bluuebunny/crossref_metadata_2025 huggingface dataset:
On Judgment and Taste with Regard to Music
Authors: Banister Henry C.
Published: January 2007

In venturing to offer for your consideration a few thoughts on “Judgment and Taste with regard to Music,” I might almost take as my starting point, if not exactly as my motto, the words of the Laureate with regard, not to music, but to the spirit or tendency of the age generally:—

“Let knowledge grow from more to more,

But more of reverence in us dwell,

That mind and soul according well

May make one Music as before,

But vaster.”
The Development of Opera
Authors: Baughan E. Algernon
Published: January 2007

I propose to-night to trace the development of opera in broad outlines, not so much from a musical as from a dramatic point of view. It is my contention that music is capable of heightening and interpreting dramatic action and that it does not appear unnatural that the drama should be expressed by song in the place of speech. I mention this because some are of opinion that, inasmuch as music is not the usual form of human utterance, music-drama can never be more than an artistic anomaly, an essentially artificial form of drama striving to be natural, and that, therefore, the. artificiality of both_music-drama and opera being equal, the latter is to be preferred as being a more purely musical form of art. I think, on the contrary, that music-drama is natural.
The Isolation of Music
Authors: Pratt Waldo Selden
Published: January 2007

I am sure that no one of the party of American visitors to which I have the honour to belong could open his lips on this occasion without first of all trying to express something of our hearty appreciation of the innumerable and overwhelming courtesies that have been heaped upon us ever since we set foot on English soil. It falls to others who can do it more gracefully than I to make the ampler acknowledgments that are due for most of these beautiful attentions. But I cannot begin this paper without tendering to the Council and the members of this famous Association a word of special recognition of the peculiar honour you have done us in asking us not only to be your guests this evening, but to participate formally in your deliberations. It would surely have been enough if you had permitted us to attend simply as listeners. But you have insisted with a cordiality which we cannot doubt that we should do more. And, while the duty is to us a most delicate and difficult one, we could not but accept it, believing that somewhere in the symphonic outburst of hospitable good-will with which we have been greeted, there would be the reassuring strain of kind forbearance for any failure on our part fittingly to discharge the obligation so courteously laid upon us.
The Tendencies of Modern Harmony as Exemplified in the Works of Dvořák and Grieg
Authors: Sawyer Frank J.
Published: January 2007

It is presumably a fact, which no student of musical history will contradict, that from the earliest times the theorist has been behind the composer. It is the duty of the “maker” of music to create harmony; it is the province of the theorist to explain, analyse, and classify those harmonies. To ascertain, therefore, in what position the harmony of to-day stands, it is not sufficient for the student to turn to textbooks—they are probably now explaining the progressions used by the last generation of composers. If the student would ascertain the most modern developments of harmony, he must seek them in the works of the most original and advanced composers of to-day—not in the treatises of the theory of yesterday.
Music in Cathedrals
Authors: Barrett W. A.
Published: January 2007

I have undertaken a difficult and delicate task, in proposing to read before an important musical body a paper treating of Music in Cathedrals. Difficult, because of the risk one runs in yielding to a temptation to be either historical or polemical; and delicate, as it is almost impossible to speak on the matters necessarily connected with my subject without calling for the assistance of one or both of these qualities in order ‘to point the moral’ or illustrate the remarks I shall have to offer. The difficulty and the delicacy of the subject will be fully understood by those who at any time have been connected with any one of our ancient cathedrals.
The Higher Aspects of Musical Form
Authors: Webb F. Gilbert
Published: January 2007

It is with diffidence, born of knowledge, that I have ventured to take up the thorny subject of Musical Form, but my justification is a desire to contribute, in some degree, to a clearer apprehension than seems to exist at present concerning the principles which give form and design, force and influence. Music has ever reflected the spirit of its age, and at the present period nothing is sacred to the analyst and searcher after truth. Modern chemistry tells us that the word “opaque” has only a relative meaning, converts the air we breathe into a liquid, and presents us with a mysterious substance called “Radium” which contradicts our former estimation of Matter. Our voices are registered on wax cylinders, and the thunder-cloud is converted into a maid-of-all-work. Small, wonder, then, that in the midst of this physical “Götterdämmerung” composers should question the rules of their forbears, and claim the liberty and expansion of thought that is agitating all thinking minds. The question of Pilate, “What is truth?” has never been asked more earnestly by all classes than to-day, and the answer can only be found by seeking active causes, and those principles which produce, permeate, and sustain life in all its forms.
The Study of the History of Music
Authors: Shinn Frederick G.
Published: January 2007

