bluuebunny/crossref_metadata_2025 huggingface dataset:
The Operas of Antonín Dvořák
Authors: Clapham John
Published: January 2007

In November 1862 the Provisional Theatre was opened in Prague for the performance of Czech plays and operas, an event which provided a strong stimulus to native composers. Besides the revival of František Škroup's The Tinker, the oldest of Czech operas, new operas by Skuherský, Šebor, J. N. Škroup, Blodek, Karel Bendl, Vojáček, Rozkošný, and by the conductor of the theatre, Smetana, were performed during the first seven years. As principal violist in the orchestra, Dvořák took part in all these performances, and it was only natural that he also wished to try his hand at opera composition. The surprise is that he did not do so until 1870. When he made a start there was still no Czech operatic tradition, but Smetana, whose Brandenburgers in Bohemia, The Bartered Bride and Dalibor had been performed, was well on the way towards creating one.
Rameau's Originality
Authors: Hutchings Arthur
Published: January 2007

Our fixture card tells us the main purpose of the lecture which M. Fédorov intended to give us this evening—‘A major point to be considered will be reasons for the decline and revival of Rameau's popularity’. Those words led us to expect evidence from periodicals published since 1764, and perhaps from concert programmes and theatre records. Few musicians could be better equipped for this task than the Librarian of the Paris Conservatoire, yet M. Féderov would not have promised ‘reasons’ for a decline and revival if he had intended to reveal only his literary discoveries without comment upon Rameau's measure of our common humanity, and upon changing taste in the arts. So while we lack M. Fédorov's researches, we may still undertake what he proposed as his ‘major point’. And that is why, though I have never embarked upon any study of Rameau worth calling research, I hope that nobody here will say ‘Sir, you presume!’ if I accept your Secretary's invitation.
The Part-Songs of the English Lutenists
Authors: Greer David
Published: January 2007

It is well-known that many of the airs of Dowland and his contemporaries were printed so that they could be performed either as solo songs or as part-songs. Every music student reads about the unusual way in which the extra vocal parts were disposed on the page, and simple airs like Ford's ‘There is a lady sweet and kind’ and Campion's ‘Never weather-beaten sail’ are probably best known to most of us in their part-song form. But on the whole modern scholarship has concentrated on the solo versions rather than the part-songs. E. H. Fellowes's English School of Lutenist Song Writers prints only the versions for voice and lute, and so do the smaller collections of Peter Warlock and Noah Greenberg. Of the part-songs, only those of Pilkington and Dowland have been reprinted in entirety, Pilkington's in the Old English Edition edited some seventy years ago by G. E. P. Arkwright and Dowland's in Musica Britannica. For the rest, only a selection is available in not always reliable sheet-music copies. This bias is reflected in most comment on the air: Fellowes and Warlock make only passing reference to the part-songs, and the same is mainly true of more recent work. Now I do not wish to suggest that, in the last analysis, this emphasis is mistaken. But I do think that the part-songs deserve closer examination, not only because of their own worth but for the deeper insight which this exercise offers into the nature of the air.
Rebec, Fiddle and Crowd in England
Authors: Remnant Mary
Published: January 2007

As very few authentic mediaeval instruments remain, our knowledge of them comes mainly from pictures, references in literature and expense accounts, and from surviving folk instruments. The degree of caution required can be assessed by comparing the terminology of mediaeval word-lists. The Latin word ‘fidis’, for example, denotes a harp-string in the Catholicon Anglicum and a fiddler in an anonymous nominale, while ‘fidecen’ [fidicen] is a harper in the former manuscript and a fiddler in the Promptorium Parvulorum. The word ‘viella’, normally taken to mean a fiddle, appears also in the Promptorium as a lute. John Palsgrave's Lesclarcissement de la Langue Francoyse (1530) adds confusion to the point of ridicule.
The Concerto at Mannheim c. 1740–1780
Authors: Jones Peter Ward
Published: January 2007

The first necessity in a paper of this nature is to offer some definition of the term ‘Mannheim concerto’. In the past there has been some tendency to view the musicians working at the Palatinate court during the reign of the Elector Karl Theodor from 1743 to 1778, and the last years of his predecessor Karl Phüipp, as a somewhat isolated school. It is clear, however, from the studies of Hugo Riemann and more recently Gerhard Croll, that not only did the orchestral personnel come from many different parts of Europe, including Düsseldorf, Innsbruck, Vienna, Bohemia and Italy, over a period of many years, but that they were also constantly leaving Mannheim for posts elsewhere, or else going on often lengthy concert tours, especially to Paris, which throughout the period remained the great centre of attraction for the Mannheimers in view of its important publishing trade and flourishing concert life, both public and private. In addition, the Elector, who in musical matters was certainly among the more enlightened and generous rulers of his day, was continually sending promising young musicians off on study tours to Italy to complete their musical education. Among such musicians can be counted Christian Cannabich, Johann Ritschel and Georg Joseph Vogler. Thus the musical contacts with the outside world were indeed wide, and it is often impossible to tell whether particular concertos were composed for Mannheim, Paris or elsewhere, especially as the Mannheim court music library has long since totally disappeared, and we now rely on the relatively few printed sources and the manuscript copies to be found distributed throughout Europe. For present purposes the term ‘Mannheim concerto’ will be taken to include all concertos by composers whose activities were centred for a substantial time at the Mannheim court, and will thus include the works of those such as Carl and Anton Stamitz, the sons of Johann, who spent their formative years within the Mannheim circle, even though they both left Mannheim in 1770.
Stages in the Composition of Beethoven's Piano Trio Op. 70, No. 1
Authors: Tyson Alan
Published: January 2007

