bluuebunny/crossref_metadata_2025 huggingface dataset:
A Cluster measurement of fast magnetic reconnection in the magnetotail
Authors: Xiao C. J. , Pu Z. Y. , Wang X. G. , Ma Z. W. , Fu S. Y. , Phan T. D. , Zong Q. G. , Liu Z. X. , Dunlop M. W. , Glassmeier K.‐H. , Balogh A. , Reme H. , Dandouras I. , Escoubet C. P.
Published: January 2007

Fast reconnection is crucial to magnetospheric substorms, solar and stellar flares and fusion plasmas. Ultimate confirmation of fast reconnection must be achieved by multi‐spacecraft detections of the reconnection rate itself and associated dimensions of the diffusion region. Here we report a multi‐spacecraft measurement of fast reconnection rate γrec ∼ Vin ≈ (0.07–0.15)VA based on directly measurements of the plasma flow into the diffusion region, where Vin is the speed of reconnecting flux and VA the characteristic Alfvén speed. It falls in the range of ∼(0.03–0.2)VA predicted in steady state reconnection simulation. The characteristic sizes for the diffusion region of the width Lz ∼ 0.9 di(= 460 km) and the length Lx ∼ (3.3–5.1)di (= 1680–2597 km) are measured as well. The length of the diffusion region Lx is determined for the first time based on the in situ observations. Furthermore, other features detected during the event also match the previous observation and simulation results.
Physicochemical Properties of Functional Surfaces in Pitchers of the Carnivorous Plant Nepenthes alata Blanco (Nepenthaceae)
Authors: Gorb E. V. , Gorb S. N.
Published: January 2007

Abstract: Pitchers of the carnivorous plant Nepenthes alata are highly specialized organs adapted to attract, capture, and digest animals, mostly insects. They consist of several well distinguishable zones, differing in macro‐morphology, surface microstructure, and functions. Since physicochemical properties of these surfaces may influence insect adhesion, we measured contact angles of non‐polar (diiodomethane) and polar liquids (water and ethylene glycol) and estimated the free surface energy of 1) the lid, 2) the peristome, 3) the waxy surface of the slippery zone, and 4) the glandular surface of the digestive zone in N. alata pitchers. As a control, the external surface of the pitcher, as well as abaxial and adaxial surfaces of the leaf blade, was measured. Both leaf surfaces, both lid surfaces, and the external pitcher surface showed similar contact angles and had rather high values of surface free energy with relatively high dispersion component. These surfaces are considered to support strong adhesion forces based on the capillary interaction, and by this, to promote successful attachment of insects. The waxy surface is almost unwettable, has extremely low surface energy, and therefore, must essentially decrease insect adhesion. Both the peristome and glandular surfaces are wetted readily with both non‐polar and polar liquids and have very high surface energy with a predominating polar component. These properties result in the preclusion of insect adhesion due to the hydrophilic lubricating film covering the surfaces. The obtained results support field observations and laboratory experiments of previous authors that demonstrated the possible role of different pitcher surfaces in insect trapping and retention.
Molecular Phylogeny and Character Evolution of Carnivorous Plant Families in Caryophyllales — Revisited
Authors: Heubl G. , Bringmann G. , Meimberg H.
Published: January 2007

Abstract: Recent phylogenetic analyses based on single gene and combined data sets have substantially increased our knowledge of the phylogeny of Caryophyllales s.l., indicating that additional carnivorous families are related to this alliance. In earlier contributions towards a reassessment of inter‐ and infrafamilial relationships slowly evolving genes had been preferred for phylogenetic inference. The resulting tree topologies based on rbcL and 18S rDNA, however, were characterized by limited resolution, low internal support and topological incongruence. Therefore genomic regions evolving more rapidly have been used in subsequent studies. Comparative sequencing of the matK gene and the flanking trnK intron region as well as combined analyses based on plastid matK, atpB, rbcL, and nuclear 18S rDNA have effectively improved resolution and internal support. Tree topologies revealed Caryophyllales s.l. as monophyletic group and indicated a clear division into two sister clades, the “core” and the “non‐core” Caryophyllales (with Rhabdodendraceae and Simmondsiaceae with unclear affinities). Contrary to the “core” group (with Asteropeiaceae and Physenaceae as successive sister groups), which corresponds largely to the previous circumscription of the order, the monophyly of “non‐core” Caryophyllales comprising Polygonaceae, Plumbaginaceae, Frankeniaceae, and Tamaricaceae along with the carnivorous families Droseraceae, Nepenthaceae, Drosophyllaceae, Dioncophyllaceae, and Ancistrocladaceae are a recent discovery. Based on reliable tree topologies it is hypothesized that pitfall traps of Nepenthes and snap traps typical for Aldrovanda and Dionaea were derived from a common ancestor with adhesive flypaper traps. With exception of Triphyophyllum carnivory was secondarily lost in the remaining Dioncophyllaceae (Dioncophyllum, Habropetalum) and all taxa of Ancistrocladaceae.
Recent Progress in Understanding the Evolution of Carnivorous Lentibulariaceae (Lamiales)
Authors: Müller K. F. , Borsch T. , Legendre L. , Porembski S. , Barthlott W.
Published: January 2007

