bluuebunny/crossref_metadata_2025 huggingface dataset:
ĺnsulas Extrañas
Authors: Reckert Stephen
Published: November 2023

‘LAS ínsulas extrañias’, St John of the Cross explains in the commentary to his Cantico Espiritual, are so called because ‘they are seagirt, and beyond the seas, and very far away’. Half a century earlier in Gil Vicente’s Lusitania, Venus—herself daughter and mistress of divine ínsulas—had commanded the marriage of Portugal and the daughter of the Sun to be solemnized to the tune of a villancico which, she said, ‘we use in Greece’ (and with which we too are already acquainted).
The Isle Of Venus (Iconography Of An Archetype)
Authors: Reckert Stephen
Published: November 2023

Yes—oh, dear, yes (to paraphrase Forster’s wry comment on the other main narrative genre), the epic, too, tells a story. To be sure, the epic of the Lusiads, and even those of Odysseus and Aeneas, in so far as they are the stories of voyages regarded—or at least represented—as belonging to History, differ in principle from Dante’s professedly allegorical pilgrimage or that of the Soul in Gil Vicente’s eponymous play,1 in both of which the poet uses the story to say something else (or something more). In the purportedly historical epic, that is, the narrative of the journey does not set out to do more than give an account of that journey as such, which is thus in the strictest sense the meaning—in semiotic terms, the signified—of the narration (though not, as we shall see, of the poem).
Beyond Chrysanthemums
Authors: Reckert Stephen
Published: November 2023

Borges (iii. 299) confesses to a ‘culto de! Oriente’ which, in his view, the peoples of that ‘miscellaneous Orient’ do not themselves share (whether with him or with each other, he omits to say). Among those who do not share it one could safely include the poet Ō-oka, whose purposely demystifying line I have appropriated for my title.
The Madness of Epic
Authors: Hershkowitz Debra
Published: November 2023

Madness plays a vital role in many ancient epics: not only do characters go mad, but madness also often occupies a central thematic position in the texts. In this book, Debra Hershkowitz examines from a variety of theoretical angles the representation and poetic function of madness in Greek and Latin epic from Homer through the Flavians, including individual chapters devoted to the Iliad and Odyssey, Virgil's Aeneid, Ovid's Metamorphoses, Lucan's Bellum Civile, and Statius' Thebaid. The study also addresses the difficulty of defining madness, and discusses how each epic explores this problem in a different way, finding its own unique way of conceptualizing madness. Epic madness interacts with ancient models of madness, but also, even more importantly, with previous representations of madness in the literary tradition. Likewise, the reader's response to epic madness is influenced by both ancient and modern views of madness, as well as by an awareness of intertextuality.
Virgil, Christianity, and the Myth of Venice
Authors: Kallendorf Craig
Published: November 2023

Not long after it came off the presses in I 5 37, a copy of the large folio edition of Virgil published by Lucas Antonius Junta came into the hands of an unknown scholar whose annotations reveal unusually wide reading, ranging from Diodorus Siculus (Pt. II, fo. 183r) and Aulus Gellius (Pt. II, fo. 124r) to Jerome (Pt. II, fo. 38’) and Lactantius (Pt. II, fo. 195’) to Boccaccio (Pt. I, fo. ro8v; Pt. II, fos. 195v, 242v) and Politian (Pt. II, fo. 54r; Pt. III, fo. 39’). This scholar’s favourite point of reference in his study of Virgil, however, was Augustine, and his notes show a constant concern with the religious content of the poetry, particularly as it could be used to distinguish the false gods of antiquity from the true God of Christianity.
Afterword
Authors: Kallendorf Craig
Published: November 2023

One of the guiding premisses of this study has been that the meaning of a literary work is socially constructed, a protean, evolving negotiation between a text and its readers. What readers see in a text is in part determined by the basic paradigm through which they view the world around them, so that there is no privileged position from which literature can be interpreted objectively. From this premiss, it follows logically that if Venetian Renaissance readers viewed Virgil through the filter of their values and beliefs, we must in turn be viewing their acts of reading through our own ideological filter(s). In other words, if the myth of Venice in part determined what Venetian readers could and could not see in Virgil’s poetry, then the assumptions and principles underlying my interpretive community will partially shape my observations about Renaissance readers encountering a classical text.
Narrative through Imagery
Authors: Lyne R O A M
Published: November 2023