When the musical historian of the future comes to review the work directly connected with the Art of Music which has been achieved in this country during the closing years of the nineteenth century and the opening years of the present one, amongst that which will be regarded as the most notable and the most enduring will, I believe, be the work of our musical historians. It is, I think, only necessary to mention two such works as “The Art of Music” and “The Oxford History of Music” to remind you of the valuable contributions which have been made in recent years to this department of musical literature, to say nothing of the innumerable less comprehensive works belonging to the same class, whose authors have focussed their attention upon some limited period or concentrated their powers of research and criticism upon the work of some single composer, or upon the development of the Art in some special department. In addition to this permanent evidence of the interest which is now taken in the history of music and which is revealed by the publication of books upon so many aspects of the subject, evidence, less permanent, but hardly less convincing, is borne of the same fact by the large number of lectures which are given upon different phases of the subject. The lectures given upon matters connected with the history of music far outnumber those given upon any other musical subject, and I think they may even possibly outnumber those given upon every other subject put together.
Some Thoughts Upon the Position of Johannes Brahms Among the Great Masters of Music
Authors: Harding H. A.
Published: January 2007

May I say at once that what I have ventured to call “my thoughts” upon Brahms, are not intended to be dogmatic, I do not presume to press with undue force any opinion of my own in regard to the position which Brahms does, or should, occupy among the great masters of music. With his high ideals of art and his lofty conceptions of duty in regard to it, he is assuredly the one composer who irresistibly commands our attention at the present time, and it is upon this fact that I rest the hope that I may ask you to spend a few minutes this evening in considering the question Why is there still some hesitancy to place him among the greatest composers ?
The Evolution of Melody
Authors: Dunhill Thomas F.
Published: January 2007

I am going to speak to you this afternoon upon a subject of universal interest. Music as a science, as an intellectual power, or as an expression of the indefinite and indefinable forces which dominate the soul of the artist and crave for outlet, may not appeal with any great measure of certainty or directness to the popular mind. So many and various are the claims of more tangible things in this busy world of ours that very few can find time to study the historical development of a complex abstract subject. The scope of my present paper, however, is confined, as far as possible, to melody—and this is not at all a forbidding word ! To the great majority of ordinary listeners, indeed, melody is the one quality in music which really counts; a composition in which melody is obscure, or not of paramount importance, is voted dry and uninteresting. Moreover it is a quality concerning which every listener considers himself competent to express an opinion. And the musician himself, no matter how well-tutored he may be, can never afford to lose sight of those elements in music which strike straight home to everybody—which elicit sympathetic response not only from the musically educated, but from those who, without technical knowledge, are keenly perceptible to the influence of beauty. The development of harmony, of musical forms, of instrumentation, and so forth—these are subjects for the initiated to sit in judgment upon, or squabble about; but melody is “enthroned in the hearts” of men, and I am inclined to think that the composer who fails to recognise its potent power, or proves himself incapable of making a direct appeal by means of its employment, has mistaken his vocation and misunderstood the elementary functions of music.
Old English Organ Music
Authors: West John E.
Published: January 2007

I feel it a great honour to have been asked by Dr. Cummings and the Council of the Musical Association to read a paper here this evening upon the subject of “Old English Organ Music.” My personal connection with this interesting subject extends very little beyond the fact of my having selected and edited a series of organ pieces by old English composers, published under the title of my present paper. But this does not necessarily qualify me to write or speak with any great authority on the matter, nor can I claim any ability in putting it before you in a finished literary manner. As a mark of gratitude, however, I have undertaken to do my best“, feeling that you will probably be able to obtain as good an idea of the subject from the musical illustrations with which my paper will be interspersed, as from any inadequate remarks of mine. My best thanks are due, both to Mr. J. A. Fuller Maitland, for his generous loan of an interesting old chamber organ, in order that you might hear the illustrations under appropriate conditions this evening, and to Dr. W. G. Alcock for so kindly consenting to come and play these illustrations.
The Reminiscences of a Quinquagenarian
Authors: Shaw G. Bernard
Published: January 2007

[Mr. Bernard Shaw's reminiscences unfortunately defied verbatim reporting; and as his address was improvised in a fashion of which long practice on the platform has made him a master, no written paper is available for publication in the proceedings of the Association. In reply to an appeal from the Secretary for some notes of his address, Mr. Shaw writes as follows.]

A good deal of what I said need not be reported. It served its purpose of keeping the audience in good humour for the moment; and there is no reason why it should survive.
Musical Expression from the Performer's Point of View
Authors: Langley George
Published: January 2007

In music the term “Expression” has a twofold meaning. It may, on the one hand, refer to the inherent expression contained in the music—the expression of the composer's mind—or, on the other hand, to the manner in which the music is played; in other words, to the degree of truth with which the performer reflects in his rendering the expression contained in the music. This twofold aspect of expression belongs in a lesser degree to poetry, and results from the nature of the medium employed. In this respect music and poetry differ from the concrete arts, painting and sculpture. Notes and words do not embody the author's mind in the same degree as colours and design. Of course, even a fine picture may make no appeal to the observer; but in such case nothing more can be done. It is the complete expression of the artist's mind, both as creator and performer. It is the very thing itself. But in a musical composition the notes are merely symbols—symbols of sounds, which are the real medium of expression employed; so that a musical composition needs re-presenting by performance. These symbols then must be translated into the sounds which they represent. Music is a language of sound, and its appeal is to the ear. It does not affect the question that persons can hear the sounds by merely looking at the notes; for even then the process of translation into sound goes on mentally. We see, then, why the performing side of the question comes in; and why, in consequence, expression in music can refer either to the composition or to its performance. It is of musical expression in this latter sense, that is, as it exists in the hands of the performer, that I now propose to speak.
Mental Processes in Music: An Essay
Authors: Swinburne J.
Published: January 2007