The bicentenary of a major composer performs a variety of functions, some praiseworthy and rewarding, some trivial. First and foremost it is an occasion for reassessing his stature at the present time, and partly to this end it calls forth a vast number of performances of his music. Some of the performances are likely to be of unknown or little-performed works, and these, as well as the greater and more familiar pieces, are valuable material for making a second assessment of the composer, this time in relation to his contemporaries. It is from a study of that sort that we gain a surer picture of the circumstances that aided and that limited his achievement, and of the degree to which he was governed by the artistic conventions, habits and ideals of his age, even where he is recognized to have been at the same time the possessor of an original, indeed unique vision. But there is at least one more type of assessment that is surely appropriate to a bicentenary and not necessarily touched on by the other two: an assessment of his working methods. This is my justification for approaching a theme that might otherwise appear somewhat grandiose, namely a discussion of how Beethoven composed.
The Performance of Ensemble Music in Elizabethan England
Authors: Edwards Warwick A.
Published: January 2007

This well-known passage by Francis Bacon might be regarded as an appeal for common sense in the instrumentation of Elizabethan and Jacobean music. The principle of avoiding combinations which do not blend may still be applied today, but, as Bacon goes on to say, ‘for the Melioration of Musicke, there is yet much left (in this Point of Exquisite Consorts) to try and enquire’.
Word-Setting in the Songs of Byrd
Authors: Brett Philip
Published: January 2007

The vocal music of William Byrd consists of the Latin Masses and motets, a comparatively small amount of Anglican church, music, and a substantial body of ‘secular’ compositions. Among the latter, settings of psalms and spiritual texts abound, but they were designed for a secular context and rarely taken over for church use; their musical style confirms their non-liturgical character. The numbers of works involved, though approximate on account of doubtful attributions and incomplete sources, are nevertheless instructive: there are three Masses and about 180 motets; the Anglican works comprise two complete services, two evening services, some smaller liturgical items and probably no more than twenty anthems; the secular vocal music amounts to almost 160 pieces. Often extending to two or more sections, the motets generally dwarf the songs, many of which are single-stanza settings. Even so, this last number indicates a degree of involvement sometimes not appreciated by those who comment on Byrd's music.
Thermal Assessment of Dynamic Rotor/Auxiliary Bearing Contact Events
Authors: Keogh Patrick S. , Yong Woon Yik
Published: January 2007

Under normal operation, a rotor levitated by magnetic bearings will rotate without making contact with any stator component. However, there are a number of circumstances that may lead to temporary or permanent loss of levitation. These include full rotor drop events arising from power loss, momentary fault conditions, sudden changes in unbalance, high levels of base acceleration, and other aerodynamically induced force inputs. The spinning rotor will come into dynamic contact with an auxiliary bearing. Highly localized and transient temperatures will arise from frictional heating over the dynamically varying contact area. Rotor dynamic contact forces are predicted for a range of initial conditions leading to combinations of bounce and rub motion on the auxiliary bearing. The transient heat flux from the contact area is then ascertained. A transient thermal Green’s function is developed in a form that is effective over short or long time scales and local to the source. This enables the transient thermal response of an auxiliary bearing to be assessed for a range of dynamic contact conditions. Auxiliary bearings consisting of fixed bushings and free to rotate inner races are analyzed. The results show that significant localized contact temperatures may arise from each contact event, which would accumulate for multiple contact cases. The methodology will be of relevance for the life prediction of auxiliary bearing designs.
Determination of Microvessel Density by Quantitative Real-time PCR in Esophageal Cancer: Correlation with Histologic Methods, Angiogenic Growth Factor Expression, and Lymph Node Metastasis
Authors: Loges Sonja , Clausen Henning , Reichelt Uta , Bubenheim Michael , Erbersdobler Andreas , Schurr Paulus , Yekebas Emre , Schuch Gunter , Izbicki Jakob , Pantel Klaus , Bokemeyer Carsten , Fiedler Walter
Published: January 2007

Purpose: Angiogenesis and lymphangiogenesis are important steps in tumor growth and dissemination and are of prognostic importance in solid tumors. The determination of microvessel density (MVD) by immunohistology is subject to considerable variability between different laboratories and observers. We compared MVD determination by immunohistology and quantitative real-time PCR and correlated the results with clinical variables.

Experimental Design: The expression of endothelial antigens vascular endothelial cadherin (CD144), P1H12 (CD146), tie-2, and VEGFR-2, and lymphatic endothelial markers VEGFR-3, Prox, and LYVE was assessed by quantitative PCR (qPCR) in primary surgical samples. The expression of angiogenetic growth factors VEGF-A, VEGF-C, VEGF-D, angiopoietin-1, and angiopoietin-2 was quantified by PCR and correlated with MVD and clinical variables.

Results: The expression of endothelial antigens vascular endothelial cadherin (CD144), P1H12 (CD146), tie-2, and VEGFR-2 correlated with each other in 54 samples of primary esophageal cancer (P < 0.0001 for all comparisons). MVD determined immunohistologically by CD31 staining in a subgroup of 35 patients correlated significantly with the qPCR method. The expression of angiogenetic growth factors VEGF-A, VEGF-C, VEGF-D, angiopoietin-1, and angiopoietin-2 was significantly associated with MVD (P < 0.0001 for all comparisons). Analysis of the expression of lymphendothelial markers VEGFR-3, Prox, and LYVE revealed concordant results, indicating that quantification of lymphendothelial cells is possible by qPCR. The presence of lymph node metastasis on surgical specimens was significantly correlated with MVD (P < 0.003), VEGFR-2 (P < 0.048), and VEGF-C (P < 0.042) expression.

Conclusions: These results indicate that quantification of MVD by qPCR in surgical samples of esophageal carcinoma yields similar results with immunohistology. Interestingly, the extent of angiogenesis and lymphangiogenesis was not related in individual tumor samples. Lymph node metastases could be predicted by MVD and VEGF-C expression.
Quantification of the Heterogeneity in Breast Cancer Cell Lines Using Whole-Cell Impedance Spectroscopy
Authors: Han Arum , Yang Lily , Frazier A. Bruno
Published: January 2007

Purpose: Quantification of the heterogeneity of tumor cell populations is of interest for many diagnostic and therapeutic applications, including determining the cancerous stage of tumors. We attempted to differentiate human breast cancer cell lines from different pathologic stages and compare that with a normal human breast tissue cell line by characterizing the impedance properties of each cell line.

Experimental Design: A microelectrical impedance spectroscopy system has been developed that can trap a single cell into an analysis cavity and measure the electrical impedance of the captured cell over a frequency range from 100 Hz to 3.0 MHz. Normal human breast tissue cell line MCF-10A, early-stage breast cancer cell line MCF-7, invasive human breast cancer cell line MDA-MB-231, and metastasized human breast cancer cell line MDA-MB-435 were used.

Results: The whole-cell impedance signatures show a clear difference between each cell line in both magnitude and phase of the electrical impedance. The membrane capacitance calculated from the impedance data was 1.94 ± 0.14, 1.86 ± 0.11, 1.63 ± 0.17, and 1.57 ± 0.12 μF/cm2 at 100 kHz for MCF-10A, MCF-7, MDA-MB-231, and MDA-MB-435, respectively. The calculated resistance for each cancer cell line at 100 kHz was 24.8 ± 1.05, 24.8 ± 0.93, 24.9 ± 1.12, and 26.2 ± 1.07 MOhm, respectively. The decrease in capacitances of the cancer cell lines compared with that of the normal cell line MCF-10A was 4.1%, 16.0%, and 19.1%, respectively, at 100 kHz.

Conclusions: These findings suggest that microelectrical impedance spectroscopy might find application as a method for quantifying progression of cancer cells without the need for tagging or modifying the sampled cells.
Synthesis of multi‐block copolymer and its compatibilization to the blends of poly(ether ether ketone) with thermotropic liquid crystalline polymer
Authors: Yang Yanhua , Zhu Wanchun , Jiang Dong , Ma Rongtang , Jiang Zhenhua
Published: January 2007

A multiblock copolymer (BCP) containing amorphous poly(aryl ether ketone) (PAEK) and thermotropic liquid crystalline polymer (TLCP) segments was synthesized. The chemical structure and properties of BCP were characterized by fourier‐transform infrared spectrometer (FTIR), differential scanning calorimeter (DSC), gel permeation chromatograms (GPC), thermogravimetry analysis, polar light microscope (PLM), and solubility test respectively. BCP can dissolve in chloroform because of soluble PAEK block bonded with TLCP block, which was insoluble. The peak of the original PAEK oligomer was no more present in the GPC traces of the block copolymer. These facts indicated that polymer synthesized should be copolymers of the two components rather than blends. A single Tg at 138.1°C and broad melting endotherm at 315.7°C can be observed. The liquid crystalline texture of BCP showed uniformity in the view after heat treated for 10 min above its Tm under PLM. Ternary blends of poly(ether ether ketone) (PEEK)/TLCP/BCP were prepared by extrusion and characterized by DSC. DSC results showed that the crystallization temperature of PEEK phase in the blends shifted higher with the addition of TLCP. Wide angle X‐ray diffraction investigations indicated that the crystalline structure of PEEK was not disturbed by blending or compatibilizing. Scanning electron microscope and mechanical tests confirmed the compatibilizing effect of BCP. Reduction in dispersed phase TLCP size was observed when 2 phr by weight of compatibilizer was added to the blend. Measurement of the tensile properties showed increased elongation as well as improved modulus and strength to some extent. © 2007 Wiley Periodicals, Inc. J Appl Polym Sci, 2007
Influence of Helical Twisting Power on the Photoswitching Behavior of Chiral Azobenzene Compounds: Applications to High‐Performance Switching Devices
Authors: Alam Md. Zahangir , Yoshioka Teppei , Ogata Tomonari , Nonaka Takamasa , Kurihara Seiji
Published: January 2007

Five photochromic chiral azobenzene compounds and one nonphotochromic chiral compound were synthesized and characterized by IR,1H NMR spectroscopy, and elemental analysis. Cholesteric liquid crystalline phases were induced by mixing of the nonphotochromic chiral compound and one of the photochromic chiral azobenzene compounds in a host nematic liquid crystal (E44). The helical pitch of the induced cholesteric phase was determined by Cano's wedge method and the helical twisting power (HTP) of each sample was thus determined. The helical twisting powers of azobenzene compounds were decreased upon UV irradiation, due totrans→cisphotoisomerization of azobenzene molecules. Among the azobenzene compounds synthesized in our study, Azo‐5, with isomannide (radical) as chiral photochromic dopant, showed the highest HTP and contrast ratio (Tmax/Tmin). Photoswitching between compensated nematic phase and cholesteric phase was achieved through reversibletrans⇄cisphotoisomerization of the chiral azobenzene molecules through irradiation with UV and visible light, respectively. Transmission rates (contrast ratios) increased with decreasing helical pitch length in the induced cholesteric phase. The influence of helical twisting power on the photoswitching behavior of chiral azobenzene compounds is discussed in detail.
cAMP‐dependent protein kinase enhances inositol 1,4,5‐trisphosphate‐induced Ca2+ release in AR4‐2J cells
Authors: Regimbald‐Dumas Yannik , Arguin Guillaume , Fregeau Marc‐Olivier , Guillemette Gaétan
Published: January 2007

In non‐excitable cells, the inositol 1,4,5‐trisphosphate receptor (IP3R), a ligand‐gated Ca2+ channel, plays an important role in the control of intracellular Ca2+. There are three subtypes of IP3R that are differentially distributed among cell types. AR4‐2J cells express almost exclusively the IP3R‐2 subtype. The purpose of this study was to investigate the effect of cAMP‐dependent protein kinase (PKA) on the activity of IP3R‐2 in AR4‐2J cells. We showed that immunoprecipitated IP3R‐2 is a good substrate for PKA. Using a back‐phosphorylation approach, we showed that endogenous PKA phosphorylates IP3R‐2 in intact AR4‐2J cells. Pretreatment with PKA enhanced IP3‐induced Ca2+ release in permeabilized AR4‐2J cells. Pretreatment with the cAMP generating agent's forskolin and vasoactive intestinal peptide (VIP) enhanced carbachol (Cch)‐induced and epidermal growth factor (EGF)‐induced Ca2+ responses in intact AR4‐2J cells. Our results are consistent with an enhancing effect of PKA on IP3R‐2 activity. This conclusion supports the emerging concept of crosstalk between Ca2+ signaling and cAMP pathways and thus provides another way by which Ca2+ signals are finely encoded within non‐excitable cells. J. Cell. Biochem. 101: 609–618, 2007. © 2007 Wiley‐Liss, Inc.
Mass spectrometric detection of CP4 EPSPS in genetically modified soya and maize
Authors: Ocaña Mireia Fernández , Fraser Paul D. , Patel Raj K. P. , Halket John M. , Bramley Peter M.
Published: January 2007

The potential of protein fractionation hyphenated to mass spectrometry (MS) to detect and characterize the transgenic protein present in Roundup Ready™ soya and maize has been investigated. Genetically modified (GM) soya and maize contain the 5‐enolpyruvylshikimate‐3‐phosphate synthase (EPSPS) gene from Agrobacterium tumefaciens CP4, which confers resistance to the herbicide glyphosate. The GM soya and maize proteomes were fractionated by gel filtration, anion‐exchange chromatography and sodium dodecyl sulfate/polyacrylamide gel electrophoresis (SDS‐PAGE) prior to MS. This facilitated detection of a tryptic peptide map of CP4 EPSPS by matrix‐assisted laser desorption/ionization time‐of‐flight (MALDI‐TOF) MS and nanoelectrospray ionization quadrupole time‐of‐flight (nanoESI‐QTOF) MS. Subsequently, sequence information from the CP4 EPSPS tryptic peptides was obtained by nanoESI‐QTOF MS/MS. The identification was accomplished in 0.9% GM soya seeds, which is the current EU threshold for food‐labeling requirements. Copyright © 2007 John Wiley & Sons, Ltd.
Ab and T cell epitopes of influenza A virus, knowledge and opportunities
Authors: Bui Huynh-Hoa , Peters Bjoern , Assarsson Erika , Mbawuike Innocent , Sette Alessandro
Published: January 2007

The Immune Epitope Database and Analysis Resources (IEDB) (
www.immuneepitope.org
) was recently developed to capture epitope related data. IEDB also hosts various bioinformatics tools that can be used to identify novel epitopes as well as to analyze and visualize existing epitope data. Herein, a comprehensive analysis was undertaken (
i
) to compile and inventory existing knowledge regarding influenza A epitopes and (
ii
) to determine possible cross-reactivities of identified epitopes among avian H5N1 and human influenza strains. At present, IEDB contains >600 different epitopes derived from 58 different strains and 10 influenza A proteins. By using the IEDB analysis resources, conservancy analyses were performed, and several conserved and possibly cross-reactive epitopes were identified. Significant gaps in the current knowledge were also revealed, including paucity of Ab epitopes in comparison with T cell epitopes, limited number of epitopes reported for avian influenza strains/subtypes, and limited number of epitopes reported from proteins other than hemagglutinin and nucleoprotein. This analysis provides a resource for researchers to access existing influenza epitope data. At the same time, the analysis illustrates gaps in our collective knowledge that should inspire directions for further study of immunity against the influenza A virus.
Cipriani Potter: His Life and Work
Authors: Macfarren G. A.
Published: January 2007

The Musical Association has given me a great privilege in allowing me to offer this tribute to the memory of a man whose monument stands in the brains and hearts of all who knew him. Philip Cipriani Hambley Potter was his full name; he took the name of Cipriani, by which he is most familiarly known, from his godmother. She was the sister of a painter of high eminence in England, Giovanni Battista Cipriani, a native of Florence, who came, after mature study in his own country, and held here a most important position. It was he who was engaged to restore Rubens's pictures in Whitehall, and many other professional duties devolved upon him, besides the production of paintings of his own. He was one of the twenty-three painters who signed the petition to George III. to grant a charter for the Royal Academy of Arts, and it was also this Cipriani who was appointed by his fellow members of the Institution to design the diploma which is signed on the admission of members. He died seven years before the birth of the man who bears his surname as a Christian name. The name of Philip may perhaps have been given to our friend, for such is the endearing title by which I am proud to call him, from the son of this Cipriani, who seems not to have pursued the arts as an avocation, for he was a clerk in the Treasury.
Dramatic Time and Operatic Form in Wagner's Tannhäuser
Authors: Strohm Reinhard
Published: January 2007

Everybody can imagine the following kind of operatic scene: many characters are on the stage, all singing, pronouncing different words, and expressing contrasted emotions simultaneously – but nothing happens. Action is suspended, the music goes on. The music does not need to be carried forward by action or even text; it has its own formal logic and extension. The last section of Mozart's second finale of Le nozze di Figaro, for instance, takes no less than fourteen pages in the vocal score. Its text consists of only two quatrains of four lines each, which are pronounced and repeated by one group of actors each. The piece comes at the end of a long finale that is full of action; but after the ‘colpo di scena’ provided by the entry of Marcellina, Dottor Bartolo, Don Basilio, with their marriage contract, nobody is able to act or even to speak coherently any longer, nobody causes the other to react to his words, nobody seems to hear the other – and they are all singing loudly and clearly. Not only does the surprise justify the standstill of actions and reactions on the stage: it is typical that in such operatic ensembles the characters behave as if they were not listening to each other.
Broadsides on the Trial of Queen Caroline: a Glimpse at Popular Song in 1820
Authors: Bennett Anthony
Published: January 2007

The Trial of Queen Caroline for adultery in 1820 provoked comment in a deluge of songs, satires and caricatures. My aim here is to draw attention to some of the songs produced, and to locate them in relation to the nineteenth-century broadside tradition. This will require some general remarks on the broadside trade in London, which remained the chief centre for this type of literature, and where almost all the songs to be dealt with were printed. The years under discussion in the first part of the paper are, approximately, those between 1810 and 1860. (The precise dating of most broadsides remains difficult.) Inevitably, these limits are fairly arbitrary: the broadside trade, which stretches back to the sixteenth century, does not finally the out until the closing years of the nineteenth century. Nevertheless, the middle of the century seems to mark the point at which the broadside loses any claim to be considered the principal vehicle for the dissemination of popular songs – yielding on the one hand to the mass-produced songbook, and on the other to the emergent music-hall. And while one cannot discern at any single point in the history of broadside production a very sharp change in taste or style, by the second decade of the century a considerable body of material has appeared which is specifically nineteenth-century in character. Whatever earlier limit is chosen, the persistence of the old alongside the new, characteristic of so much in popular culture, means that any study of popular musical taste in the earlier nineteenth century will, to a large extent, be dealing with material originating in the previous century or even earlier.
Orchestra and Spectacle in the tragédie en musique 1673–1715: Oracle, sommeil and tempête
Authors: Wood Caroline
Published: January 2007

This paper looks at some aspects of the expansion of the role of the orchestra in the early decades of French operatic history, especially after the death of Lully, and in particular at the orchestra's increasing involvement in, and enhancement of, the spectacular and the dramatic. It focuses on three types of scene, in each of which the orchestra plays a key role in the construction of the scene and in supplying its distinctive musical features. The paper is based on part of a thesis which, for reasons' of manageability, set a terminal date of 1715, but I have where appropriate stepped outside diis self-imposed limit
Rameau and the Orchestra
Authors: Sadler Graham
Published: January 2007

Although Rameau's amazingly resourceful treatment of the orchestra has been discussed by a number of previous writers,’ there is one important aspect of the subject that has been largely ignored. Little attention has so far been paid to the ways in which thee composer's orchestral practice changed during his fertile thirty-year operatic career. Yet one has only to compare the scoring of his first opera, Hippolyte et Aricie (1733), with that of his last, Les Baréades (1764), to see that a whole series of changes have come about. This development has been badly obscured by the nature of the composer's Œuvres complètes, still the most easily accessible ‘modern’ source of most of his works. Outwardly, this appears to be a respectable scholarly edition, with lengthy and authoritative prefaces, lists of sources and critical apparatus. Nowhere is it stated, however, that many of the operas have been partly re-orchestrated, some of them quite extensively.
A Note on Stile Recitativo
Authors: Sternfeld F.W.
Published: January 2007