Some of Vergil’s characteristic techniques are extreme, and elicit violent metaphors from me. Others are discreet and guileful. Among these is his use of the traditional epic simile. This 1 shall look at in the present chapter, from one particular point of view. I shall also show, in this and subsequent chapters, how his technique with simile intersects most interestingly with other techniques that I analyse. First, some background is necessary. Since Homer’s practice conditions later epic and most if not all of Vergil’s methods with simile derive from him, it will be illuminating to approach Vergil through his most important predecessor.
Exploitation: II
Authors: Lyne R O A M
Published: November 2023

Vergil’s narrative involves much military action. It was desirable that this should strike his readers as real and immediate. In particular, the second half of the poem sees a war that illustrates many of the agonies and dilemmas of the civil wars of recent Roman history, and Vergil could not want these to be distanced, much less glamorized. To keep reality present in his war narrative, Vergil exploits some of the language characteristic of military prose, the language used for example by Caesar to report the reality and facts of war at the front. Such diction had become prosaic because of its assertive association with a topic deemed properly to be prose’s: everyday, mundane warfare (cf. Ch. I, pp. 10 f.). For the same reason it could be of service to Vergil. I shall give some illustration of his tactics in this respect, especially in subsections i. and iv.
The Morality Of Political Violence
Authors: Lintott Andrew
Published: November 2023

The previous chapter has shown that a Roman’s decisive criterion for the propriety of violence was expediency, provided that the victims did not have their dignitas infringed. Moreover in heated partisan strife he regarded his opponent as a personal enemy against whom he had every right to defend himself. If a man of sensibility felt any pangs of conscience, they could be quelled by the belief that his personal enemy was in fact the enemy of the state. Therefore, if he was asked to justify morally an act of political violence, it would not be surprising if he simply answered that the violence was necessary to achieve a certain political objective. He would not feel bound to produce any special ethical or political argument to defend his abandonment of peaceful constitutional methods.
Legislation Against Violence
Authors: Lintott Andrew
Published: November 2023

Laws against political violence arrive late on the scene in the Republican period. From 63 onwards there are a number of references to accusationsde vi,some of which state the law under which the accusation was brought. Most accounts, including the earliest, are of alex PlautiaorPlotia;one passage (Cicero,pro Caelio,70) mentions a lawquamQ.Catulus tulit;there was also a special law passed by Pompeius in 52 to deal with Milo’s murder of Clodius on the via Appia and the riots which followed it. We have no complete account in the Digest of the provisions of these laws, since they were completely superseded by alex Julia de vi publicaandde vi privata,perhaps separate laws, perhaps passed together, it is impossible to decide.
Britain 1815-1914
Authors: Gee Austin
Published: November 2023

Bloomfield, Mark A. Sir John Ballinger: an annotated bibliography. (Stoke-on-Trent: The author, 1998), xii, 107p. Bradwell, Jabez. The Jabez Bradwell diary. ([Derbyshire]: Bradwell Historical Society, 1996), 72p. Carre, Jacques. La Grande-Bretagne au XIXe siecle. (Paris: Hachette), 160p. Crane, David. Lord Byron’s jackal: a life of Edward John Trelawney. (London: HarperCollins, 1998), 398p.
Britain Since 1914
Authors: Gee Austin
Published: November 2023

Brothers, Barbara; Gergits, Julia M. (eds.) British travel writers, 1910-1939. (Detroit (WA): Gale, 1998), xxi, 465p. (Dictionary of literary biography, 195.) Wurm, Clemens August. ‘Britain and European integration, 1945-63’, Contemporary European History 7 (1998), 249-61. Wylie, Neville. ‘Marcel Pilet-Golaz, David Kelly and Anglo-Swiss relations in 1940’, Diplomacy and Statecraft 8:1 (1997), 49. Yearwood, Peter J. ‘ “Real securities against new wars”: official British thinking and the origins of the League of Nations, 1914-19’, Diplomacy and Statecraft 9:3 (1998), 83-109.
Medieval wales
Authors: Gee Austin
Published: November 2023

Davies, R.R. ‘A medieval Merioneth album: troi dalennau’r gorffennol’ [turning the pages of the past], Journal of the Merioneth Historical and Record Society 13:1 (1998), 1-18. James, Terrence. ‘Bleddri ap Cadifor ap Collwyn, lord of Blaencuch and Cil-sant: fabulator of Arthurian romance?’, The Carmarthenshire Antiquary 33 (1997), 27-42. Thomas, Charles. Christian celts: messages and images. (Stroud: Tempus, 1998), 224p. Wada, Yoko. ‘Gerald on Gerald: self-presentation by Giraldus Cambrensis’, Anglo-Norman Studies 20 (1997), 223-46.
Scotland Before The Union
Authors: Gee Austin
Published: November 2023

Armit, Ian. Celtic Scotland. (London: Batsford, 1997), 128p. Bourke, Cormac. ‘Cilline Pontifex’ [14th Abbot of Iona], Innes Review 49 (1998), 77-80. Breeze, David J. Historic Scotland: 5000 years of Scotland’s heritage. (London: Batsford, 1998). Broun, Dauvit. ‘Defining Scotland and the Scots before the Wars of Independence’, A26, 4-17.
Street-fighting Years (I): Baudelaire in 1848
Authors: Burton Richard D E
Published: November 2023

To those on the left in France, wrote Gustave Lefrançais in 1886, the years 1845, 1846, and 1847 were worse even than the Jong ‘cauchemar’ of the Second Empire to which, by the middle 1860s, an end, sooner or later, could be foreseen. As it approached the end of its second decade, the Bourgeois Monarchy seemed, in contrast, destined to linger on ad infinitum, sclerosed and anaemic, but, for that very reason, apparently capable of withstanding indefinitely all challenges to its being from both within and without: to be young and radical at such a time was, said Lefrarnçais, quite simply ‘la mart’.
Street-fighting Years (II): Baudelaire and the Second Republic, 1849-1852
Authors: Burton Richard D E
Published: November 2023

Whatever advance signs we may discern in the letter of December 1848 of Baudelaire’s eventual ‘depoliticization’, there can be no doubt, Louis Napoleon’s massive victory notwithstanding, as to the continuing intensity of his radical beliefs in early 1849.
Baudelaire and Proudhon (I): ‘Châtiment de l’orgueil’ in Context
Authors: Burton Richard D E
Published: November 2023

Few readers of Les Fleurs du mal, one imagines, would disagree with F. W. Leakey’s verdict that, considered from a purely aesthetic viewpoint, ‘Chiitiment de l’orgueil’ (first published in June 1850 and included as poem XVI in both the 1857 and 1861 editions of Les Fleurs du mal1) ‘must be counted amongst the weakest that Baudelaire wrote’.
Morphology
Authors: Fox Anthony
Published: November 2023

One complaint often made by learners of German is that it has ‘a lot of grammar’. This is, of course, somewhat misleading, since all languages are complex and difficult for foreigners to learn, and there is no evidence that, taken as a whole, any language is significantly more or less complex than any other; all languages have ‘a lot of grammar’. What is usually meant by this remark is that German has a particularly complex word structure, and in this respect certainly it may be said to be rather more complex than some other languages, including English. As we noted in Chapter 1, it is customary to divide grammar into two basic parts, morphology and syntax, the former dealing with word structure, the latter with the structure of sentences. Since German words may be quite complex, morphology is an important part of the description of the language, and we shall need to examine these complexities in some detail. In this chapter we shall attempt to identify the various components of German word structure, and consider the ways in which these components may be combined together.
Syntax
Authors: Fox Anthony
Published: November 2023

The study of grammatical structure is conventionally, and conveniently, divided into two parts, morphology and syntax, the former, which we considered in detail in Chapter 3, dealing with the structure of words, the latter, to which the present chapter is devoted, dealing with the structure of sentences. Morphology and syntax have many features in common: they are both concerned with grammatical entities and with the principles that underlie their combinations. But words and sentences are rather different kinds of units; words are not only very much shorter and simpler than the majority of sentences, they are also much more stable and fixed in their structure, offering fewer possibilities for innovation and improvisation. The more complex and much freer structure of sentences makes syntax a rather different kind of subject from morphology, requiring a different type and wider range of descriptive concepts and categories.
Introduction
Authors: Beaton Roderick
Published: November 2023

This book aims to provide a new overview of Greek poetry and prose fiction since approximately the time that the Greek nation-state came into existence in the 1820s. The purpose of this introductory chapter is, first of all, to set out the reasons why such an overview is necessary and timely, and secondly to explain the perspective, and the self-imposed limitations, which are integral to this particular attempt. It should be declared from the outset that this book has been conceived as a contribution to literary history (as opposed, say, to literary criticism or literary theory). By literary history I mean the whole network of interrelationships through which writings are linked both with one another and with the wider history of the culture of which they form a part. In this sense, literary history is by no means a mere chronicle of names and dates; in particular, it involves critical reading of texts which it may often seek, as criticism does, both to interpret and to evaluate. But interpretation and evaluation, in this book, will always take place against a background of a specific historical context, which defines both the production and the reception of the literary work.
Literature for a New Nation I82I–I88I
Authors: Beaton Roderick
Published: November 2023

