bluuebunny/crossref_metadata_2025 huggingface dataset:
Theoretical band energetics of Ba(M0.5Sn0.5)O3 for solar photoactive applications
Authors: Borse Pramod H. , Lee Jae S. , Kim Hyun G.
Published: January 2007

We report here a comparative study of the theoretically calculated electronic structures of cubic BaSnO3 and cubic Ba(M0.5Sn0.5)O3 with M=Ti, V, Cr, Zr, Ce, and Pb, the tetravalent metal ions, to explore their possible efficacy for the visible light photocatalysis and solar energy conversion. We performed the calculations within the framework of density functional theory by using WIEN97 code. The 3d orbitals of Ti, V, and Cr, 4d of Zr, and the 4f and 6s orbitals of Ce and Pb, respectively, contributed to the bottom of the conduction band for narrowing of the band gap of cubic BaSnO3. Calculation of the frequency dependent absorption coefficient I(ω) of Ba(M0.5Sn0.5)O3 indicated that among the transition metal (Ti, V, Cr, and Zr) doped systems, Cr has comparatively higher visible absorption efficiency, whereas among other metal (Pb and Ce) systems, Pb showed significant absorption coefficient in low energy range (E⩽2eV). The comparison of the computed optical absorption coefficients shows that the Ba(M0.5Sn0.5)O3 systems can be arranged with respect to M as (i) Cr>V>Ti among first row transition metals and (ii) Pb>Ce>Zr among rest of tetravalent metals, in decreasing order of photoresponse towards low energy photons (E⩽2.5eV).
Diffusion-physisorption of a trace material in a capillary tube
Authors: Hossein-Babaei F. , Shakerpour S.
Published: January 2007

Submillimetric glass and polymer capillaries are employed in the fabrication of microfluidic devices and laboratory-on-a-chip microsystems. A quantitative analysis of the diffusion-related flow in these micro-channels enhances the accuracy of the designed systems and may unearth concepts of significant practical value. The authors have analyzed the diffusion-physisorption (D-P) of a trace material (TM) through gas- or liquid-filled capillaries in a broad range of bore sizes. A nonlinear partial differential equation rooted in the Langmuir model for adsorption and desorption to a solid surface has been obtained to describe this phenomenon. This equation was further improved to accommodate the presence of any arbitrary temperature distribution along the diffusion path. The solutions revealed that the progress rate of the D-P in submillimetric capillaries, unlike in tubes with diameters larger than a few millimeters, is affected by the physisorption of the diffusing molecules to the internal wall of the capillary and is, therefore, diameter dependent. In this case, accurate theoretical rate predictions required information on the nature of both the TM and internal surface of the capillary. Two scalar parameters were defined that, along with the diffusion coefficient of the TM, could facilitate numerical modeling of the diameter dependant process. For an unknown TM, these parameters can be calculated by the fitting of the numerically generated solutions to the experimentally recorded D-P progress rates and be used to identify the unknown TM. The temporal progresses of the D-P of methanol, ethanol, and 1-butanol traces in air-filled closed-end capillaries of 1.2 and 3mm internal diameters were experimentally recorded. The results verified the mathematical predictions.
Modeling of neutron emission spectroscopy in JET discharges with fast tritons from (T)D ion cyclotron heating
Authors: Tardocchi M. , Gorini G. , Andersson Sundén E. , Conroy S. , Ericsson G. , Gatu Johnson M. , Giacomelli L. , Hellesen C. , Hjalmarsson A. , Källne J. , Ronchi E. , Sjöstrand H. , Weiszflog M. , Johnson T. , Lamalle P. U. ,   JET EFDA contributors
Published: January 2007

The measurement of fast ion populations is one of the diagnostic capabilities provided by neutron emission spectroscopy (NES). NES measurements were carried out during JET trace tritium campaign with the magnetic proton recoil neutron spectrometer. A favorable plasma scenario is (T)D where the resulting 14 MeV neutron yield is dominated by suprathermal emission from energetic tritons accelerated by radio frequency at their fundamental cyclotron frequency. Information on the triton distribution function has been derived from NES data with a simple model based on two components referred to as bulk (B) and high energy (HE). The HE component is based on strongly anisotropic tritium distribution that can be used for routine best-fit analysis to provide tail temperature values (THE). This article addresses to what extent the THE values are model dependent by comparing the model above with a two-temperature (bi-) Maxwellian model featuring parallel and perpendicular temperatures. The bi-Maxwellian model is strongly anisotropic and frequently used for radio frequency theory.
Dissipation in magnetic reconnection with a guide magnetic field
Authors: Hesse Michael
Published: January 2007

A combination of numerical simulation results and analytical theory is applied to the problem of magnetic reconnection in a guide magnetic field. An investigation of electron distribution functions within the electron diffusion region leads to a picture of mixing of particles with different acceleration histories on electron Larmor scales. Based on an apparent average loss of accelerated particles by field-aligned and E×B transport, it is proposed that the role of the reconnection electric field is to replenish this loss by acceleration of particles that enter the electron diffusion region. Analytic theory is employed to verify this model, and an equation is derived, which balances the average electric field force density by a diffusion term applied to the electron momentum density. The diffusion coefficient contains explicitly the electron Larmor spatial scale and a poloidal transport time scale.
Liquid nitrogen to room-temperature thermometry using niobium nitride thin films
Authors: Bourgeois Olivier , André Emmanuel , Macovei Cristina , Chaussy Jacques
Published: January 2007

Niobium nitride thin-film thermometry has been developed for the temperature range of 70 to 300 K. The deposition parameters have been optimized in order to get the best performances, i.e., the highest temperature coefficient of resistance (TCR), up to 300 K. The TCR is found to be largely higher than 1% as the temperature is lowered from 300 K, up to 6% at 77 K. These significant performances are compared to the one of regular platinum thermometer as well as to other resistive thermometer: semiconductor type or amorphous metal to insulator transition materials. It is discussed how the properties of the NbN thin films could be due to a high-temperature Mott transition.
Bistable phase control via rocking in a nonlinear electronic oscillator
Authors: Buldú Javier M. , Staliunas K. , Casals J. A. , García-Ojalvo Jordi
Published: January 2007

We experimentally demonstrate the effective rocking [de Valcárcel and Staliunas, Phys. Rev. E 67, 026604 (2003)] of a nonlinear electronic circuit operating in a periodic regime. Namely, we show that by driving a Chua circuit with a periodic signal, whose phase alternates (also periodically) in time, we lock the oscillation frequency of the circuit to that of the driving signal, and its phase to one of two possible values shifted by π, and lying between the alternating phases of the input signal. In this way, we show that a rocked nonlinear oscillator displays phase bistability. We interpret the experimental results via a theoretical analysis of rocking on a simple oscillator model, based on a normal form description (complex Landau equation) of the rocked Hopf bifurcation.
Oblique modulation of electrostatic modes and envelope excitations in pair-ion and electron-positron plasmas
Authors: Esfandyari-Kalejahi A. , Kourakis I. , Shukla P. K.
Published: January 2007

The nonlinear amplitude modulation of electrostatic waves propagating in a collisionless two-component plasma consisting of negative and positive species of equal mass and absolute charge is investigated. Pair-ion (e.g., fullerene) and electron-positron (e-p) plasmas (neglecting recombination) are covered by this description. Amplitude perturbation oblique to the direction of propagation of the wave has been considered. Two distinct linear electrostatic modes exist, namely an acoustic lower mode and Langmuir-type optic-type upper one. The behavior of each of these modes is examined from the modulational stability point of view. The stability criteria are investigated, depending on the electrostatic carrier wave number, the angle θ between the modulation and propagation directions, and the positron-to-electron temperature ratio σ. The analysis shows that modulated electrostatic wavepackets associated to the lower (acoustic) mode are unstable, for small values of carrier wave number k (i.e., for large wavelength λ) and for finite (small) values of the angle θ (yet stable for higher θ), while those related to the upper (optic-like) mode are stable for large values of the angle θ only, in the same limit, yet nearly for all values of σ. These results are of relevance in astrophysical contexts (e.g., in pulsar environments), where e-p plasmas are encountered, or in pair fullerene-ion plasmas, in laboratory.
Quasi-single helicity state by a small positive pulse of toroidal magnetic field in TPE-RX reversed field pinch experiment
Authors: Hirano Y. , Koguchi H. , Yambe K. , Sakakita H. , Kiyama S.
Published: January 2007

By applying a small positive pulse (ΔBta) in toroidal magnetic field, the quasi-single helicity (QSH) state can be obtained with a controllable and reproducible manner in a reversed-field pinch (RFP) experiment on the large RFP machine, TPE-RX [Y. Yagi et al., Fusion Eng. Des. 45, 421 (1999)]. The QSH state in RFP is one of the states where the improved confinement can be observed, and is important for development toward the pure single helicity (SH) state. In the SH state, the dynamo-action for sustaining the RFP configuration will be driven by a single helical mode and its harmonics, and the anomalous plasma loss can be avoided which is caused by the multi-helicity dynamo action in ordinary RFPs. In the operating condition presented here, the reversal of toroidal magnetic field (Bta) is maintained at a shallow value (∼−1mT) for a certain period (∼20ms) after the setting up of the RFP configuration and then the positive ΔBta (≲5mT magnitude and ∼2ms width) is applied to the Bta, which is usually negative during the sustaining phase of RFP. Just after applying the pulse, the m∕n=1∕6 mode (m and n being the poloidal and toroidal Fourier mode numbers, respectively) grows dominantly and the configuration goes into QSH state. This QSH state can be sustained for a long period (up to ∼45ms) almost until the end of discharge by applying a delayed reversal of Bta with appropriate timing and magnitude. The setting up of the QSH states shows a reproducibility of almost 100% with the same timing corresponding to the applied positive pulse. This observation can confirm the interpretation in the former report [Y. Hirano et al., Phys. Plasmas 12, 112501 (2005)], in which it is claimed that the QSH state is obtained when a small positive pulse in toroidal magnetic field spontaneously appears.
Towards atomic site-selective sensitivity in tip-enhanced Raman spectroscopy
Authors: Hayazawa Norihiko , Watanabe Hiroyuki , Saito Yuika , Kawata Satoshi
Published: January 2007

Depending on each nitrogen atom of adenine molecule to which a silver atom of a metallic tip approaches, tip-enhanced near-field Raman spectroscopy may show a potential to achieve atomic site-selective detection sensitivity. Molecular vibrational calculations show that silver atoms and adenine molecule create several isomers generating specific vibrational modes of each isomer that are shifted or not observable in isolated adenine molecule itself. Here, the authors observe the specific vibrational modes and spectral shifts of isomers experimentally and are in good agreement with their calculations.
Interface characteristics of vertically aligned carbon nanofibers for interconnect applications
Authors: Ominami Yusuke , Ngo Quoc , Suzuki Makoto , Austin Alexander J. , Yang Cary Y. , Cassell Alan M. , Li Jun
Published: January 2007

The authors characterize the detailed interface structure of Ni-catalyzed vertically aligned carbon nanofibers (CNFs) prepared by plasma-enhanced chemical vapor deposition for interconnect applications. Stacked graphitic layers and cup-shape structures of CNFs around the interface region have been observed using high-resolution scanning transmission electron microscopy. The interaction between the Ni catalyst and Ti layer dramatically affects the CNF structure during initial growth. The effect of interface nanostructures on contact resistance is also discussed.
Electric field induced blueshift of the e1-hh1 exciton transition in a GaAs1−xNx∕GaAs (x<1%) stepped quantum well
Authors: Lim A. C. H. , Gupta R. , Haywood S. K. , Steer M. J. , Hopkinson M. , Hill G.
Published: January 2007

The authors present room temperature photoluminescence and photocurrent measurements on a three layer GaAsN∕GaAs∕Al0.35Ga0.65As (N⩽1%) stepped quantum well. A blueshift in the ground state transition energy is observed with the application of an electric field. A net blueshift of >10meV was obtained at 40kV∕cm. These results suggest a type II band lineup in the GaAsN∕GaAs heterojunction for nitrogen compositions below 1%.
True dipole at the indium tin oxide/organic semiconductor interface
Authors: Lin Yow-Jon , Hong Jia-huang , Lien Yi-Chun , Liu Bei-Yuan
Published: January 2007

There has been long-standing interest in the development of organic optoelectronic devices. However, the authors find that the previously reported interface-dipole calculations seem to be inaccurate, owing to a persistent neglect of the induced band bending of indium tin oxide (ITO) by coating of organic semiconductors on ITO. In this study, the correlation between the induced band bending of ITO in the presence of organic semiconductors on ITO and the dipole at the interface was examined.
Impacts of ammonia background flows on structural and photoluminescence properties of InN dots grown on GaN by flow-rate modulation epitaxy
Authors: Ke W. C. , Lee L. , Chen C. Y. , Tsai W. C. , Chang W.-H. , Chou W. C. , Lee M. C. , Chen W. K. , Lin W. J. , Cheng Y. C.
Published: January 2007

Structural and photoluminescence (PL) properties of InN dots grown on GaN by metal organic vapor phase epitaxy using the flow-rate modulation technique, and their dependence on growth conditions, were investigated. An ammonia (NH3) background flow was intentionally supplied during indium deposition periods to control the kinetics of adatoms and hence the morphology of InN dots. Samples prepared under lower NH3 background flows generally exhibit narrower and more intense PL signals peaked at lower emission energies. The authors point out that the NH3 background flow is an important parameter that controls not only the nucleation process but also the emission property of InN dots.
Hysteresis mechanism in pentacene thin-film transistors with poly(4-vinyl phenol) gate insulator
Authors: Lee Cheon An , Park Dong-Wook , Jung Keum-Dong , Kim Byung-ju , Kim Yoo Chul , Lee Jong Duk , Park Byung-Gook
Published: January 2007

The hysteresis mechanism is studied in pentacene organic thin-film transistors (OTFTs) with poly(4-vinyl phenol) (PVP) gate insulator by examining OTFTs with an oxide/PVP double layer gate insulator. The oxide thickness affects the direction of the hysteresis as well as its magnitude. This result can be explained on the basis of the charge injection and trapping mechanism rather than slow polarization or ion migration. The hysteresis occurs mainly due to the charges which could be injected from the gate electrode and trapped in the PVP. As the thickness of the oxide layer is increased, the gate charge injection is blocked and the effect of the charges from the channel increases.
Temperament; or, the Division of the Octave
Authors: Bosanquet R. H. M.
Published: January 2007

The investigations which form the subject of the present communication had their origin in a practical source. It is conceived important that this should be understood, as many musicians regard the problem as a purely theoretical one, undeserving of practical attention. It was in taking part in the tuning of an organ that the effect of the ordinary equal temperament was first realised by the writer as a matter affecting musical sounds in practice, as distinguished from theory. It is the writer's experience that after the ear has once been attracted to this effect, it never fails to perceive it in the tones of instruments tuned in the ordinary way. Some tones show the effect more, some show it less. Among keyed instruments the worst effects are produced by the ordinary harmonium; next to this comes the full-toned modern grand piano, which is often unpleasant in slow harmony, especially if, as is generally the case, the temperament is not very uniform;∗ and the best tones, which show the effect least, are those of soft-toned pianos with little power, and the ordinary organ diapason-stops—especially those old-fashioned, sweet-toned diapasons, which are rapidly disappearing before the organ-builders of the present day. The constant perception of these effects served as an inducement to a study of the subject, pursued in the first instance with the practical object of the improvement of instruments, and afterwards also for the sake of the interest attaching to the theory developed.
The Influence of the Viennese Popular Comedy on Haydn and Mozart
Authors: Badura-Skoda Eva
Published: January 2007

It is well known that during the Baroque period an important role in Vienna's cultural life was played, not only by the commedia dell'arte, but by all kinds of comedies, both Italian and German, in which music was an essential ingredient. Theatre history in Vienna during the eighteenth century cannot be separated from musical history, since music, like dance and pantomime, had been an integral part of the popular theatre for centuries. It was not at all exceptional for the operetta Der neue krumme Teufel of 1758, for which Haydn composed the music, to include a pantomime (also with music by Haydn) and an Italian intermezzo (the composer of which has not yet been identified). Also typical of most Viennese popular dramas during the eighteenth century was the traditional combination of comic and serious elements.
Frescobaldi's Early Inganni and Their Background
Authors: Harper John
Published: January 2007

It is forty years since Willi Apel published his important article which linked Frescobaldi's keyboard music with that of the contemporary Neapolitan composers, Mayone and Trabaci. By drawing attention to generic, formal and stylistic features common to the music of Frescobaldi and the Neapolitans he established a more balanced outlook on Italian keyboard music of the seventeenth century, and also pointed to Cabezon as an influence on Mayone and Trabaci. There is, however, a case for reconsidering this current view in the light of the artistic contacts between Naples and Ferrara in the last decade of the sixteenth century, and for examining the possible origins of some of the compositional processes that have appeared to link Frescobaldi to his southern counterparts. Professor Apel singled out features common to Frescobaldi, Mayone and Trabaci; and more recent work by Roland Jackson has established further musical evidence to support the specific influence of Trabaci on Frescobaldi's chromatic compositions and toccatas, and to suggest a more general pattern of musical practice in Naples, exemplified in the chromatic and other compositional procedures found both in Trabaci's music and in the works – vocal as well as instrumental – of Gesualdo and de Macque. Amongst these procedures is the device of inganno which Jackson has identified in some of Frescobaldi's mature chromatic music.
Bowed Continuo Instruments in French Baroque Chamber Music
Authors: Sadie Julie Anne
Published: January 2007

French Baroque composers, like their counterparts all over Europe, regarded the bass viol, the cello, the bassoon and, in some circumstances, the double bass as suitable sustaining continuo instruments. The choice of one or another, or a combination, depended no less upon circumstances than it did on the desire for a specific stylistic nuance or timbre. In this paper I propose to examine the evidence – in memoirs and other accounts, and in manuscript and printed scores – that documents the rise and decline of the bass viol and the emergence of the cello as a chamber music instrument. The nature of the musical evidence is often contradictory in itself, but ultimately it is indicative of a larger process, of which the use of the viol and the cello were a significant part: the assimilation of Italian genres into the French musical idiom.
Mahler and Beethoven's Ninth Symphony
Authors: McCaldin Denis
Published: January 2007

Throughout his life, Mahler was profoundly influenced by Beethoven's music. Many of his symphonies are modelled on those of his predecessor, and as a conductor much of his reputation outside the opera house arose from his interpretations of Beethoven. Mahler considered performance of the Ninth Symphony to be particularly challenging and, like others before him, he prepared his own versions of the score in an attempt to overcome some of the interpretative difficulties. It is the purpose of this article to examine these revisions with particular reference to Mahler's own working scores.
In Search of the Listener
Authors: Obelkevich James
Published: January 2007

Can music really be said to exist without someone to listen to it? Anyone reading the works of musicologists – and even of social historians of music – might be forgiven for thinking so. Listeners had no place on Guido Adler's original agenda for musicology and they have had little attention since. While we have learnt much about composers and composition, performers and performing practice, patrons and impresarios, publishers and publishing, the ordinary listener has hardly had a look-in. (William Weber's pioneering work,Music and the Middle Class, is an important exception.) In the current vogue for analysis they are replaced by a kind of ideal listener, or in effect disappear altogether; whatever else it is, analysts' music is not music as it is heard by most actual listeners, with their ‘favourite passages’ and emotional reactions. And if not simply ignored, listeners are often regarded as pitiably unadventurous, indifferent to ‘form’, easily seduced by catchy tunes, extra-musical programmes and flamboyant personalities; the notion that music history is made by listeners as well as by composers and performers seems almost perverse. Almost the only audiences which have been studied with anv degree of sophistication are those for rock and pop. We have learnt much about the producers of music; the listeners remain a great unknown.
The Editor and the Virtuoso, or Schenker versus Bülow
Authors: Cook Nicholas
Published: January 2007

It so happens that almost all the music which Schenker edited had previously appeared in editions by Hans von Bülow. On each occasion, Bülow's edition provoked from Schenker what he himself described as his ‘frequent and energetic criticism’. Examining the basis of these criticisms may lead us to a better understanding of Schenker's own editorial work – work which had an importance within Schenker's total output that theorists, if not musicologists, have tended to underestimate. For Schenker, editing meant restoring the masterworks of the past to their authentic state (the title-page of his edition of the Beethoven sonatas describes it as a ‘reconstruction’) and thereby ensuring their survival in a world that, in Schenker's eyes, had lost the capacity to appreciate their significance. And such editing called for respect for the masterworks and a profound understanding of them; hence the extraordinary virulence with which Schenker attacked editors such as Bülow, who in his view lacked these qualities. In his study of the G minor Symphony, Schenker wrote: ‘Editions of Mozart's works no longer have anything in common with the original manuscripts.’ And he added: ‘Then is Mozart dead?’ This extreme sense of the editor's responsibility – a responsibility that extended to the life and death of the masterworks – informed everything that Schenker did. I would go so far as to say that Schenker's theory of levels was conceived as, more than anything else, a decisive contribution to editorial method. And to say this entails a considerable revision of the image of Schenker prevalent today.
Mayr, Rossini, and the Development of the Early Concertato Finale
Authors: Balthazar Scott L.
Published: January 2007

The years from 1795 to 1815, which separated the height of Cimarosa's career from the beginning of Rossini's, represent a watershed in the history of Italian opera, for they brought the final stages of the transition from Metastasian opera seria to nineteenth-century melodramma. Such now obscure composers as Simon Mayr, Ferdinando Paer, Niccolò Zingarelli and Stefano Pavesi – and their librettists – shaped this transition, and their works embody the continuities of development which link those very different operatic traditions. Consequently, these works hold the key to understanding the genesis of conventions which have habitually been attributed to Rossini and provide for modern scholars an essential context for assessing Rossini's particular role in establishing the new operatic prototypes.
The ‘Hindostannie Air’: English Attempts to Understand Indian Music in the Late Eighteenth Century
Authors: Woodfield Ian
Published: January 2007

A ‘hindostannie air‘ may be defined as a short piece derived from an Indian original but arranged in a European idiom. The genre came to prominence among the English inhabitants of Calcutta during the 1780s and 1790s. A small group of women, reflecting the currently fashionable interest in anything oriental, began to employ professional musicians to ‘collect’ Indian songs – that is, to notate them as best they could from the performances of leading Indian singers. Once the melodies had been transcribed, they were arranged as solo keyboard pieces or as songs, a process which necessitated the use of a key signature, a time signature and a harmonization in a European idiom. At the height of the fashion, pieces were performed regularly at the fashionable soirées of Calcutta society, often to great applause, with the singers sometimes adopting Indian dress to add to the ‘authenticity’ of the presentation. At the same time the repertory began to attract the attention of the small group of orientalists led by Sir William Jones, who were engaged in the first serious European attempt to understand the principles that lay behind Indian music. By the turn of the century, with Anglo-Indian attitudes to Indian culture becoming steadily more hostile, the genre began to decline in popularity, but it was then taken up by scholars in England. ‘Hindostannie’ specimens from collections brought back from India provided important material for the compilations of national airs published by Crotch, Jones and others. Having thus established a small but distinctive niche in popular English culture as exotic imports, Indian tunes of one kind or another continued to appear throughout the nineteenth century.
Britten and the Circle of Fifths
Authors: Mark Christopher
Published: January 2007

Britten‘s music is usually thought of as tonal, even if the term is sometimes qualified.’ Much of the drama of his operas (at least, up to and including A Midsummer Night's Dream, op. 64 (1960)) has been discussed in terms of ‘tonal action’, as have the structures of individual songs, song cycles and purely instrumental works. Yet his earliest published works are not tonal in the same way as later, more widely known ones. Not until the works of his American years (1939–42) do we begin to see the kind of tonal structure that enabled Peter Grimes, op. 33 (1945), to be conceived – structures like the highly focused tritonal opposition of Les illuminations, op. 18 (1939), or the E/C ambiguity (eventually resolved in favour of E) of the Hymn to St Cecilia, op. 27 (1942). Nevertheless Britten's first three works with opus numbers, written while he was a student at the Royal College of Music from 1930 to 1933 (the Sinfonietta, op. 1, completed in July 1932; the Phantasy Quartet, op. 2, completed in October 1932; and A Boy was Born, op. 3, completed in May 1933), are quite clearly diatonic in basis. This essay explores the ways in which this diatonicism is structured, and sketches the subsequent history of the main procedure involved.
Some Thoughts About Singing
Authors: Penna Frederic
Published: January 2007

When it was intimated to me that I might be invited to read a paper at one of the meetings of the Musical Association, I hesitated for a moment, should the invitation come, feeling doubtful whether it was in my power to say anything that would not be as well, or better, said by any one of its members.
The Music of Japan
Authors: Piggott F. T.
Published: January 2007

The abundant leisure of Eastern life affords ample opportunity for the study of the curious customs, the cultured arts, the profound sciences of the people, who are never slow to extend to the Western, who dwells, though but for a few years, among them, the graciousness of their hospitality; and to open freely the treasure-houses wherein the stores of their learning lie hoarded. But you will well understand that difficulties innumerable impede the acquisition of exact information by those who are ignorant of the languages. So much of Eastern learning is traditional, so much of the practice is hereditary, that it is of first importance to acquire it only from those who are in the direct succession of knowledge. When they are discovered, and the necessary formal introductions have been accomplished in accordance with the rigour of native etiquette, a fresh difficulty arises which is in truth a very labour of Sisyphus, so often has the stone of knowledge to be rolled over the same ground. The interpreter must possess not only a good knowledge of English, but also a quick intelligence to grasp the technicalities of the subject, the double set of art terms used by the questioner and the questioned. In such a subject as music, where each can only use those terms with which he is familiar, you will easily understand the patience necessary to arrive at facts, the prolonged process of sifting to which all statements have to be subjected, and the almost indefinite postponement of conclusions.
Richard Wagner's Prose
Authors: Ellis William Ashton
Published: January 2007

Ladies and Gentlemen,—When your Council first asked me to read a paper before you, I must admit that I was a little bit nonplussed, for neither am I a professional nor a professing musician; and, though it occurred to me that there might lurk behind the invitation some distant hint that I should discuss Wagner or “Wagnerism,” yet I felt somewhat loth to venture among you with my crude ideas upon his musical form. My next thoughts turned to the dramas, on which subject I did, perhaps, feel a little more at home, having devoted a certain amount of time to an attempt at getting to the bottom of them; but would they be quite an appropriate topic on which to hold forth before a musical Association ? Well, perhaps not. Then Bayreuth and the method of performance there ? No, again; for most of you must have already been there, and would be better qualified than myself to give a technical opinion. There thus was only one subject left to me, and that was the Prose writings. I almost feared, at first, that even this subject might not be acceptable, as those writings do not deal in any special manner with the Theory of music; but I was reassured when your Secretary kindly sent me a copy of last year's “Proceedings,” and I there found that you admitted the “History of Music and other kindred subjects.” It seemed to me that there was so benignant a latitudinarianism in the expression “other kindred subjects,” that I finally made up my mind to accept your hospitable invitation and unbosom myself—perhaps I ought to say, un-brain myself—of a few thoughts on what for some time past has been to me an engrossing topic—namely, Richard Wagner's Prose. This subject, however, is so vast that any half-hour's paper can barely touch the fringe of it. I must therefore apologise in advance if I hurry you at a breakneck pace from one aspect to another, and only give a glimpse of each.
Artistic Landmarks
Authors: Culwick James C.
Published: January 2007

When I was requested to read a paper here, my surprise and my pleasure were great; but knowing as I do the wide scope, as well as the high value of the work of this Association, I questioned if there could be any subject left over that had not already been considered. Under these circumstances I judged it best to give a simple utterance to what is of present interest to myself. I am happy in the conviction that, wherein I am found to fail, the deficiency will be supplied by the discussion that is to follow.
Tendencies of the Operatic Stage in the Nineteenth Century
Authors: Visetti Albert
Published: January 2007

Since the times of the Reformation, no century has witnessed such radical changes in human thought as have taken place during the last one hundred years. All political, social, scientific, and artistic principles and methods have been altered, and a strict practical and logical consideration appears happily to be the accepted leading theory in all branches of learning.
A Consideration of the Various Types of Songs Popular in England During the Eighteenth Century
Authors: Woods F. Cunningham
Published: January 2007

It is my duty to commence this lecture with a twofold apology or explanation, if you prefer to call it so.

In the first place I would allow myself the usual privilege of construing the term Eighteenth Century in an elastic sense; in the second place I am bound to admit that in many cases it is all but impossible to give a date, even approximately, to some songs to which your attention is to be directed to-day. One may look through numbers of these “broadsides,” or leaflets, and find that not only are composers' and publishers' names wanting, but that the date and price are very seldom given.
The Philosophy of the Higher Beauty of Music
Authors: Goddard Joseph
Published: January 2007

Musical aesthetics is admitted to be a peculiarly occult branch of philosophy, and one in which little progress has been made. Prominent thinkers have wrestled with it without conclusive result. Among scientists and philosophers who have recently attacked it are Bain, Helmholtz, Darwin, Weissmann, and Herbert Spencer; and although their respective views remain authoritative utterances on the subject they still fail (probably because none of these thinkers gave more than a fraction of his attention to the problem) to supply a complete and convincing rationale of musical influence. The thinker on music perceives at the outset the distinction that music does not draw its general form from nature like painting and sculpture do, or from language like poetry does, but that this general form has been shaped gradually by man.
The Development of National Opera in Russia
Authors: Newmarch Rosa
Published: January 2007

The history of the development of national music—like that of every other popular movement in Russia—presents a continuous conflict. On the one hand we see a strong natural impulse moving irresistibly towards fulfilment; on the other, a policy of repression, and, at times, even of active persecution. That the close of this century has witnessed the triumph of Russian music proves how strong must have been the innate capacity for this art, and how deep the love of it, which could overcome every obstacle to its development.
Music and Musicians of the Walloon Provinces of Belgium
Authors: Cobbett W. W.
Published: January 2007

Before touching on the musical side of my paper it may be well to point out that the population of Belgium is divided into two sections; the Flemings of Teutonic origin speaking a language which is practically Dutch, and the Walloons, of Celtic origin, speaking French and Walloon. The latter occupy the S.W. provinces of Liège, Namur, Hainault, S. Brabant, and W. Luxembourg, and speak a Romance dialect, very akin to northern French of the thirteenth century. Roughly speaking, the Flemish dialect predominates in the proportion of nine to eight, so that it cannot be said that there is much difference between the two populations in point of numbers. But the two races are quite distinct, as much so as Welch and English, and for the same ethnical reasons. The very word Walloon has the same signification as the word Welch, both meaning foreigner. Neither Fleming nor Walloon belies his origin. The former is fair, phlegmatic, and inclining more to the reflective than the active life. The latter is dark, sanguine, lively and energetic. The Walloons were always to the fore in revolutionary struggles, especially those which culminated in the overthrow of the Dutch in 1830. But they were already very unruly as far back as the fifteenth century, as you may learn in a very pleasant way from the pages of Scott's novel, “Quentin Durward,” or from Michelet's “Louis XI.”
The Development of National Opera in Russia
Authors: Newmarch
Published: January 2007

In the paper which I had the honour of reading before the Musical Association in January, 1900, I spoke of the innate musical genius of the Russian people, and of their blind, instinctive groping towards a desired end—the foundation of a School of National Music. I showed how the ideas of Varlamov, Cavos, Lvov, Verstovsky, and other musicians at the beginning of the last century, tended continually in this direction; but how none of them—gifted amateurs as they were—had been strong enough to achieve their purpose. Finally, I related how Glinka, with the intuition and power which belong to genius alone, caught up the spirit, not only of Russian music, but of the music of the neighbouring East—and in “A life for the Tsar” and “Rousslan and Lioudmilla” realised the long dream of a national epic opera.
Some Aspects of Beethoven's Instrumental Forms
Authors: Ernest Gustav
Published: January 2007

Two centuries claim Beethoven for their own—two centuries which in the history of music will always appear as very opposites, close though their relations are: the eighteenth century with its worship of form, the nineteenth with its worship of the idea. In Beethoven both meet, in him both find their greatest representative—in him first, and in him alone, their leading principles become reconciled. He is the only composer in whose works the great ideas which were agitating his time, some of the problems which have occupied man's mind since the beginning of man's history, have found an echo. Not that he deliberately took as it were those ideas and problems as the text of his compositions, but so much had he thought about them, so deeply was he imbued with their importance, so much had they become keynotes of his mode of feeling, so much in fact part and parcel of his personality, that the freer the expression he allowed to the latter in his music, the more was it bound to reflect those ideas. At the same time, it was Beethoven who put the last finishing touches to the grand edifice of musical forms, the material for which had been brought together in hundreds of years of slow, persistent, and consistent work, till in Ph. E. Bach, in Haydn, and in Mozart arose the architects who with master-hands were to shape and fix its outlines for all time. Beethoven accepted the forms from them, but soon he began to alter and to extend them: again not because he deliberately wished to improve on his predecessors, but because he did not find these forms an adequate medium for the expression of his individuality. It was in obedience to the demands of the latter that the inherited forms gradually assumed a new aspect altogether, gradually gained that power and pliability which enabled them to give voice to every shade of feeling with a directness, an intensity and subtleness which they had never been thought capable of.
The Development of National Opera in Russia (Fourth Paper)
Authors: Newmarch
Published: January 2007

The first aesthetic impressions of an artist's childhood are rarely quite obliterated in his subsequent career. Often we may trace some peculiar quality of a man's genius back to the very traditions he imbibed in the nursery. Therefore, despite Browning's sarcasm, it is not always mere sensational curiosity which prompts the question “What porridge had John Keats?”
The Development of National Opera in Russia. Rimsky Korsakov
Authors: Newmarch
Published: January 2007

With my present paper—the fifth which I have had the honour to read before this Association—my first idea of offering you an outline sketch of the Development of National Opera in Russia is carried to a conclusion.
The Antient Concerts, 1776–1848
Authors: Matthew James E.
Published: January 2007

Although domestic music appears to have flourished in England during the Madrigalian Period, i.e., from 1588 to 1638, as witness well-known and often-quoted passages from Morley's “Plaine and Easie Introduction,” 1597, and Peacham's “Compleat Gentleman,” 1620 (a work, by-the-bye, just reprinted by the University of Oxford), any idea of a public performance does not appear to have suggested itself. The professional musician of that day was either a member of a Cathedral choir or was attached to some family of distinction, as, for instance, Christopher Simpson to that of Sir John Bolles. The pursuit of music as a relaxation was of necessity confined to those who possessed means and leisure. The political troubles effectually put a stop to such pursuits, with the result that several well-known musicians, among them Captain Cook and Wm. Lawes, found their occupation gone, and from a feeling of loyalty actually took up arms in the Royalist cause, in which the latter lost his life.
Thomas Mace, the Man; the Book; and the Instruments
Authors: Watson Henry
Published: January 2007

Modest, serious men having genius, talent, and worth, have never been scarce in England. One of this most excellent type, whom I bring into the room to meet others who are in it already, was Thomas Mace, the Music Master of the University of Cambridge. Thomas Mace, as all the world knows, wrote and published a book on music—here is a copy of the original edition—indeed, I think that, like so much that ardent musicians compose and publish, there never was any but the original edition. That book, under the title of “Musick's Monument,” proclaims in lengthened tones its writer's private worth, declares his talent, and, above all things else, proclaims his overmastering modesty. That modesty the guileless genius betrays with the first drop of ink that fell from his voluble pen; for he thus declares the title, character, and purpose of his work : “Musick's Monument, or a Remembrancer of the best practical Musick, both divine and civil, that has ever been known to have been in the world.”
The Difficulties of Counterpoint
Authors: Corder F.
Published: January 2007

Ladies and Gentlemen,—I am surprised to find that it is just twenty-five years since I last had the honour of addressing this Society. Much water has flowed under London Bridge since that occasion, and the musical world—if not the Musical Association—has moved on. In 1888, I read a very modest paper on Cadences, describing the innovations of the then modern composers, Grieg, Liszt, and Wagner. I was felt to be a dangerous revolutionary—in fact, I was told so,—but seven years later someone did me the honour to paraphrase and repeat my paper, and it was received with equanimity. Now it reads like ancient history, and I believe I am considered quite a fogey. Well, as to that, I have at least endeavoured to keep up with the furious tide of innovation, and to that end have done what I may safely wager not many of my present hearers have done—namely, read through the entire Proceedings of the Musical Association, discussions and all, since its foundation. I am not going to criticise them, but from the very few papers on practical subjects I find that one stands out brilliantly before all the rest It was by my old friend, the late Dr. F. J. Sawyer, of Brighton, and the theme of his discourse was, “Why do we teach Harmony so badly?” In spite of the deep offence given to many by this trenchant inquiry, no one can deny that it did good. That paper was the cause of the publication of the two best text-books on Harmony the world has yet seen: those of Prout and Macpherson. No one can assert in the present day that Harmony is inadequately taught—except, of course, by the unmusical, whom no books can help. I wish I could feel as sure about Counterpoint But here I must carefully explain that my doubt relates not at all to the adequacy of the teachers, but entirely to the matter taught. I have been teaching Counterpoint for over thirty-five years, and have been long convinced that our ideas upon the subject need modernising. And what I mean by that I can only explain by a comparison.
Some Curiosities of Musical Criticism
Authors: Paget Mary M.
Published: January 2007

Mr. Chairman, Ladies and Gentlemen: I must thank you for the honour you do me by inviting me to speak to you. Though you will not fail to discover the fact very shortly for yourselves, I would rather confess at once that I am only an amateur—and, I hope, a humble one. I come here as much to learn my mistakes as to state my opinions; and if I do the latter with that certainty and emphasis which are the special privilege of the partially instructed, I hope for equally emphatic contradiction from those who know far more than I do. Having then begun—as do some preachers—by begging for charity, I will start with one of the many curiosities of criticism that I had the pleasure of discovering in that home of delightful curiosities, animate and inanimate—the British Museum Reading Room. One of the best musical critics of the 19th century, Mattheson, of Hamburg, has described in detail the effect of music upon different animals. He does not worry about scientific proof, but says that crabs follow the pipe, hares the transverse flute, camels a small bell, trout and carp a large bell, bees the cymbals, and spiders the lute. “Pigs,” he says, “will go anywhere after a zither.”
Sound-Ranging
Authors: Jones E. Lancaster
Published: January 2007

The problem of range-finding—i.e., finding the distance of an object—is generally reduced to that of finding the direction of the object from each of a set of base points. Usually the object ranged is in motion, and the necessary measurements must be made rapidly.
Country Cryes
Authors: Bridge J. Frederick
Published: January 2007

I have nothing very extraordinary to communicate to you, and I do not know that you will think what you hear to-night is worth the trouble of coming to; but it has occurred to me that this would be an opportunity for many of you just to make the acquaintance of a particular class of music with which I have been rather intimately connected for some little time. Most of you know that I have been able to recover certain music composed by the best musicians in the early seventeenth century embodying fortunately nearly 150 of the old Cryes of London, many of them not at all known; and a very interesting study it has been to me, and I hope interesting also to those who have heard them. We are anxious nowadays to recover and preserve old folk songs. A great mine of these real old Cryes, beautiful old tunes many of them, had been overlooked. They had never been printed so far as I know. Those that have come before me have all been in manuscript.