Jonson's remark that in 1617 a whole masque ‘was sung (after the Italian manner) Stylo Recitativo’ poses a riddle of nomenclature. When did the Italians first use the phrase ‘stile recitativo’, and from what time on was the term used fairly consistently?
Music and Chivalric Fiction in France, 1150–1300
Authors: Page Christopher
Published: January 2007

When the meal drew to a close the lady who had served the wine produced a harp and began to play it so sweetly that it was a wondrous thing to hear. So Sir Gawayn listened to her very willingly for a while until he began to feel the cold, for his tunic was not at all well dried. And when the cold got to him he rose up and went to the great fire which was in the middle of the Hall and took a stool and sat down before the fire, turning his shoulder and his back [to the flames] and warmed himself until he slept, as one who had been afflicted the whole day with the rain and the wind.
Satie's Approach to Composition in His Later Years (1913–24)
Authors: Orledge Robert
Published: January 2007

Music requires a great deal from those who wish to serve her … A true musician must be subjugated to his Art; … he must put himself above human miseries; … he must draw his courage from within himself, from within himself alone. (Erik Satie: ‘The Musical Spirit’, published in Séléction, III année, no. 6 (April 1924))

More has been written about why Satie composed than about how he composed; about the aesthetic implications of his precursive art for the present century than about the techniques of his art itself. My aim is to attempt to redress the balance, in part at least; to try to focus on some of the problems Satie encountered as he sought to satisfy the increased demand for his music which followed his sudden rise to the forefront of public attention largely due to the efforts of Ravel, Ricardo Viñes and Jean Cocteau over the years 1911 to 1915. If I look to anything as a model, it is Patrick Gowers’ pioneering paper on ‘Satie's Rose Croix Music (1891–1895)’ which explored Satie's use of systematic harmonic devices, working methods and formal experiments from the evidence of his manuscript notebooks. To the best of my knowledge, no such complementary study relating to Satie's later years has yet appeared in print, though Gowers’ thesis’ does discuss Satie's compositional methods in the Nocturnes of 1919.
Grétry, Marie-Antoinette and La rosière de Salency
Authors: Bartlet M. Elizabeth C.
Published: January 2007

In the spring of 1770 Marie-Antoinette, the 14-year-old daughter of Empress Maria Theresa, arrived at the court of Louis XV. Her marriage to the dauphin (later Louis XVI) on 16 May was the cause of general celebration. In the event, the French saw a guarantee of the alliance with Austria and hope for peace after decades of very costly wars. For such a major state occasion, operas played an important part in the festivities. New works were given, and lavish productions of those in standard repertory entertained the court during much of the year. The first that Marie-Antoinette saw (on the day after her wedding) was Lully's Persée (as revised by François Francoeur, François Rebel, Antoine Dauvergne and Bernard de Bury – all court musicians as well as successful composers for the Académie Royale de Musique [the Opéra]). Papillon de La Ferté, the intendant des Menus-Plaisirs du Roi (the government official in charge of court entertainments among other duties) recorded in his diary that in general the court were very pleased with the magnificence of the spectacle. But with a touch of chagrin, he noted that ‘Madame la Dauphine did not seem to have acquired a taste for it. It is true that it is a rather too serious opera for someone who is not yet familiar with the genre and who does not like music’. During her stay at Versailles, Marie-Antoinette also had the opportunity to see Rameau's Castor et Pollux and Dauvergne's new opéra-ballet, La tour enchantée (which made use of several pieces by Rameau and his contemporaries), as well as three tragédies (Racine's Athalie and Voltaire's Tancrède and Sémiramis), but only one comédie (Poisson's L'impromptu de campagne). The choice clearly was intended to present masterpieces from the reigns of Louis XIV and Louis XV.
Vivaldi and Rome: Observations and Hypotheses
Authors: Talbot Michael
Published: January 2007

Vivaldi's indebtedness to Roman models in his formative years as a composer has generally been recognized, although the Roman link is often viewed simplistically and inaccurately as an apprenticeship, stylistically speaking, with Corelli. A more careful review of the evidence leads to the conclusion that the Corellian features in his first three published collections were acquired at second hand via a slightly older generation of Venetian composers (Gentili, Albinoni, Caldara) rather than through independent study of Corelli. Undeniably, the pioneering concertos of op. 3 (L'estro armonico, 1711) betray the strong influence of the Rome-based composer Giuseppe Valentini, whose Concerti grossi, op. 7, had been published the previous year in Bologna But the few manuscript works by Vivaldi that survive from this early period (notably the sonatas RV 60 and 779, and the concertos RV 402, 416 and 420) offer clear evidence that for ordinary purposes he remained as close as any of his Venetian contemporaries to the norms of the local tradition.
Copyright and Music
Authors: De Freitas Denis
Published: January 2007