Greece was the first of the European nation states to emerge out of the break-up of the multi-national empires of the eighteenth century. From 25 March 1821, the conventional date of the Greek revolt against the ruling Ottoman empire, it took seven years for the new state to win grudging international recognition, and it was not until 1832 that a system of government (monarchy) and stable frontiers were agreed by the Great Powers. The kingdom that was inaugurated in 1833 under the young King Otho of Bavaria was much smaller than Greece today, and many more Greeks (defined by language and religion) lived outside its borders than within. The northern frontier at this time ran from just south of the town of Arta in Epiros in the west, to the southern end of the bay of Volos in the east, and the only islands included were Evia (Euboea), the Sporades, and the Cyclades.
National Expansion and its Limits: From ‘Great Idea’ to Aftermath of Disaster I88I–I928
Authors: Beaton Roderick
Published: November 2023

The annexation of the rich agricultural province of Thessaly in 1881, although the result of Great Power diplomacy rather than of military success, appeared to the Greeks of the time as the first tangible proof that territorial expansion was a realizable goal. The need to extend the geographical frontiers of the new state had been implicit almost from the beginning, and it had been during the deliberations on the first constitution, in 1844, that the classic formulation of the Greek irredentist call had first been made. ‘Greece’, according to this formulation, did not mean only the kingdom of that name, but included all the Greek-speaking communities of the Ottoman empire as well. The goal of national policy was therefore to ‘redeem’ those Greeks living beyond the confines of the nation state, and in particular to re-establish Constantinople, the seat of the Ecumenical Patriarchate of the Orthodox Church and once the capital of the Greek-speaking empire of Byzantium, alongside Athens as the twin centres of this wider Hellenism.
In Search of a New National Identity 1929–1949
Authors: Beaton Roderick
Published: November 2023

Since the founding of the Greek state, political and cultural life in Greece had often been riven by sharply polarized divisions. But until the collapse of the irredentist dream in 1922 these divisions had been about means rather than about ends. The seeds of a more fundamental, and traumatic, division were sown in the National Schism of 1915-17, when the opposing views of King Constantine I and his prime minister, Venizelos, over Greece’s entry into the First World War also brought to the surface deeper divisions about the kind of nation that Greece was or should be, and about how it ought to be governed. The ensuing instability of the monarchy throughout the period covered by this chapter is only a symptom of a more fundamental disunity, this time about ends rather than means, that continued well beyond the end of the Second World War, up to the early 1970s.
The Aftermath of War and Civil WarI949–I967
Authors: Beaton Roderick
Published: November 2023

Despite the determination of the older generation of poets and novelists, during the years of occupation and the slide into civil war, to see the present trials of their country as the darkness before the dawn of a new period of reconciliation, the 1940s in reality proved to be a decade of disintegration unprecedented in Greece in modern times. The most visible consequence of the civil war of the late 1940s was the intense and continued political polarization, whose origin was described in the previous chapter. Between 1947 and 1974, when the Communist Party was outlawed, the face-off between the victorious Right and the obstinate rump of the Left which, particularly in intellectual circles, refused to lie down and admit defeat, reflected in miniature the stalemate in Europe as a whole throughout the cold war.
Making Space
Authors: Knight Diana
Published: November 2023

IT is ironic that Barthes’s structuralism, even as it harnessed semiology to the cause of ideological mystification, should have come under attack on the grounds that spatial structures are static, that they set aside time, and that those who analyse them therefore turn their backs upon history and change. If space along with language and sexuality-is one of the crucial dimensions of Barthes’s engagement with utopia, it is precisely because space is as socially and historically marked as everything else.
Charles Fourier: ‘An Inventor not a Writer’
Authors: Knight Diana
Published: November 2023

THE crux of Barthes’s inspired and very important reading of Fourier is his recognition that a set of idiosyncratic writing strategies could be the central ingredient of a political and ethical vision. That it is difficult to spell out a foll description of Fourier’s self-consciously mad cosmogony may explain why non-French commentators on utopia do not always recognize his importance, even if censorship, the relatively recent publication of New Amorous World, and the unavailability of translations may also have played a part here. For Barthes is right that there is not really a summarizable ‘content’ to be found in Fourier’s texts, and that the experience of reading him is above all a bizarre engagement with the experience of writing a utopia.
An Unhappy Sexuality: Morocco
Authors: Knight Diana
Published: November 2023

‘FouRIERIST pleasure is the end of the tablecloth: pull the slightest futile incident, as long as it concerns your happiness, and all the rest of the world will follow’ (SFL 80 / 85). In his own engaging and skilfully developed example, Barthes imitates Fourier’s practice of elaborating an entire social system on the basis of a trivial personal preference.
The Period in Close-up
Authors: Kay Sarah , