors: Hughes Watts
Published: January 2007

It is now about a century since acoustical figures were first brought to notice by Chladni, and they have been since then the subject of many interesting experiments by Savart, Faraday, and others.
The Higher Training of Church Musicians and Choirs
Authors: de M. Sergison W.
Published: January 2007

I take it for granted that I am in sympathy with the object of this Association in bringing before you one phase of musical work, which is of national interest, for discussion—viz., “The higher training of church organists, choirmasters, and choirs.” So large a proportion of our musical youth aspire to enrol themselves in the service of the Church, that the training they receive becomes a momentous question for our future as a musical nation.
Key Colour
Authors: Whomes Edmund
Published: January 2007

Before commencing my paper on key colour, I would ask you to bear in mind that the instruments I refer to are those with keys—i.e., pianofortes and organs, either pipe or reed. In saying this, I am not allowing that “colour” will enable anyone to name the key played in by an orchestra, because, without perception of pitch this cannot be done; but the fact is, I know very little, and with regard to a very large majority, absolutely nothing of any instrument except keyed instruments. I feel I am quite safe in arguing from this standpoint, because there must be at least fifty pianos to any one instrument of any other kind that can be mentioned.
Points of Interest Connected with the English School of the Sixteenth Century
Authors: Mee J. H.
Published: January 2007

It is hardly too much to say that the English School of Music has never yet received the attention to which its merits entitle it. That this should have been the case on the Continent cannot be thought strange, when we remember what obstacles the English Channel placed in the way of free intercourse and communication; but it does seem curious that the English themselves should have taken so little heed and paid so little attention to the past music of their own country. To some extent, no doubt, this phenomenon may be explained by the fact that the natural development of the art has been more than once rudely and forcibly interrupted in this country. We are told by the great antiquarian, Anthony à Wood (“Wood,” D. 19, 12, 9, Bodleian), that the dissolution of the monasteries by Henry VIII. inflicted the greatest injury on music, and the proscription of the art by the Puritans of the Commonwealth was probably even more mischievous. Not only were great quantities of musical compositions and books destroyed at these epochs, but, when the practice of the art was revived, it began on new lines, and few cared to look back on the works of a school with whose style and principles they were unfamiliar, whose ideas were expressed in notations that had become antiquated, and whose compositions were in most cases only to be found in the libraries of collectors. Still, even allowing for these unfavourable circumstances, it does seem strange that English musicians have, as a rule, taken so little heed of their forerunners, especially when it does not require much investigation to see that many of these forerunners were composers of the greatest talent and, in many cases, men of actual genius.
Some Further Modifications of Day's System of Harmony, Suggested from an Educational Point of View
Authors: Pearce Charles William
Published: January 2007

The well-known Treatise on Harmony, by Alfred Day, M.D., has already been prominently brought under the notice of this Association at least three times :—first, by Mr. Charles E. Stephens, in his paper entitled, “The Fallacies of Dr. Day's Theory of Harmony, with a brief outline of the Elements of a New System,” read during our First Session, 1875; secondly, by Mr. Gerard F. Cobb, M.A., whose paper on “Certain Principles of Musical Exposition, considered educationally, and with special reference to current systems of Musical Theory,” occupied our attention for two consecutive meetings of the Tenth Session, 1883–4; and lastly by Mr. Ebenezer Prout, B.A., whose paper on “Some suggested Modifications of Day's Theory of Harmony,” read as recently as the fifth meeting of the present (Fourteenth) Session, must be still fresh in our minds.
Rate-Aided Schools of Music
Authors: Hill Arthur
Published: January 2007

As an introduction to the immediate subject of this paper—namely, “Rate-Aided Schools of Music,” it is necessary briefly to allude to the present condition of musical education in the kingdom. But as I propose dealing altogether with the relationship of the State to music, no reference need be made to the characteristics of the music teaching obtainable by the classes who can afford to pay for special instruction either at private schools or at home.
Matters, Chiefly Architectural, Relating to the Accommodation of the Organ in Churches and Other Buildings
Authors: Audsley George Ashdown
Published: January 2007