Consider the case of a competent organist reading a fairly complicated item at sight; he has before his eyes three sets of five lines with curious marks on them, and the control of mechanism of a complex instrument in front of him, on both sides, and at his feet. Dealing with the marks on the staves he has to remember that one on a particular line or space means that he must put down a corresponding key, at a particular instant, accurate within a very few hundredths of a second. He has also to raise his fingers with equal accuracy. He has to remember that sharps or flats at the signature alter the meaning of the marks. He has to remember that the meaning of the marks is also affected by the clefs, and he has at least two of these. The area of paper that is sharply focussed on his retina is narrower than a single stave, so he has to read what is on the three, or perhaps four in little bits in advance, piecing them together at the right moment. When an Alpine mule comes to a rough piece he stops when it is under his nose and plans out his pedalling. He then goes on, and puts each foot precisely right on each bit of rock. But the organist may not stop. He has to arrange his fingering and pedalling in advance at full speed. He has to remember the positions of his stops, and must take his eyes off the print to change them or to change manuals; and as far as is possible in such a case, he has to arrange his stops in advance. But all this is the unmusical mechanical part of his work. He must realise what each passage means before he plays it; and when he plays it he must phrase it properly, adjusting the duration of his notes with extraordinary precision. If he is a very competent musician, he will appreciate the construction of the piece as he plays it, remembering the subjects, and following the modulations without forgetting the main key; and, if asked, he will transpose it all as he plays. While he is doing this, he may carry on a conversation about golf; but most likely he will not. This is one feat. Take another case; a man thinks out a symphony movement in the train and then writes out a full score to record on paper, in a complicated and ridiculous way, what he has produced in imagination, while his wife reads the paper to him.
The Relation of Church Music to the Musical Life of the Nation
Authors: Nicholson Sydney H.
Published: January 2007

The subject of Church Music is one on which a good deal has been written and much has been said in lectures and propaganda of various kinds; and one might well hesitate to tackle it again, for it is a subject that arouses no small amount of controversy among the advocates of different schools, while it yet remains to be shown that the opinions put forward even by the best authorities make very much practical difference in the actual results.
On form in Musical Composition
Authors: Stephens Charles E.
Published: January 2007

On receiving the invitation of the Council of this Institution to read a paper on Form in Musical Composition, my first impression was that so comprehensive a subject could scarcely be treated within prescribed limits, which would admit of little more than a dry and incomplete catalogue of the numerous kinds of musical composition to which the word form is applicable. It occurred to me, however, that by taking the subject as referring to movements of large scope, and comprising numerous component parts, I might select one form of such works, analyse it more fully than has been attempted in didactic treatises, and so present a paper of reasonable duration, and, as I hope, not without some features of interest. It will doubtless be anticipated that I have chosen for my remarks that most important form of instrumental composition known as the Modern Binary or Grand Duplex—the general form of the great majority of modern classical overtures, and of first (and frequently also of other) movements of symphonies, sonatas, and the whole range of concerted instrumental music. I premise that I purpose treating my subject chiefly from the scholastic point of view, not only as being most in accordance with the general objects of our meetings, but because the aesthetic or poetic aspect would lead us too far into the regions of speculation and romance.
Violin Methods Old and New
Authors: Pulver Jeffrey
Published: January 2007

If we were to judge of the state of violin-playing and technics during the second half of the sixteenth and the whole of the seventeenth century from the didactic works published before 1700, we should be forced to the conclusion that the standard must have been very low indeed. The documentary evidence which we possess concerning the achievements of such virtuosi as Heinrich Johann Franz von Biber, Thomas Baltzar, Nicola Matteis, Davis Mell, etc., does not agree with that relating to the tutors printed during the period at which these players were active. We cannot imagine that the results obtained by the performers just enumerated were derived from the works published contemporaneously.
The Æsthetic Value of the English Madrigal
Authors: Van den Borren Ch.
Published: January 2007

It so happened that my first acquaintance with English music of the time of Queen Elizabeth was made, not with the madrigal, but with the music of the virginals. I have devoted one of my former books to virginal music, and it is my pleasant duty to admit that the authors really responsible for that work are two members of your Association, Mr. Fuller-Maitland and Mr. Barclay Squire. In fact, without their edition of the Fitzwilliam Virginal Book, with its great store of learning, I should not have been able to write the greater part of my book.
European Balladry
Authors: Pearson Arthur A.
Published: January 2007

The traditional Ballad has attracted not only the student of literature, the musician, the folk-lorist, and the philologist, but also those who are concerned with all matters of human interest. It has the peculiar distinction of having fascinated two classes that might be considered poles apart—simple peasants and men of high intellectual attainments. In the jargon of the day, it is for “high-brows” and “low-brows.”
Verdi
Authors: Toye Francis
Published: January 2007

I think I may claim that in this paper, whatever its defects, is a sign of the times. I doubt if in, shall we say, 1914, anyone could have envisaged a paper on the aspect of Verdi which I am going to stress, being read to the Musical Association at all. With the exception of “Otello” and “Falstaff,” and perhaps “Aïda,” Verdi's operas were either entirely dead or regarded as purely popular entertainments, remarkable only for their good tunes. In the meantime, however, there has been a great change. Since the war, the revival of what may be called serious interest in Verdi and his operas has been very marked. The extent of this revival is not perhaps fully realised in England, which, together with France has not yet experienced it to any great degree. But it has been very noticeable in Italy, the United States, and above all, in Germany. Perhaps a few facts would be of interest to you. Take Italy. Those of you who are familiar with the Italian musical tradition will know that what may be called an archaeological interest in music is the last thing in the world that appeals to the average Italian. When, as was certainly the case, Verdi's operas began to be viewed as old fashioned by the younger generation, their eventual doom seemed sealed. Doubtless Verdi retained his hold on the purely popular theatre, but the middle and upper classes showed signs of deserting en masse to Wagner, who is indeed probably the most popular composer in Italy to-day among the educated classes. There are now, however, distinct signs of a swing in the other direction. Thanks in a great measure to the genius and care of Toscanini, the orchestral as well as the vocal effectiveness of works like “La Traviata” have been emphasised anew.
A Musicological Argument for Cultural Relationship Between Indonesia—Probably the Isle of Java—And Central Africa
Authors: Kunst Jaap
Published: January 2007

Your Association is so kind as to give me the opportunity to discuss some results obtained in the realm of musicology during recent years, and I will gladly use it to show you by a single example how much that branch of science is able to contribute to our knowledge of the history of civilisation.
Indian Folk-Music
Authors: Bake Arnold
Published: January 2007

“That music which in different countries serves for the enjoyment of the people according to the custom of the land is called deçï (folk-music).”

Here we have the indigenous definition of folk-music, given to mark the distinction between this music and mãrga-music; that is to say, classical or art-music, a different thing altogether. This mãrga music is not primarily for the enjoyment of the people, but is considered as a means to salvation, namely, the breaking of the endless succession of birth, death and re-birth. It is of divine origin, brought down to our times by an unbroken succession of teachers, not only considered as music masters but definitely as spiritual preceptors. The superior attitude of the exponents of classical music towards deçï, popular or country-music, finds its origin in this spiritual claim of mārga-music. Nevertheless folk-music naturally is one of the parents of art-music whether the latter acknowledges this parenthood or not.
The Double-Bassoon: Its Origin and Evolution
Authors: Langwill Lyndesay G.
Published: January 2007

The earliest printed account of the Bassoon occurs in Ludovico Zacconi's Prattica di Musica, first published in Venice in 1592. As this book is rare and no facsimile edition or translation has appeared, the following extract1 is of interest and contains the earliest allusion to a Bassoon of deeper pitch than the type instrument:—

The Fagotta chorista (i.e. Chorist Bassoon) goes from the octave of C fa ut of the bass to the B fa b mi above. They call it Fagotto chorista because there is of it another which is not of its pitch, but a little higher or a little deeper.
The Influence of the Industrial Revolution on English Music
Authors: Nettel R.
Published: January 2007

The Earl of Rochester's epitaph on Charles II runs:—

Here lies our sovereign Lord the King,

Whose word no man relies on,

Who never said a foolish thing

Nor never did a wise one.

But surely the founding of the Royal Society was an act of some wisdom? It set the example for the French Academy, and Paris set the fashion for the courts of Europe. Philosophy was recognised in high places, and the cult of orderly thought encouraged. How important this fashion of an age of reason proved to be we know from every aspect of the eighteenth century history : in the musical works of the classicists just as much as in British business enterprise. There was a belief in the virtues of rationalisation amounting almost to a religion.
The Nature of Opera as a Composite Art
Authors: Gundry Inglis
Published: January 2007

The reflections in this paper were prompted by a chapter in Roger Fry's book, Transformations. Fry was interested in what he called the “mixture of distinct and separate arts.” He was, of course, primarily concerned with painting, but he used song and opera to illustrate his theory, which was, in his own words, as follows:—

Pictures in which representation subserves poetical or dramatic ends are not simple works of art, but are in fact cases of the mixture of the art of illustration and the art of plastic volumes … They are closely similar to song in which the psychological unity of the words is accompanied by a musical unity. What the exact possibilities and limiting conditions of mixtures of two or more arts may be has, I think, never been properly inquired into.
Music and Psychological Medicine
Authors: Mitchell Sydney D.
Published: January 2007

I shall begin my survey of the relationships between music and psychological medicine by considering two important theoretical questions.

First, what is the meaning of pure music? Your President' has happily described music as having completely digested the experiences of human life and nature that could only be crudely and vaguely expressed in words.

Secondly, why should music have a stronger immediate effect on most people than the other arts?
The Baroque Organ
Authors: Sumner W. L.
Published: January 2007

How far can the adjective baroque be applied to organs? It is worth while beginning by asking this question because it is astonishing how often the word has been abused in this connection. Most etymologists believe that the word is derived from the Spanish for ‘a twisted pearl’. Authorities are not altogether agreed concerning the aesthetic values of its applications to architecture. It has been called ‘flamboyant gothic’, ‘grotesque’, ‘laterally distorted’, ‘the logical development of the vertical renaissance’, etc., according to the taste or prejudice of the critic. It eschews the wildest imaginative flights of the rococo. It is still substantial and controlled. It is easier to apply the word to architecture and painting, though there are parallel synaesthetic characteristics in music.
Ceremonial Music in Venice at the Time of the Gabrielis
Authors: Arnold Denis
Published: January 2007

Church and state always went hand in hand in the ceremonial of the Venetian Republic. The Church's reasons for using ritual are well known and require no discussion; but in Venice, the needs of the State were just as great. In any republic having an elected Head of State, the problem of continuity demands more than usual care, and ceremonial helps always to focus the attention not so much on the individuals holding office, as on the meaning of the office itself. The processions and festivals celebrated with great sumptuousness helped to make Venetians continually aware of the Republic's own past and present greatness.
Debussy's Concept of the Dream
Authors: Lockspeiser Edward
Published: January 2007

In his study of Turner's great picture of the sea, The Snowstorm, Sir Kenneth Clark draws attention to Turner's preoccupation with ‘visions’ and ‘dreams’. These words, he says, ‘were commonly applied to Turner's pictures in his own day, and in the vague, metaphysical sense of the nineteenth century they have lost their value for us. But with our new knowledge of dreams as the expression of deep intuitions and buried memories, we can look at Turner's work again and recognise that to an extent unique in art his pictures have the quality of a dream. The crazy perspectives, the double focuses, the melting of one form into another and the general feeling of instability, all these are forms of perception which most of us know only when we are asleep. Turner experienced them when he was awake’.
Sibelius: the Early Years
Authors: Layton Robert
Published: January 2007

When in 1947 Gerald Abraham's symposium on. Sibelius first appeared a good deal of Sibelius's early music was still inaccessible: even two of the four Legends were still unpublished and none of the early chamber music was available for inspection. Apart from an excellent study by Robert L. Jacobs which sets out to show how the evolutionary thematicism of Lemminkäinen and the Maidens of Saari serves programmatic ends, there has been no summary generally available in English of the material that has emerged over the last decade or so. Simon Parmet's book was confined to the symphonies while Harold Johnson has cast himself so firmly in the rôle of the poor man's Richard Aldington that none of his comments on the music can escape suspicion. Rather a René Leibowitz whose Jean Sibelius, le plus mauvais compositeur du monde has the merit of an engaging title if nothing else, than Harold Johnson whose pretensions to objectivity are belied by his highly selective approach to his material.
Post-Twelve-Note Analysis
Authors: Whittall Arnold
Published: January 2007

Composers are often regarded as ahead of their time. There is nothing new about this situation, indeed, the average listener's capacity for understanding is likely to be exceeded by precisely those composers who have most to offer in terms of the avoidance of cliché and the exploration of new possibilities, even if they by no means reject all aspects of tradition. One of the contributory factors to this seemingly inevitable time-lag is the fact that analysis, in its broadest sense as the establishment of an accepted and precise terminology to apply to musical compositions, rarely keeps pace with compositional practice. It is frequently bedevilled by the superstition that there must be something wrong with verbalizing about music, and in this situation a term may find favour because of its very vagueness. Still worse, the emergence and discussion of one such term can facilitate the uncritical acceptance of others. For example, the fuss over ‘aleatory’ in recent years has tended to prevent discussion of an even more misleading term, ‘athematic’. ‘Aleatory’ at least has the virtue of novelty, but ‘athematic’, like ‘atonal’, takes a concept already sufficiently vague, then deepens its obscurity by the simple addition of the negative prefix.
German Expressionist Opera, 1910–1935
Authors: Padmore Elaine
Published: January 2007

The question of how the term ‘Expressionist’ relates to certain music can best be answered by reference to the principle features of Expressionism in painting. The word was coined by a German art critic in 1911 to serve as an appropriate antonym to Impressionism. The new art to which it was applied was based not on purely visual impressions of the outer world but on the expression of the artist's inner experience. The Expressionist does not paint an object but his own subjective reaction to it. He recreates it in the light of his emotions, often distorting form to penetrate essence and reveal the truth that lies behind the outward appearance. The results are highly emotive, dramatic, visionary and often violently ugly. They express the fears, real and subconscious, of men who saw materialism eating into society and enslaving the individual. The technical implications of this art meant that traditional principles of ‘beauty’, ‘symmetry’ and so forth gave way to exaggeration, distortion, grotesqueness, startling colour clashes and vehement emotional release; and precisely the same process, and results, can be seen in the work of Schönberg as he turned from the musical orthodoxes of form and key to the instinctive, tortured sounds of atonality. His work in this direction was more or less contemporary with that of the original Expressionist art group, ‘Die Brücke’ (‘The Bridge’), which existed as a community from 1905–13. Its members were Kirchner, Heckel, Schmidt-Rottluff, and later Nolde, Pechstein and Müller. Schönberg's own paintings bear a strong likeness to the productions of this group. There are the same brutalized portraits and nightmare visions, the same distortion of natural forms parallelled by the angular, disintegrating lines of his atonal music.
John Field and the Nocturne
Authors: Piggott Patrick
Published: January 2007

As every musician knows, John Field invented the Nocturne, and by doing so earned for himself his small but secure niche in music's Pantheon. The word Nocturne was not entirely new to music. Haydn, Mozart, and many lesser composers had used its Italian or German equivalents for vocal and instrumental works intended for performance at night. But the notturni and Nachtmusiken of the eighteenth century have little in common with the wordless love-songs which Field called Nocturnes. His invention was something more important than an evocative title; it was the crystallization of an idiom, and through this idiom a new aspect of the romantic movement could be channelled into the mainstream of music.
Charles Koechlin and the Early Sound Film 1933–38
Authors: Orledge Robert
Published: January 2007

Charles Koechlin showed little interest in silent films, and saw the film industry both at the beginning and end of his musical career as the worst aspect of the debased world of commercial art he so detested. According to his diaries, Koechlin first visited the cinema on i December 1912, and between this and his important visit to see Marlene Dietrich and Emil Jannings in The Blue Angel on 29 June 1933 he apparently went only eighteen times. Charlie Chaplin was the only silent film star that Koechlin really respected, for he represented eternal hope in misfortune, an escape from everyday problems into a world of fantasy, the ‘chimérique’ as Koechlin called it; all of this was relevant to his own existence as a composer. From the series of essays entitled Stars which he wrote in 1934 as a commentary to his Seven Stars' Symphony it is evident that Koechlin found silent film subtitles pretentiously banal, their stories conventional and superficial, often mutilating his favourite authors such as Jules Verne and Hans Andersen. With the arrival of the first sound films in the early 1930s, however, Koechlin suddenly found himself drawn to the cinema, and a curious, fascinating period of his life began, which brought to a head his inner conflict between the necessity to exist as a composer in real life despite serious financial difficulties, and his desire to escape into a private fantasy world in which he could compose. A passage from Tristan Klingsor's Scheherazade poem Le Voyage, which Koechlin set in 1922–23 and to which he often referred, summarizes his philosophy. The first phrase is the crucial one.
Another View of Musica Ficta in Tudor Music
Authors: Doe Paul
Published: January 2007

The many researchers who have transcribed Tudor music during the last half-century or so have been acutely conscious of the problems of interpreting accidentals in sources. Few, if any, scribes seem to follow a completely consistent or determinable set of conventions, and the difficulties are compounded when manuscripts of different date give significantly different readings. Some editors of Henrician music have taken the principal sources of that period at, by and large, their face value. Others have preferred the evidence of later (mainly Elizabethan) manuscripts on the assumption that they attempt to spell out earlier unwritten practices of various kinds. In a paper published in the last issue of this journal Roger Bray offered a case for the second of these views. The present article seeks, not to disprove his case, but rather to question some of his premises and methods of deduction, and to enter a plea for caution. It does not claim to do more than touch on some of the issues involved.
Alternative RNA splicing complexes containing the scaffold attachment factor SAFB2
Authors: Sergeant Kate A. , Bourgeois Cyril F. , Dalgliesh Caroline , Venables Julian P. , Stevenin James , Elliott David J.
Published: January 2007

The scaffold attachment factor SAFB1 and its recently discovered homologue SAFB2 might provide an important link between pre-mRNA splicing, intracellular signalling and transcription. Using novel mono-specific antisera, we found endogenous SAFB2 protein has a different spatial distribution from SAFB1 within the nucleus where it is found in much larger nuclear complexes (up to 670 kDa in size), and a distinct pattern of expression in adult human testis. By contrast, SAFB1 protein predominantly exists either as smaller complexes or as a monomeric protein. Our results suggest stable core complexes containing components comprised of SAFB1, SAFB2 and the RNA binding proteins Sam68 and hnRNPG exist in parallel with free SAFB1 protein. We found that SAFB2 protein, like SAFB1, acts as a negative regulator of a tra2β variable exon. Despite showing an involvement in splicing, we detected no stable interaction between SAFB proteins and SR or SR-related splicing regulators, although these were also found in stable higher molecular mass complexes. Each of the detected alternative splicing regulator complexes exists independently of intact nucleic acids, suggesting they might be pre-assembled and recruited to nascent transcripts as modules to facilitate alternative splicing, and/or they represent nuclear storage compartments from which active proteins are recruited.
Synthesis of Analytically Pure Compounds in Flow Reactors
Authors: Watts P. , Wiles C.
Published: January 2007

Flow reactor technology typically generates compounds in higher yield, purity and selectivity, however purification is generally conducted using standard batch procedures which negate some of the advantages of performing reactions in flow reactors. This paper describes the results of conducting a variety of reactions in flow reactors incorporating immobilized reagents, catalysts, and scavengers which enable the synthesis of pure compounds straight from the reactor, without any need for purification.
Substituted pyridopyrimidinones, 1: Convenient PTC alkylation and halogenation of 2‐hydroxy‐4H‐pyrido[1,2‐a]pyrimidin‐4‐one
Authors: Abass Mohamed , Mayas Aisha S.
Published: January 2007

Alkylation of 2‐hydroxy‐4H‐pyrido[1,2‐a]pyrimidin‐4‐one (1) was investigated under solid–liquid phase transfer catalysis conditions (PTC), using tetrabutylammonium bromide and potassium carbonate. The reaction with alkyl halides led to the formation of various 2‐alkoxy products, in fair yields. Reaction of compound 1 with epichlorohydrin and chloroacetonitrile, under the same PTC conditions, afforded novel O1,O3‐disubstituted glycerol and oxazolopyridopyrimidone betaine derivatives, respectively. Some 3‐halo‐, 3,3‐dihalo, and/or 2,3‐dihalopyrido[1,2‐a]pyrimidines were also prepared using different halogenating agents at different reaction conditions. © 2007 Wiley Periodicals, Inc. Heteroatom Chem 18:19–27, 2007; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/hc.20245
A modulus‐multiplier approach for non‐linear analysis of laterally loaded pile groups
Authors: Fan Chia‐Cheng , H. Long James
Published: January 2007

A modulus‐multiplier approach, which applies a reduction factor to the modulus of single pile p–y curves to account for the group effect, is presented for analysing the response of each individual pile in a laterally loaded pile group with any geometric arrangement based on non‐linear pile–soil–pile interaction. The pile–soil–pile interaction is conducted using a 3D non‐linear finite element approach. The interaction effect between piles under various loading directions is investigated in this paper. Group effects can be neglected at a pile spacing of 9 times the pile diameter for piles along the direction of the lateral load and at a pile spacing of 6 times the pile diameter for piles normal to the direction of loading. The modulus multipliers for a pair of piles are developed as a function of pile spacing for departure angle of 0, 90, and 180sup>/sup> with respect to the loading direction. The procedure proposed for computing the response of any individual pile within a pile group is verified using two well‐documented full‐scale pile load tests. Copyright © 2006 John Wiley & Sons, Ltd.
Incoherent and coherent spin manipulation in ferromagnet–dilute magnetic semiconductor hybrids
Authors: Halm Simon , Hohage Patric Erich , Neshataeva Ekaterina , Seifert Frank , Kümmell Tilmar , Schuster Ellen , Keune Werner , Sperl Matthias , Fan Yang‐Hsiung , Puls Joachim , Henneberger Fritz , Bacher Gerd
Published: January 2007

We demonstrate that fringe fields stemming from nanostructured ferromagnets (FMs) provide the opportunity to manipulate spins in an underlying dilute magnetic semiconductor (DMS) heterostructure, both coherently and incoherently. Fringe fields from Fe/Tb FMs with a remanent out‐of‐plane magnetization induce a local out‐of‐plane magnetization in a ZnCdMnSe DMS. Due to the sp–d exchange interaction, optically generated electron–hole pairs align their spin along the DMS magnetization. We obtain a local, remanent spin polarization probed by both spatially resolved, polarization sensitive magneto‐photoluminescence spectroscopy and Faraday rotation technique. Fringe fields from in‐plane magnetized Co FMs allow us to modify the precession frequency of Manganese (Mn2+) magnetic moments in an in‐plane external magnetic field, which is directly probed by time‐resolved Kerr rotation technique. (© 2007 WILEY‐VCH Verlag GmbH & Co. KGaA, Weinheim)
Correlation of CdSe quantum dot morphology, structure design and lasing properties of optically pumped green CdSe/ZnMgSSe lasers
Authors: Ivanov S. V. , Lyublinskaya O. G. , Sedova I. V. , Sorokin S. V. , Toropov A. A. , Kop'ev P. S. , Lutsenko E. V. , Voinilovich A. G. , Tarasuk N. P. , Gurskii A. L. , Yablonskii G. P.
Published: January 2007

We report on the molecular beam epitaxy growth of optically pumped Cd(Zn)Se/ZnMgSSe laser heterostructures with CdSe/ZnSe quantum dots in the active region, emitting in the green spectral range. The lasing threshold as low as 2.5 kW/cm2 and the external quantum efficiency of 43%, maximum pulse power of 22.35 W is demonstrated. (© 2007 WILEY‐VCH Verlag GmbH & Co. KGaA, Weinheim)
Reversed diastolic flow in the uterine artery—a new Doppler finding related to placental insufficiency?
Authors: Lau W. L. , Lam H. S. W. , Leung W. C.
Published: January 2007

Increased uterine artery pulsatility and resistance indices with or without notching of the waveform have been associated with an increased risk of pre‐eclampsia and fetal growth restriction. However, reversed diastolic flow in the uterine artery has not previously been reported. We present two high‐risk obstetric cases complicated by severe placental insufficiency: pre‐eclampsia followed by eclampsia in one case and intrauterine growth restriction with abnormal cardiotocography in the other. Doppler studies of the uterine arteries revealed reversed diastolic flow in both cases. The pathophysiology and potential implications are discussed. Copyright © 2007 ISUOG. Published by John Wiley & Sons, Ltd.
ACCOUNTING FOR THE RELATIONSHIP BETWEEN MONEY AND INTEREST RATES
Authors: JONSSON MAGNUS , KLEIN PAUL
Published: January 2007

In time-series from the United States, the relationship between the money to income ratio and the nominal interest rate is a negative and stable one. In Swedish data, there is no such stable relationship. In this paper, we argue that this difference can be explained by the differences in the shock processes that have hit the two countries. Using a dynamic general equilibrium model driven by shock processes estimated to fit the two countries, we find that we can account for the main properties of the data remarkably well.
Development of Microalgae Communities in the Phytotelmata of Allochthonous Populations of Sarracenia purpurea (Sarraceniaceae)
Authors: Gebühr C. , Pohlon E. , Schmidt A. R. , Küsel K.
Published: January 2007

Abstract: The phytotelmata of the North American pitcher plant Sarracenia purpurea are colonised by a great variety of aquatic organisms and, thus, provide an ideal model to study trophic interactions in small freshwater ecosystems. Although algae are discussed as a potential food source for predators, little is known about the structure of algae coenoses in pitchers of S. purpurea. This study aims to elucidate temporal shifts in the algae community structure in pitchers of an allochthonous population of S. purpurea in Saxony, Germany. A total of 78 algae taxa was found in the pitchers. Mean algae abundances in new and old pitchers were similar (2.6 × 105 and 2.3 × 105 algae ml‐1, respectively). Taxa from the orders Chlamydomonadales, Chlorococcales, and Ochromonadales were the primary colonisers. With increasing age of the pitchers the filamentous green algae from the order Klebsormidiales became more abundant. In contrast, pennate diatoms dominated the algae coenoses in the fen. Algae community structure in vase‐shaped 50 ml Greiner tubes was similar to those of natural pitchers. Differences in the temporal patterns of algae coenoses in individual pitchers suggested a colonisation of the pitchers by algae via trapped insects, air and rain water rather than via the surrounding fen. Biomass of algae approximated 0.3 mg C ml‐1, which corresponds to 82.8 % of the living biomass (bacteria, heterotrophic nanoflagellates, algae, protozoans and rotifers). Rotifers were abundant in new pitchers; nematodes and mites were seldom found in all pitchers. A similar qualitative and quantitative composition of the aquatic biocoenoses was observed in pitchers of another allochthonous S. purpurea population growing in Blekinge, Sweden. Biomass of algae represented nearly one quarter of the total organic matter content in the pitchers. Thus, nitrogen and phosphorus compounds present in the algae biomass might be used by the carnivorous S. purpurea plant as additional food source in allochthonous populations in Europe lacking top predators.
Comment on “Equilibrium, multistability, and chiral asymmetry in rotated mirror plasmas” [Phys. Plasmas 13, 062105 (2006)]
Authors: Barnes Daniel C.
Published: January 2007

It is shown that two-fluid equilibrium solutions which are small corrections to isorotating single-fluid solutions exist for plasmas with fusion-relevant density.
Interface-phonon-limited two-dimensional mobility in AlGaN∕GaN heterostructures
Authors: Mora-Ramos M. E. , Tutor J. , Velasco V. R.
Published: January 2007

The room temperature polar-optical-phonon-limited two-dimensional electron mobility in AlxGa1−xN∕GaN heterostructures is calculated taking into account the interaction of conduction electrons and interface-phonon modes. The polar optical oscillations are described via the uniaxial dielectric continuum model. Electron–polar-optical-phonon scattering rates are evaluated from a general expression that is always valid as long as the interaction Hamiltonian matrix elements depend only on the magnitude of the phonon wave vector. Values for the 300K low-field mobility (μ) of a few hundreds cm2∕Vs are obtained within a simplified relaxation time scheme involving electron-phonon absorption scattering rates. It is found that the way of describing the electronic states in the conduction band strongly affects the calculation of μ. The typical triangular well model gives the poorest results compared with a previously proposed analytical approximation of the conduction band potential profile. We present a discussion on the relevance of an appropriate model for long-wavelength polar optical phonons in the obtention of realistic values of the electron mobility in wurtzite heterostructures.