It is strange, and indeed unfortunate, that the term ‘copyright’ is so uninspiring, because the subject-matter of copyright is inspiration itself: copyright is concerned with the creative output of authors, composers, artists and others who enrich the cultural and intellectual dimensions of life. It is the purpose of the copyright system, as it operates today, in accordance with principles which have been developed over the last century and a half, to ensure that cultural and intellectual works are created and disseminated as plentifully and as widely as possible.
The Transmission of Some Josquin Motets
Authors: Cummings Anthony M.
Published: January 2007

In classifying primary musical documents from the fifteenth and sixteenth centuries, we are dependent upon a variety of techniques of music-historical research – analysis of watermarks, repertory, concordances, the cultural and historical contexts – which furnish the means for evaluating the authority of the sources, ‘the degree of presumptive similarity to the lost … autograph’. One of the principal points in attempting to establish the credentials of the primary sources for the Josquin motets is that they contain alternative readings that condition our perception of the pieces. The choice of readings will inevitably depend on our ability to identify those sources that preserve more authoritative redactions for a given work. A number of techniques are ordinarily used for assessing these sources: (1) that a source is taken prima facie as representing the best tradition that we can discern is an assumption based on its time and place of origin; (2) details of filiation as documented in the variants themselves can suggest lines of transmission and the relative plausibility of sets of readings; and (3) some sources may assume greater importance because they preserve redactions that conform to convictions about Josquin's style. While each of these techniques has something to recommend it, the last assumes considerably more refined criteria than we now possess for describing Josquin's compositional practices, and a considerably broader and deeper knowledge of his whole oeuvre than most of us possess. For, as has been pointed out, ‘the textual critic must often choose, on the basis of his knowledge of such things as the style of the author or the scribal practices of the period, those variants upon which he wishes to base his stemma. Classical philologists have centuries of experience and a multitude of examples to draw upon when confronted with choices between anomalous readings; music historians have no such storehouse of knowledge.‘ Since many of the variant readings in question are equally plausible, very often the choices are not between versions that are manifestly erroneous, on the one hand, and those that are not, on the other, but between equally acceptable versions, each of which is musically permissible. The first two of the techniques referred to above afford a more systematic and objective means at this time for ranking the primary source material, and a basis on which to advance tentative hypotheses of plausible content that suggest ways of determining what an authoritative version of a piece would look like.
Musical Design, a Help to Poetic Intention
Authors: Prescott Oliveria
Published: January 2007

Some weeks ago, a paper was read by Mr. Jacques on the “Composer's Intention,” and it struck me, while listening, that a great deal might be said from the composer's point of view to show how his intention might be worked out in his composition.
On Listening to Music
Authors: Pearce Charles W.
Published: January 2007

Possibly at no previous period in the history of our Art has so much been said and written about that very complex human faculty—the action of listening to music. We have only to take down the last of those comely little volumes of the Proceedings of this Association (which now begin to make quite a goodly show upon our bookshelves) to find that no fewer than three papers bearing more or less directly upon this subject were read last session. I refer, of course, to those by Messrs. Jacques, Banister, and Lake. The importance and interest, as well as the comprehensiveness of this absorbing topic must be pleaded as my excuse for venturing to bring it before you again this evening.
Some French Popular Songs of the Fifteenth Century
Authors: Brownlow Jane M. E.
Published: January 2007

The fifteenth century is a period of peculiar interest to musicians. The great transition from mediaeval bondage to modern freedom had begun. Even the schoolmen, the theoretical writers, were affected by the spirit of the age. The movement must, therefore, have been going on amongst the people for some time, for history shows us that struggles for emancipation always begin from below. It is, however, exceedingly difficult to trace the growth of this movement. We know, as a matter of history, that from an early period the popular taste had, on the whole, rejected the ecclesiastical modes, in spite of the familiarity with their tonality, which must have been engendered by constant attendance at church services and functions throughout the devout Middle Ages. Here and there popular melodies in ecclesiastical modes are preserved, but they are not many, nor do they bear the impress of that freshness which usually characterizes music, which is the spontaneous outgrowth of natural genius.
A Brief Survey of the Dances Popular in England During the Eighteenth Century
Authors: Woods F. Cunningham
Published: January 2007

The survey which I propose to take of the popular dances of the eighteenth century cannot profess to deal with any but the smallest part of the contents of the dance books which appeared in such numbers during the period now under our consideration.
A Seventeenth Century View of Musical Education
Authors: Bridge Frederick
Published: January 2007

The object of the short paper which I have promised to read to-night is to consider certain opinions upon “Music, and its importance in Education” found in the autobiography of a famous seventeenth-century dilettante, the Hon. Roger North. It will, I hope, interest you to hear what has been written upon this subject by a clever and acute observer over 200 years ago, particularly upon the subject of “Music in the home,” and as a factor in “Education.” It is, no doubt, of the utmost importance that the young should be encouraged to study music, and that, through them, the music of the home should be influenced in the right direction. Who can estimate the value of music in the family circle? You will hear in the course of my address how much this old seventeenth-century amateur, Roger North, thought of home music. Let me remind you of what Shakespeare thought of it. I quote from one of his sonnets:—

“Mark how one string, sweet husband to another,

Strikes each in each by mutual ordering,

Resembling sire and child and happy mother,

Who all in one, one pleasing note do sing.”
Sullivan as a National Style-Builder
Authors: Maclean Charles
Published: January 2007

This is rather a discourse than a lecture, and is given at very short notice to meet an unexpected vacancy.

I propose to describe the 5 periods into which Sullivan's career as a composer may be divided, and to show the points in each wherein he contributed towards forming an English national school. Previously however it is necessary to give an introduction, and make some definitions.
The Dual Theory in Harmony
Authors: Westerby Herbert
Published: January 2007

Mr. Chairman, Ladies and Gentlemen,—My object in reading to you a paper on “The Dual Theory in Harmony” is not only to draw attention to a subject which is very little known in this country, but also thereby to stimulate the spirit of comparison, and to induce the study of the various theories which have been put forward as a rational basis for all harmonic phenomena.
On the English Language as a Language for Music
Authors: Salaman Charles Kensington
Published: January 2007

An impression has long prevailed in the minds of Englishmen, no less than of foreigners, that our language is unfitted for music. This, I maintain, is a fallacy, originally accepted without due reflection, and since upheld, because no person, as it would appear, has deemed it his duty to subject to careful examination the foundation upon which it rests.
Cadences and Closes
Authors: Lee E. Markham
Published: January 2007

In taking the subject of “Cadences and Closes” as the theme of my paper to-day, I am of course aware that an excellent paper, under the heading “Closes,” was read before the Musical Association by Mr. F. Corder on January 7, 1889. This paper, however, was in the main an exposition of the wondrous variety and exceptional treatment of the Cadence in the works of modern writers, and I believe that the subject of the Cadence from an historical point of view has not been put before you.
Development of the Resources of the Organ
Authors: Casson Thomas
Published: January 2007

With regard to this I premise that if you wish to boast of your organ that it weighs so many tons, has so many score of stops and so many thousand pipes, has so many miles of wire or tubing, requires so many score of horsepower to blow it, has so many billions of combinations—arithmetically, not artistically—possible, “Like the nails in the horse's shoes, Sammy,” I have nothing on which I can inform you.
The Emotional Appeal in Instrumental Music
Authors: Trotter T. H. Yorke
Published: January 2007

The statement that music is the most emotional of the Arts will not be denied by any one. While the other arts awaken ideas, which in their turn act on the feelings, music acts inversely. It affects, in the first instance, the emotions, creating dispositions which we translate by the vague terms joy, sadness, tenderness, serenity, tranquillity, &c. (cf. Ribot, “Psychology of the Emotions,” p. 103).
The French Horn
Authors: Blaikley David James
Published: January 2007

The immediate object proposed for consideration in this paper was the experimental illustration of the conditions under which “hand-stopped” or “muted” notes are produced on the French horn, the subject having come before me in connection with the revision of the article on the “Horn” in Grove's Dictionary. At the request of our Council, however, I have so far amplified these notes as to include a slight sketch of the general development and characteristics of the instrumert.
Some Indian Conceptions of Music
Authors: Mann Maud
Published: January 2007

Before starting on the subject of our study this afternoon, I want to tell you about the instrument upon which I am going to play. It is a South Indian vînâ, from Tanjore. The vînâ is the national instrument of India. It possesses extraordinary tonal beauty and variety of expression when properly manipulated. Not having been able to obtain the right kind of drone instrument, called tambura, on which to accompany myself to-day, I have tuned this vînâ like the tambura, doing away with three of its strings. The effect thus obtained is similar to tambura, but of course it spoils the vînâ quality of the instrument. I must also tell you that there should be a drummer, and a vînâ- or sârenghi-player, as well as the tambura, in order to obtain a good accompaniment for songs. In the absence of these to-day, it will be rather like listening to two parts of a quartet!
Communication Respecting a Point in the Theory of Brass Instruments
Authors: Blaikley D. J.
Published: January 2007

The investigations of the late Sir Charles “Wheatstone on the subject of the powers of resonance of different masses of air enclosed in chambers of certain definite simple forms, were brought before us by Professor Adams in 1876, and it appeared to me that it might be a matter of interest to this Association to enter briefly upon the consideration of the resonance of brass wind instruments as illustrating Wheatstone's laws. There is very commonly a vagueness used in the description of such instruments which I submit is misleading; they being usually considered to be cones, or cones combined with cylindrical tubing, neither of which descriptions properly applies. And farther, they are commonly considered to be of necessity in tune, that is, in just intonation, having the vibrational numbers of the notes that may be produced from them without altering their length, in the proportion of the numbers, 1, 2, 3, &c. As so great an authority as Prof. Helmholtz writes (‘Sensations of Tone,’ pp. 511, 641): ‘Horns and trumpets have already naturally just intonation,’ and ‘brass instruments naturally play in just intonation, and can only be forced to the tempered system by being blown out of tune,’ it seemed to me worth attention that this must be taken only as being particularly, and not generally true: that is, that though the ideal brass instrument has such characteristics, this ideal is not necessarily attained to in practice. The relative and absolute numbers of vibrations of the first eight tones required on a brass instrument, taking the 4 feet C of 128 vib.
Songs of the Hebrides
Authors: Kennedy-Fraser Marjory
Published: January 2007

On the subject of the Songs of the Hebrides and of our work in connection therewith I have spoken so frequently to musicians and to the public and have written so fully in the introductory chapters of our published collections that I find it difficult, in a short paper, to avoid merely repeating myself.