A few months ago I had the pleasure of meeting your distinguished member, Sir John Stainer, at the breakfast table in the principal hotel in Cambridge; and in the most natural manner possible our conversation drifted into the subject of Organs. As a matter of consequence, seeing that I am a member of the architectural profession. Sir John Stainer feelingly enlarged on the only too obvious snort-comings of modern architects in all matters relating to the accommodation of organs in churches. Perhaps to his surprise he found in his listener a warm supporter in every word of condemnation he uttered, and, indeed, if I remember rightly, I used even stronger language than he, doubtless through kindliness of feeling if not through a certain respect for my calling, ventured to give expression to. Well, it is to this little incident that I have to attribute the kind invitation to occupy my present position to-day, and the honour and privilege of addressing you on a subject of no little interest to all lovers of church music.
The Flat, Sharp, and Natural: A Historical Sketch
Authors: Niecks Frederick
Published: January 2007

The history of the flat, sharp, and natural is not a dull record, but a tale full of stirring incidents. If my narrative does not succeed in engaging your interest, in stimulating your curiosity, and in now and then sending a thrill of excitement through you, I have failed to do justice to the noble subject of my choice. These remarks may lead you to suppose that I am going to speak of the human flats, sharps, and naturals of our profession. This, too, is, if not a noble, certainly an interesting subject; but it is not the one of which I intend to treat on this occasion. My subject is the origin, rise, and vicissitudes of the musical signs that raise and lower natural notes and restore raised and lowered notes to their natural state. No doubt most people would suspect such a history to be dull; but nothing is dull if only we go deep enough into it. The subject in question is certainly not an exception to this rule, which could be confirmed by the study of hundreds of the apparently dry details of our notation. It is with these details as with the humble constituents of society; with the flat, sharp, and natural as with those lowly neighbours of ours whose lives seem to us an unbroken level desert. How great is always our astonishment when chance allows us to get a glimpse of what is hidden behind the plain, prosaic exteriors, and we discover loves and hates, hopes and disappointments, joys and sorrows, aspirations, successes, and failures—in short, at least as much romance as in the lives of the great and mighty. Well, let us try to get a glimpse of what is hidden behind the plain exteriors of the humble friends now under consideration.
Again, What is Sound? The Substantial Theory Versus the Wave Theory of Acoustics.—ii
Authors: Audsley George Ashdown
Published: January 2007

I come before you once more as the advocate of the Substantial Theory of Sound, and as a letter-in of light upon some of the fallacies and impossibilities of the time-honored mechanical theory, commonly called the Wave Theory of Sound. I come before you with most pleasant recollections of your courteous and patient hearing on the previous occasion, when I introduced the Substantial Theory to your notice for the first time. I took you somewhat by surprise on that occasion, for the subject was new to you; and few were prepared to question, at the moment, the bold statements I then made, to discuss the arguments I advanced, or to see the full force and teaching of the experiments I performed. Now, however, matters are different, for you have had full opportunity of reading and considering my first paper; and many of you have either heard or read my good friend Dr. Pearce's admirable lecture. Some present may have listened to my second lecture, delivered on November 8th, before the National Society of Professional Musicians; and now, with so much additional information and thought, it is probable you have come to some conclusion in your own minds. If, as musicians, you have been content to reflect on your daily experience in matters of sound, and have elected to use the reasoning powers and to exercise the common sense God has given you with an open and unprejudiced mind, I know very well, from my own experience, towards which theory you incline; but if, on the other hand, you have shut your ears to your daily experience, and have blindly pinned your faith to great names with their array of mathematical formulae, then I know how unsubstantial your theory is.
A Suggested Method for Teaching Elementary Harmony
Authors: Vincent Charles
Published: January 2007

Before proceeding to the suggested method which it will be my privilege to place before you, I must ask your kind indulgence should the matter prove of too elementary a character, or be too superficial for the consideration of such a distinguished body as the Musical Association.
Curiosities of the Keyboard and the Staff
Authors: Rhodes Alfred
Published: January 2007

Mr. Chairman, Ladies, and Gentlemen,—For some years I have been endeavouring to apply to the keyboard and the staff the principle which guided Sir Isaac Newton in his astronomical discoveries—viz., “thoughtful attention to little things.” To this principle it is said Sir Isaac attributed all his success.
The Masque of the Seventeenth Century, Its Origin and Development
Authors: Prendergast Arthur H. D.
Published: January 2007

The Masque of the English Court in the seventeenth century was the vigorous and richly endowed descendant of a long line of gradually developing progenitors.

Both Italy and England had their share in the nurture and improvement of this species of entertainment; its origin and earlier cultivation belonging to Italy, and its final and most successful elaboration to our own country.
On Modern Sensationalism
Authors: Maclean Charles
Published: January 2007

Mr. Southgate at the commencement said: Ladies and gentlemen, I am simply the mouthpiece of Dr. Maclean and I do not identify myself with all the statements in this paper—indeed, I dissent very much from some of them—but still I am very pleased to read the paper for him.
Music in Relation to Man and Animals
Authors: Treutler W. J.
Published: January 2007

Ladies and Gentlemen,—The study of the phenomena of nature in all her multitudinous aspects is and has ever been a source of delight and lasting interest to the human mind; and the pleasure derived from this study is one which is not restricted to the professional and trained naturalist, but is one in which all can share. Instances are numerous of men of humble origin and but limited education who, possessing an innate love of nature and keen powers of observation, paid attention to what they saw around them, and so developed into students of nature, and did good and original work in the field of natural science; and one of the charms of this study is, that as soon as we look beneath the surface of things, that which at first and to a superficial observer seems commonplace, becomes at once an object and source of fascinating interest and admiring wonder.
The Philosophy of the Higher Beauty of Music
Authors: Goddard Joseph
Published: January 2007

In endeavouring to discover the larger foundations of the influence of music we have had to travel somewhat far into the region of hypothesis; but there are several striking features of its influence which rest on causes closer at hand: in attempting to explain these we stand on firmer ground. One of these features has been already touched upon—namely, the influence of those effects which arise out of the fact that the musical faculties and sensibilities are, so to speak, grafted on those involved in utterance and hearing; the others may, I believe, be explained from a point of view which, whether it be original or not, I have, I believe, taken up independently—namely, the position of hearing among the senses.
The Teaching of Musical History
Authors: Niecks Fr.
Published: January 2007

The ambiguity of the title of my paper is intentional—I wish to speak on “The Teaching of Musical History” in more than one sense. A further preliminary explanation I have to make is this. If I present to this Society a plea for a proper and more general study of musical history, it is not because I think the members to be in need of advice and guidance, but because I look upon them as influential agents able to bring about a change in a now obtaining unsatisfactory state of matters. In short, my object in drawing your attention to the importance of certain facts is to inspire you with missionary zeal, to induce you to go forth and spread the light that is in you among the ignorant, the idle, and the indifferent. This, however, is not my only object. I wish also to lay before you some views of perennial interest, and invite you to discuss them —to discuss them for our own profit and, if possible, for the profit of the world at large.
The Chester “Recorders”
Authors: Bridge Joseph C.
Published: January 2007

Two of the most old-fashioned towns to be found in Europe are Nuremberg and Chester, and comparisons between them are often made and similarities and coincidences pointed out. It is a remarkable fact that the only sets of Recorders now known to exist are to be found in those two cities. In the year 1886, the Chester Archaeological Society moved into new quarters in the freshly built central “Grosvenor” Museum. Amongst the lumber from its old rooms was a peculiarly shaped box (which crumbled to pieces almost immediately) and in it the Secretary found what he thought to be “an ancient bassoon.” On viewing the remains, what was my delight to find that the Society was the possessor of a rare set of ancient Flutes-a-Bec, or Recorders.
German Hymnody
Authors: Woodward G. R.
Published: January 2007

It is commonly thought that the German Choral had its birth in the fifteenth and sixteenth centuries, i.e., at the period of the Reformation in Germany. This is a great mistake. We may allow indeed that it reached its zenith at that time; but it was the fruit of seed sown in previous ages, and can boast of a long and noble ancestry. No nation in the world is possessed of so rich a treasury of Sacred Song as Germany. Considering the short time placed at my disposal, and the number of illustrations to be given, I trust that I may be pardoned for at once plunging in medias res.
French Opera Before 1750
Authors: Borland John E.
Published: January 2007

French opera before 1750 is interesting, apart from its intrinsic musical value. It affords an example, not uncommon in the history of music, of specialisation carried to a remarkable degree : an example of the establishment of a convention which, because it served admirably the purpose it was intended to fulfil, maintained an unbroken tradition for more than a century, and was affected by changes of detail only. With few exceptions, also, the composers were entirely devoted to its cause and made little reputation outside its sphere. The exceptions, strangely enough, were men who also achieved something of a reputation in Church music. None of them had any lasting fame in the realms of secular absolute music, the exceptions to this statement being Marin Marais, who is remembered rather for his solo music for viols than for his operas, and Rameau, whose works for the clavecin and researches in acoustics would by themselves have won him a niche in the temple of fame. Of the whole group of composers, only two, Lully and Rameau, have any existence in the minds of the average musical man of to-day, and even their personalities are but shadowy.
Jacob Handl (Gallus)
Authors: Naylor Edward W.
Published: January 2007

A paper on Jacob Handl can hardly be called superfluous. There is very little about him or about his works in the usual English books of reference. The English edition (1886) of Emil Naumann's “History of Music” gives perhaps the fullest account (vol. iii., p. 614). Naumann believes that Handl may have been a pupil of Andrea Gabrieli at Venice, basing this opinion on the proximity of Carniola (Handl's birthplace) to Venice, and on certain features of his compositions which have a relation to the works of other Venetians, such as Willaert and Leoni.
The Analogy Between Barbaric Rhythms and Methods and Modern Developments
Authors: Bath Hubert
Published: January 2007

Amongst the various opinions which are being constantly expressed, and the various critiques and speculations upon the developments in the art of Musical Composition, there is a certain aspect of these developments which seems to have escaped the attention of the experts. It will be the purpose of this Paper to draw attention to these peculiar aspects, and, it is hoped, raise some interesting speculations upon the matter, and show how curiously, and perhaps unconsciously, the old, elemental and natural dicta of Art are revolving round from the age of primary development and asserting themselves.
Some Theories About “God Save the King.”
Authors: Fuller-Maitland J. A.
Published: January 2007

Members of the Musical Association do not need to be reminded of the late Dr. Cummings's investigations into the history of our National Anthem, and I do not propose to do more than refer very briefly to the conclusions to which he was led. Of course, in a subject of this kind, and one of such superlative importance in our history, new theories are often promulgated, and sometimes new facts come to light. My object in re-opening the subject to-day is due to a small discovery, as I venture to think it, which I described in an American periodical, the Musical Quarterly, in the issue of last October. About the same date, the pamphlet appeared which was commissioned by the Education Committee of the London County Council, and it is curious that the authors of this pamphlet, and I myself, should have arrived by different ways at very much the same conclusion, although it was obviously impossible either for me to know of the pamphlet before it was published, or for its authors to know of my article in the American periodical. The conclusion to which we have severally been led is that the song was originally in celebration of the house of Stuart, not of the house of Hanover. The pamphlet had been in existence for some time before I heard of it, and the task of obtaining a copy was very nearly too much for me. It would take too long to recount the difficulties which seem to beset the would-be purchaser, if my own experiences are anything but a series of unfortunate accidents. The pamphlet was reviewed in The Times, but it was not easy to find from the review how or where it was to be obtained. I am confident that many applications to the County Council offices are still “receiving attention,” a process which will have been going on for a good many months. Three or four booksellers in London were asked for it in vain, but at the long last I did obtain it, and here it actually is.