Abstract: Carnivorous plants have emerged as model systems for addressing many ecological and evolutionary questions, and since Lentibulariaceae comprise more than half of all known carnivorous species (325 spp.), they are of particular interest. Studies using various molecular markers have established that Lentibulariaceae and their three genera are monophyletic with Pinguicula being sister to a Genlisea‐Utricularia‐clade, while the closest relatives of the family remain uncertain. Character states of the carnivorous syndrome in related proto‐carnivorous lamialean families apparently emerged independently. In Utricularia, the terrestrial habit has been reconstructed as plesiomorphic, and an extension of subgenus Polypompholyx is warranted. In the protozoan‐attracting Genlisea, subgenus Tayloria is revealed as basal lineage. In Pinguicula, the six major lineages found reflect radiations in clearly defined geographic regions, whereas most previously recognized subgeneric taxa are non‐monophyletic. Genlisea and Utricularia exhibit substitutional rates that rank among the highest in angiosperms for the molecular markers analyzed. One possible explanation for this lies in selective constraints on a wide range of genomic regions that may have been lowered due to the use of an alternative mode of acquiring nutrients.
Feynman cycles in the Bose gas
Authors: Ueltschi Daniel
Published: January 2007

We study the lengths of the cycles formed by trajectories in the Feynman-Kac representation of the Bose gas. We discuss the occurrence of infinite cycles and their relation to Bose-Einstein condensation.
Numerical simulation of multiphase transient field during plasma deposition manufacturing
Authors: Zhang Hai-Ou , Kong Fan-Rong , Wang Gui-Lan , Zeng Ling-Fang
Published: January 2007

A transient solid/liquid/vapor unified mathematical model for plasma deposition manufacturing was developed to investigate the fluid flow and heat transfer of the molten pool and deposition layer. The level-set approach was adopted to deal with the liquid/vapor interface boundary conditions, which considered surface tension gradient (the major driving forces for the melt flow), interface curvatures, buoyancy, and convection heat loss. The mixture continuum model was applied to describe melting and solidification processes at the solid/liquid interface. Moreover, the effects of main processing parameters on the thickness of the deposition layer, full depth of the molten pool and penetration depth of the substrate have been studied further. The experiments agree well with the simulation results.
Thermal characterization of single-wall carbon nanotube bundles using the self-heating 3ω technique
Authors: Hou Jinbo , Wang Xinwei , Vellelacheruvu Pallavi , Guo Jiaqi , Liu Chang , Cheng Hui-Ming
Published: January 2007

In this work, we have developed a complete solution for the thermal transport in single-wire based 3ω experiment and have studied the effect of radiation on the experiment. Microscale Pt wires are used as the reference sample to measure its specific heat and thermal conductivity. Sound agreement between the measurement data and reference values is obtained. A series of experiments is conducted to characterize the thermal transport property of single-wall carbon nanotube (SWCNT) bundles. The average thermal diffusivity measured for three different SWCNT bundles is around 1.74×10−5m2∕s, much less than the thermal diffusivity of bulk graphite in the layer direction. Physical reasons for this low thermal diffusivity are discussed based on our structure study of the SWCNT bundles.
Explicitly intruder-free valence-universal multireference coupled cluster theory as applied to ionization spectroscopy
Authors: Chattopadhyay Sudip , Mitra Asish , Sinha Dhiman
Published: January 2007

Although it is quite promising to compute the spectroscopic energies [say, ionization potential (IP)] via the traditional valence-universal multireference coupled cluster (VUMRCC) method based on the description of the complete model space being seriously plagued by the perennial intruder state problem, the eigenvalue independent partitioning (EIP) based VUMRCC (coined as EIP-MRCC) method is quite effective to predict the spectroscopic energies in an intruder-free manner. Hence, the EIP-MRCC method is suitable for generating both the principal IPs and the satellite IPs of the inner-valence region. An EIP strategy converts the nonlinear VUMRCC equations for M(m,n) dimensional model space of m hole and n particle to a non-Hermitian eigenproblem of larger dimension whose M(m,n) roots are only physically meaningful. To increase the quality of the computed energy differences in the sense of chemical accuracy and to locate the correct position of it in the spectrum, the inclusion of higher-body cluster operators on top of all the standard singles-doubles is not the only pivotal issue, the effect of the size of the basis set is also equally important. This paper illustrates these issues by calculating the principal and satellite IPs of HF and HCl molecules using various basis sets (viz., Dunning's cc-pVDZ, cc-pVTZ, and cc-pVQZ) via EIP-MRCC method with full inclusion of triples (abbreviated as EIP-MRCCSDT). The results seem quite encouraging in comparison with the experimental values. The controversial Π2 satellite at 28.67eV of HCl of Svensson et al. [J. Chem. Phys. 89, 7193 (1988)] is also reported.
Unsteady half-space evaporation and condensation problems on the basis of the discrete kinetic theory
Authors: Nicodin Ioana , Gatignol Renée
Published: January 2007

Gas flow is considered on the basis of the discrete models for the Boltzmann equation. The formation and propagation of disturbances, in an initially uniform gas bounded by its plane condensed phase in nonequilibrium with the gas, are investigated in detail when the evaporation or the condensation is taking place from the condensed phase. The behavior of the solutions is clarified, the different types of solutions are investigated, and the profiles of typical solutions are presented. By a numerical approach, we can yield the conditions relating macroscopic variables at infinity and on the condensed phase which allow a steady solution. Our results with simple discrete models are in very good agreement with the ones given by continuous Boltzmann models.
Optical evidence of Stark effect in single-walled carbon nanotube transistors
Authors: Takenobu Taishi , Murayama Yuji , Iwasa Yoshihiro
Published: January 2007

The effect of an externally applied electric field in single-walled carbon nanotubes was studied using a thin-film transistor configuration. Under the electric field, the optical spectra displayed redshifts and broadening. These phenomena present evidence of the Stark effect in single-walled carbon nanotubes. The finding of the Stark effect suggests the potential use of carbon nanotubes in electro-optic devices for optical communication.
Multiline spectra of single CdSe∕ZnS core-shell nanorods
Authors: Le Thomas N. , Allione M. , Fedutik Y. , Woggon U. , Artemyev M. V. , Ustinovich E. A.
Published: January 2007

Single-nanorod spectroscopy at low temperature is used to study the exciton states of individual CdSe∕ZnS core-shell nanorods. By analyzing the LO-phonon assisted recombination the authors may distinguish between charged and exchange-splitted excitons. Four different types of single-nanorod emission spectra are found and assigned to neutral, positively, and negatively charged excitons and multiexciton states. The spatially separate confinement of two localized excitons in one, individual nanorod is discussed.
Controlling interfacial reactions between HfO2 and Si using ultrathin Al2O3 diffusion barrier layer
Authors: Katamreddy Rajesh , Inman Ronald , Jursich Gregory , Soulet Axel , Takoudis Christos
Published: January 2007

The authors investigated the effectiveness of atomic layer deposited (ALD) aluminum oxide barrier layer in controlling the interfacial reaction between ALD HfO2 film and Si substrate. The HfO2 was observed to form silicate and silicide at its interface with Si during 5min postdeposition annealing in Ar at 800 and 1000°C. A 0.5-nm-thick Al2O3 barrier layer was found to control interfacial reactions between HfO2 and Si during annealing at 800°C, but not at 1000°C, whereas a 1.5-nm-thick barrier of Al2O3 was needed to prevent interfacial reaction up to an annealing temperature of 1000°C.
Frequency coupling in dual frequency capacitively coupled radio-frequency plasmas
Authors: Gans T. , Schulze J. , O’Connell D. , Czarnetzki U. , Faulkner R. , Ellingboe A. R. , Turner M. M.
Published: January 2007

An industrial, confined, dual frequency, capacitively coupled, radio-frequency plasma etch reactor (Exelan®, Lam Research) has been modified for spatially resolved optical measurements. Space and phase resolved optical emission spectroscopy yields insight into the dynamics of the discharge. A strong coupling of the two frequencies is observed in the emission profiles. Consequently, the ionization dynamics, probed through excitation, is determined by both frequencies. The control of plasma density by the high frequency is, therefore, also influenced by the low frequency. Hence, separate control of plasma density and ion energy is rather complex.
IL-25 regulates Th17 function in autoimmune inflammation
Authors: Kleinschek Melanie A. , Owyang Alexander M. , Joyce-Shaikh Barbara , Langrish Claire L. , Chen Yi , Gorman Daniel M. , Blumenschein Wendy M. , McClanahan Terrill , Brombacher Frank , Hurst Stephen D. , Kastelein Robert A. , Cua Daniel J.
Published: January 2007

Interleukin (IL)-25 is a member of the IL-17 family of cytokines. However, unlike the other members of this family, IL-25 promotes T helper (Th) 2 responses. We now show that IL-25 also regulates the development of autoimmune inflammation mediated by IL-17–producing T cells. We have generated IL-25–deficient (il25−/−) mice and found that they are highly susceptible to experimental autoimmune encephalomyelitis (EAE). The accelerated disease in the il25−/− mice is associated with an increase of IL-23 in the periphery and a subsequent increase in the number of inflammatory IL-17–, IFNγ-, and TNF-producing T cells that invade the central nervous system. Neutralization of IL-17 but not IFNγ in il25−/− mice prevented EAE, suggesting that IL-17 is a major disease-promoting factor. IL-25 treatment at several time points during a relapse-remitting model or chronic model of EAE completely suppressed disease. IL-25 treatment induced elevated production of IL-13, which is required for suppression of Th17 responses by direct inhibition of IL-23, IL-1β, and IL-6 expression in activated dendritic cells. Thus, IL-25 and IL-17, being members of the same cytokine family, play opposing roles in the pathogenesis of organ-specific autoimmunity.
Selective depletion of Foxp3+ regulatory T cells induces a scurfy-like disease
Authors: Lahl Katharina , Loddenkemper Christoph , Drouin Cathy , Freyer Jennifer , Arnason Jon , Eberl Gérard , Hamann Alf , Wagner Hermann , Huehn Jochen , Sparwasser Tim
Published: January 2007

The scurfy mutant mouse strain suffers from a fatal lymphoproliferative disease leading to early death within 3–4 wk of age. A frame-shift mutation of the forkhead box transcription factor Foxp3 has been identified as the molecular cause of this multiorgan autoimmune disease. Foxp3 is a central control element in the development and function of regulatory T cells (T reg cells), which are necessary for the maintenance of self-tolerance. However, it is unclear whether dysfunction or a lack of T reg cells is etiologically involved in scurfy pathogenesis and its human correlate, the IPEX syndrome. We describe the generation of bacterial artificial chromosome–transgenic mice termed “depletion of regulatory T cell” (DEREG) mice expressing a diphtheria toxin (DT) receptor–enhanced green fluorescent protein fusion protein under the control of the foxp3 gene locus, allowing selective and efficient depletion of Foxp3+ T reg cells by DT injection. Ablation of Foxp3+ T reg cells in newborn DEREG mice led to the development of scurfy-like symptoms with splenomegaly, lymphadenopathy, insulitis, and severe skin inflammation. Thus, these data provide experimental evidence that the absence of Foxp3+ T reg cells is indeed sufficient to induce a scurfy-like phenotype. Furthermore, DEREG mice will allow a more precise definition of the function of Foxp3+ T reg cells in immune reactions in vivo.
Observational signatures and non-Gaussianities of general single-field inflation
Authors: Chen Xingang , Huang Min-xin , Kachru Shamit , Shiu Gary
Published: January 2007

We perform a general study of primordial scalar non-Gaussianities in single-field inflationary models in Einstein gravity. We consider models where the inflaton Lagrangian is an arbitrary function of the scalar field and its first derivative, and the sound speed is arbitrary. We find that under reasonable assumptions, the non-Gaussianity is completely determined by five parameters. In special limits of the parameter space, one finds distinctive ‘shapes’ of the non-Gaussianity. In models with a small sound speed, several of these shapes would become potentially observable in the near future. Different limits of our formulae recover various previously known results.
‘La Grande Chanson Courtoise’: The Chansons of Adam de la Halle
Authors: Stevens John
Published: January 2007

Far more attention has been given over the last century to the polyphonic compositions of Adam de la Halle and his plays than to his courtly chansons. Yet, if the number of surviving manuscripts is a guide, it was as a trouvère in the high courtly style, a courtly ‘maker’ in the tradition of la grande chanson courtoise, that his contemporaries chiefly valued him. His courtly chansons survive in eight main manuscripts and several lesser ones. In the manuscript (Paris, Bibliothèque Nationale, fir 25566) containing his Collected Works, as it were, the chansons have pride of place and are notated in a different style from the polyphonic rondeaux and motets and from the monophonic refrains of the same manuscript. Their notation is the square, non-mensural notation analogous to that of contemporary Gregorian chant and traditional for vernacular monophonic song.
Handel's Early Musical Development
Authors: Hicks Anthony
Published: January 2007

Though the period of Handel's visit to Italy—1706 to 1710—has rightly been regarded as crucial to the formation of his mature style, study of the nature and extent of the development has been hindered by incorrect chronology of the music of the Italian period. Furthermore, assessment of the music written before 1706—essential to an appreciation of the effects of the Italian visit—has been even more difficult because of over-ready acceptance of the authenticity of many supposed early works. The research of the last twenty years has brought to light much new information about Handel's work in Italy, establishing the dates and circumstances of composition of a number of major works. Associating musical features with independently determined dates not only points out the course of the composer's development, but also allows dates to be assigned on stylistic grounds when there are clear musical affinities with datable works and other evidence is lacking. The limited compass of this paper precludes travelling far down any of the paths the new research has opened up, and is mainly concerned with the large-scale works; but it may suggest a way of approach. As the main achievements of the most recent work have yet to be incorporated in any Handel biography, a summary will be worthwhile.
Patrons and Pasquinades: Rameau in the 1730s
Authors: Sadler Graham
Published: January 2007

Rameau's late entry into the world of opera is one of the best-known features of his biography. When Hippolyte et Aricie, his first tragédie, burst upon an unsuspecting public at the Académie royale de musique in October 1733, the composer had just turned 50. Of his earlier music, only the second and third books of harpsichord pieces and the cantata Le Berger fidèle would have been at all well known. Yet by the end of the decade, with the appearance of two further tragédies, Castor et Pollux (1737) and Dardanus (1739), and two opéra-ballets, Les Indes galantes (1735) and Les Fêtes d'Hébé (1739), the middle-aged newcomer had established himself as the foremost, if also the most controversial, French composer of his day.
Mozart in the Market-Place
Authors: Moore Julia
Published: January 2007

Mozart's financial situation has been the subject of controversy and speculation since his death in December 1791, when a rumour circulated through Vienna that he had left debts of 30,000 fl. (see Table 1 for information on currencies). Although this fantastic figure was ten times too high, his widow's situation was indeed precarious, at least at first.
The Earliest Motets: Music and Words
Authors: Smith Norman E.
Published: January 2007

The birth of a genre surely is one of the most fascinating occurrences in the history of music, and no genre of medieval music had a more interesting birth than the motet. Study of the motet in modern times found special impetus and direction in 1898 when Wilhelm Meyer announced his discovery of the origin of the motet in the discant clausulae of the Notre Dame organa. Demonstrating the musical identity of certain Latin motets and discant clausulae, he concluded that the motet arose through the addition of Latin texts to the melismatic upper voices of the two-voice clausulae and was thereby able to explain for the first time the previously baffling and unprecedented verse structures of many motet texts. In doing so, he at the same time made it clear that he understood the French motet to be of later origin than the Latin and brushed aside special questions concerning the French type, such as, for example, its most provocative feature: its characteristic use of refrains. How was one to understand the presence of refrains in a French motet supposedly derived from a sacred, liturgical model? This and other difficult questions refused to disappear, and they continued to be raised from time to time, but Meyer's explanation of the origin of the motet gained general acceptance, most decisively and influentially from Friedrich Ludwig. All of Ludwig's writings on the motet bespeak his endorsement of Meyer's position, but nowhere more explicitly than in the Repertorium:

These compositions [discant clausulae] were still more important by virtue of the fact that they served in rather large numbers as musical sources of motets, at first for Latin motets and later, although in more limited numbers, also for French motets - a fact, first recognized for the Latin motets by Wilhelm Meyer in 1898 (Der Ursprung des Motetts), claiming central importance for the history of music about 1200.
John Birchensha and the Early Royal Society: Grand Scales and Scientific Composition
Authors: Miller Leta E.
Published: January 2007

The concept of music as science, still a vital part of the natural philosophy of the seventeenth century, found a strong advocate in the early Royal Society, whose agenda frequently embraced musical topics. From the organization's inception in 1660 to the early eighteenth century the Society's minutes recount acoustical experiments performed at meetings and describe papers on topics ranging from string vibrations to music's medicinal powers.
Can One Speak of Narrativity in Music?
Authors: Nattiez Jean-Jacques
Published: January 2007

The question of musical narrativity, while by no means new, is making a comeback as the order of the day in the field of musicological thought. In May 1988 a conference on the theme ‘Music and the Verbal Arts: Interactions’ was held at Dartmouth College, Hanover, New Hampshire. A fortnight later, a group of musicologists and literary theorists was invited to the Universities of Berkeley and Stanford to assess, in the course of four intense round-table discussions, whether it is legitimate to recognize a narrative dimension in music. In November of the same year, the annual conference of the American Musicological Society in Baltimore presented a session entitled ‘Text and Narrative’, chaired by Carolyn Abbate, and, at the instigation of Joseph Kerman, a session devoted to Edward T. Cone's The Composer's Voice. A number of articles deal with the subject in our specialized periodicals: I am thinking in particular of the studies published in 19th-Century Music by Anthony Newcomb – ‘Once More “Between Absolute and Programme Music”: Schumann's Second Symphony’ and ‘Schumann and Late Eighteenth-Century Narrative Strategies’ – or, on the French-speaking side of musicology, of Marta Grabocz's article ‘La sonate en si mineur de Liszt: une stratégie narrative complexe’ and the essays of the Finnish semiologist Eero Tarasti. No doubt a good many articles will emerge from the above conferences. And we are awaiting the appearance of Carolyn Abbate's book Unsung Voices: Narrative in Nineteenth-Century Music.
Lyric Form in Ottocento Opera
Authors: Huebner Steven
Published: January 2007

In a study of Verdi's debt to Bellini published over 20 years ago, Friedrich Lippmann set the course for subsequent investigations of phrase structure in ottocento opera by using letters to describe the archetypal shape of many melodies written by Italian composers after 1830. He identified the most common pattern in the music of Bellini and the young Verdi as a1 a2 b a2, in which each letter represents a four-bar phrase in a prototypical 16-bar melody. The method has obvious risks of turning uncomfortably antiseptic for the analyst, but there is much to be said for its virtue of concision. It served Lippmann for his subsequent work on Bellini as well as Julian Budden for his three-volume study of Verdi's operas. With a minimal addition of bulk, Joseph Kerman and Scott Balthazar subsequently formulated a more elaborate alphanumeric system. Both replace Lippmann's use of arabic numerals to demonstrate musical variation with primes (AA' BA’ instead of al a2 b a2; Kerman uses lower-case letters, Balthazar upper-case) and they communicate the number of bars in each phrase, including those longer and shorter than the four-bar norm, with subscript numbers (for example, A4A‘4B3C6). The relationship of each phrase to the standard double quatrain or sestet of Italian poetry is also accounted for by a parenthetical tracking of verse lines for each musical phrase; for example, A4(S11–2)A'4(S13–4) illustrates how the first quatrain is distributed across the first eight bars of a normative melody. More important, Kerman and Balthazar recognize the musical function of phrases within the prototypical 16-bar group. Balthazar, in particular, identifies the first two four-bar phrases as an ‘opening thematic block’, the B phrase as both ‘contrasting’ and ‘medial’, and the last phrase as a ‘closing’ unit ('some version of A or C, depending on whether motives from the opening phrases are present).
An Ethnomusicological Perspective on Musical Style, with Reference to Music for Chinese Two-Stringed Fiddles
Authors: Stock Jonathan P. J.
Published: January 2007

In a major publication of 1983 Bruno Netti identified the explanation of musical style as a central problem in ethnomusicological research. This essay is intended to offer a partial solution of that problem, seeking to define musical style as an abstraction of the matrix of cognitive and physical aspects which constitute human music-making. In the cognitive part of this equation I include the critically important role played by social context, concurring with John Blacking's statement that ‘the creation of a musical style is the result of conscious decisions about the organization of musical symbols in the context of real or imagined social interaction’. However, in this category, I accord equal recognition to the body of musical and music-related knowledge held by a musician or any other member of society, whether this knowledge is implicitly assumed or explicitly acknowledged, historically conditioned or geographically referent, abstractly theoretical or firmly practical. The ‘conscious decisions’ Blacking points to are indeed made in the actual or perceptual domain of social interaction, but they are also considered from the cognitive perspective of acquired musical thought. Physical ingredients which help form the concept of musical style include the limits and possibilities of the human body and its movement patterns and material factors such as the parameters of any musical instrument (size, shape, posture, potential playing techniques, etc.) and performance location.
Sterndale Bennett's Lost Piano Concerto Found
Authors: Williamson Rosemary
Published: January 2007

I have as I before stated, not yet played this season in the great Concerts [at the Gewandhaus] because I preferred to wait until I was just leaving Leipzig, and had finished all my compositions for the Publisher, therefore on the 3rd. March I will if possible play a new Concerto which I have in hand.

THIS, in a letter to Mary Anne Wood dated 7 February 1842, is the earliest specific mention of Bennett's last piano concerto, which was never published and for many years was missing. Only a ‘tantalising fragment’ of a two-piano reduction made by the composer's son and biographer, J. R. Sterndale Bennett, was known to researchers. Autograph manuscripts of two versions of the work, and two sets of orchestral parts copied for different performances, have recently come to light during the present author's research on Bennett. The discovery enables a fresh assessment to be made of an ‘unpublished work of outstanding importance’ by a composer of relatively few large-scale pieces, composed at the end of his most creative period and when he was arguably at the height of his powers. It also presents the possibility of the concerto's performance and publication, 150 years after its conception. A summary of all the sources now known is given in Table 1.
The Development of Modern Wind Instruments
Authors: Blaikley D. J.
Published: January 2007

The title chosen for the paper I have now to bring before you would more fitly introduce an exhaustive treatise than the few notes and remarks I have to offer. These will necessarily have the character of a very rough sketch or outline only, and, as such, I will ask you to receive them. The subject was suggested to my mind by the magnificent loan collection exhibited in the Royal Albert Hall last year. That collection brought before us evidence of the fertility of resource shown by succeeding generations of men in the adaptation of means towards the great end of the advancement of the musical art; the object being to place in the hands of the performer such results of the mechanical arts as should enable him to take his part in bringing before an audience a realisation of the artistic creation of the composer.
Rhythm and Metre in Webern's Late Works
Authors: Bailey Kathryn
Published: January 2007

It is almost self-evident that the relationship between rhythm and metre must vary from one composer to another. Generalization in such matters is difficult and probably ill-advised. But it seems clear that for German/Austrian composers in the first half of this century, who customarily used divisive rhythms set within traditional metres, the interdependence of rhythm and metre was not as critical as it was in the music of composers such as Stravinsky and Bartók, whose typically additive rhythms were notated in those metres – often asymmetrical or constantly changing – that most clearly expressed their natural accents. In most cases the rhythms of a Schoenberg or a Webern, as well as-the choice of metre in which to express them, would seem not to have been intrinsic to the original musical idea in the same way that they were to a Stravinsky or a Bartók (even when folk music was not directly involved). This is not to say that rhythm and metre were not important to the two Viennese composers, but only that their conception seems initially to have been more concerned with pitch sequences and contours than with rhythm and metre, these being things that could be worked out later, as composition progressed. The surviving sketches of Webern, at least, appear to bear out such an assertion.
Some Suggested Modifications of Day's Theory of Harmony
Authors: Prout Ebenezer
Published: January 2007

When, at the beginning of the present session, I promised our Secretary to read a paper before this Association on Dr. Day's System of Harmony, I ventured to indulge the hope that the chair would be taken on that occasion by the eminent musician to whose efforts we are indebted for the most complete exposition of that system. By the sudden and lamented death of Sir George Macfarren, England has lost her greatest theoretical musician; and his name is so intimately connected with the subject on which I am to have the honour of addressing you this afternoon, that I cannot refrain from paying this tribute to his marvellous gifts, and of acknowledging my own indebtedness to his writings for a more thorough insight into what I believe to be the true theory of music, than I had been able to obtain from other sources.
Some Notes Upon Russian Ecclesiastical Music, Ancient and Modern
Authors: Birkbeck W. J.
Published: January 2007

No foreigner can fail to be struck by the Church music of Russia. Even if his acquaintance with the country be limited to a short visit—say a fortnight spent in St. Petersburg, with perhaps a flying visit for a few days to Moscow, he is sure to be impressed by the excellent unaccompanied singing of the choirs not only in the large cathedrals and monasteries, but also, if he visit them, in the ordinary parish churches. He will be loud in his praise of the marvellous richness and compass of the voices, and more especially of the deep notes sung by some of the basses, going down to the A, G, and even F of the 16-ft. octave of the organ, voices the like of which are to be heard in no other country. Although there is no organ or instrumental accompaniment of any kind to sustain the voices, the singing is never out of tune. Even the clergy seem to be universally possessed of musical ears. In the long ectenæ, which recur so frequently in every one of the Greek Church services, and which in form somewhat resemble our Litany, neither the deacon who sings the suffrages nor the choir which responds ever seem to lose the right pitch, and get flatter and flatter as we so often hear in this country. In fact, I don't think that anyone who has had the opportunity of comparing the ecclesiastical music of the various nations of Europe will refuse Russia the credit of surpassing all other countries in the general excellence of her church singing.
On Musical Criticism
Authors: Salaman Charles Kensington
Published: January 2007

Musical criticism is a subject which, I am of opinion, may be investigated and discussed with advantage by the members of the Musical Association. It is a field which may be thought delicate ground to tread upon. The atmosphere by which it is surrounded may be impregnated with explosive matter; but I am not dismayed from pursuing the inquiry I have proposed to my. self. With the safety lamp of good faith and good temper, I believe that the ground may be traversed without any apprehension of danger.
A New Metronome
Authors: Hanson J. Treadway
Published: January 2007

Mr. Chairman and Gentlemen,—When you did me the honour of asking me to exhibit my metronome this evening I was in hopes of having a new instrument made for the occasion, but my model-maker has found it impossible to get one completed in time. I must, therefore, ask your indulgence for some want of neatness, in size and other matters, in the one on the table, it being the first one of the kind made.
A Suggested System of Chromatic Harmony
Authors: Wyatt Walter
Published: January 2007

Before entering upon the subject which is to occupy our attention to-night—viz., that of Chromatic Harmony, I may perhaps be permitted to express my sincere gratitude for the privilege of laying my views upon this subject before so distinguished a body as the Musical Association.
The Structure of Plainsong
Authors: Briggs H. B.
Published: January 2007

It is proposed in this paper to examine briefly into the present state of our knowledge as to the musical structure of Plainsong. Until about twenty years since, when the Benedictine monks of Solesmes began to publish the results of their systematic study of the music, theories on the art were founded mostly on conjecture. The reason for this was that the chant was composed more than two centuries before the earliest and very rudimentary treatise on the subject was written; that the few later works treated of things from a different point of view to ours, so that they are not very easy to understand; and that by the time writers become more in accord with us moderns, say the fifteenth century, the rendering of Plainsong had become so corrupted that all theoretical treatises were completely worthless. Practically, therefore, all that we have to work upon is the music itself, with some vague indications in treatises of about the ninth century, which may or may not be comprehensible, and may often be twisted to mean anything we like. The notation in which the music has come down to us is in four forms—viz., the Alphabetic, the Dasiau, the Neumatic, and the Square notation. The alphabetic is but rarely met with, and was probably only used for instruction books. The Dasian is used in the MSS. formerly attributed to Hucbald, but these only contain a few examples illustrating the treatises. The neumatic was the notation in general use down to the eleventh century, when it was gradually converted into the ordinary square notation. Now this last shows us exactly the notes to be sung, but very little more. If properly printed in the style of all MSS. until the sixteenth century, the phrasing is fairly well indicated, and it acts very serviceably, far better than modern notation, for singers acquainted with the spirit of Plainsong; but by itself it is as useless as “Rule, Britannia,” written in minims would be. But when this square notation is collated with its forerunner, the neumatic, a different state of things appears. The square notation shows only the notes; the neumatic shows none of the notes but almost everything else that converts notes into music. The approximate time value (all that can be given in recitative), the phrasing, the expression, all is given in the neums as clearly as in a modern composition. For example, the podatus only expresses two notes of which the first is lower than the second, but neither the tonal value of the first note nor the interval of the second. But it has four different forms, which must necessarily mean four different renderings of the note-group—i.e., that the first note of the group is accented, but that each note may have a longer or shorter duration according to the form of the neum. And it has even a fifth variety, which I take to be a turn on the first note as indicated by the wavy form given to the lower limb (see neum at end of second line in the Alleluia, p. 70).
The Sense of Programme
Authors: Antcliffe Herbert
Published: January 2007

It has been said of James McNeill Whistler that “he held truly it is the province of art to interpret—not to imitate.' He attempted to avoid, in an art which in its primary and most elementary functions at the least, is a representative one, everything which could fall under the head of realism or mere reproduction; just as many composers, in an art which is primarily emotional, attempt to bring into being a reproduction of matters not necessarily or usually productive of emotional feeling.
Elizabethan Choirboy Plays and Their Music
Authors: Arkwright G. E. P.
Published: January 2007

The Music of the Elizabethan Choirboy Plays is a subject on which nothing is to be found in the usual handbooks about music, nor yet in the histories of literature and the drama. It has long been known of course that throughout the early part of Elizabeth's reign plays were frequently performed at Court (and elsewhere) by the Children or choristers of various Chapels and Cathedrals. The names of these Chapels and those of the Masters of Children who presented Plays, and (sometimes) the name of the play and the amounts paid for it, are to be found in the “Accounts of the Revels,” and the “Acts of the Privy Council.” And, of course, it has been surmised that music must have occupied a prominent place in these plays; for the primary duty of a chorister is to sing, and naturally the different Masters of the Children who were responsible for producing their plays, would make opportunity for the display of their skill in music. This is proved by the text of the surviving specimens of plays of this kind. But no one has hitherto troubled to hunt up the music written for them. Now however that the great importance of the choirboy plays in the history of the English drama is recognised, thanks chiefly to the researches of Professor Wallace, it evidently becomes a matter of real interest to trace and collect what we can of the music which formed an essential part of them. And if when we have found and collected the undoubted specimens we can detect anything like a style common to them; if, in short, we can find traces of a school of stage song, it is plain that we have hit upon an important episode in the history of English dramatic music, and one that is well worth inquiring into. Incidentally we shall find ourselves able to throw light on some points of interest to students of literature, and provide some illustrations to Shakespeare; for there are allusions in “A Midsummer Night's Dream,” and especially in the burlesque Court play of “Pyramus and Thisbe,” which cannot, I think, be properly appreciated unless their relation to the choirboy plays is understood.
Music in War - Time
Authors: Colles H. C.
Published: January 2007

Musicians have been conscious lately that they have become less interesting to their fellows than they normally are, and many of us find—even though we may be ashamed to confess it—that music itself interests us less than it was used to do:

Personally I have been made aware of this in many ways;

(1)

By the extreme difficulty I find in getting a single word about music into a certain daily newspaper, which only a few months ago insisted upon my supplying it with a column a day; and since that paper has been described as one for “all thinking men and women,” I can only suppose that men and women are now not thinking much about music;

(2)

I find it in the difficulty I have in concentrating my own attention upon the course of the music on the comparatively rare occasions when I enter a concert room;

(3)

And in the fact that yesterday when I was reading a book on the harmony of Arnold Schönberg, the only emotion it raised was a vague hope that Schönberg might be somewhere in the German trenches.
Women and Music
Authors: Swinburne J.
Published: January 2007

“‘Will my daughter prove a good musician?

‘I think she'll sooner prove a soldier.’”

Shakespeare.

It is generally accepted that women are the musical sex. It is taken for granted that nearly all women in the middle and upper classes are musically inclined, and practically every girl of these classes “learns music,” or better still, “studies music.” Our musical colleges have far more girls than men. Socially, ladies monopolise any performance there is; a man may sing a song, but that is generally all; he hardly ever plays the piano or violin. Some of us remember times when a man playing the piano was considered odd; it was essentially a lady's instrument. At a concert, especially a ballad concert, or a piano or fiddle recital, women fill most of the seats.
The Construction of Buildings Considered with Reference to Sound
Authors: Saunders Cecil G.
Published: January 2007

The difficulties which beset architects in meeting the requirements demanded of them, have always had a tendency to increase rather than diminish with the growth of civilisation.
Berlioz
Authors: Osborne G. A.
Published: January 2007

The paper which I have the honour of reading before you today, I have called a sketch, as it would be impossible for me to do more than touch slightly on some salient points of Berlioz' life, and I am glad of the opportunity of so doing, having enjoyed his friendship and confidence for many years.
The Balance of Expression and Design in Music (II)
Authors: Hadow W. Henry
Published: January 2007

After referring to his first lecture, Sir Henry Hadow said: Of course you will understand that I do not propose to give you this evening the history of music in three-quarters of an hour. All I can do is to pick out one or two points which seem of interest—points from which you can make your own journeys of departure.
Operatic Ignorance
Authors: Arundell D. D.
Published: January 2007

Before I start my attack—as I fear it is—upon the composers, the audiences and the traditions of opera, I think it may be valuable to dismiss for the moment all the accepted operatic beliefs and to try to frame some a priori plan which should act as the rough model for all the varieties of what is commonly called opera. Presume for five minutes that we know orchestral works and choral works, that chamber music has been exploited in all its branches and that the theatre, which has—for the sake of the premiss—been allowed to keep its history and development, has only had an effect on music to the extent of the interpretation of songs. It suddenly occurs to a member of the audience, who has heard—and seen, remember—a certain song well interpreted, that it might be possible to stage the dramatic story that has just been sung. The idea takes such root that in less than no time—for when we are presuming there are no limits to our presumptions—a performance is arranged which is to take place on a stage, with singers in costume, miming to the best of their very poor ability, and an orchestra providing a stirring and suitable accompaniment. How does this differ from the entertainments we have known for so long—according to our premiss? We have had singers before, and orchestras, and even suitable grimaces made by the singers in moments of intense passion, but the one novelty is the dressing up of the singers and the placing of them on the stage with a movable curtain, scenery and Schwäbe-Häselt lighting.
Haydn as an Opera Composer
Authors: Geiringer Karl
Published: January 2007

It is a regrettable fact that the opportunities for hearing, or even for studying, the works of Joseph Haydn, still leave much to be desired, and that, in spite of the composer's popularity, to-day not more than a tenth of his music is ever played, and hardly one-third is accessible in print. The remainder is scattered through the world's libraries in manuscript, or in old, exhausted editions.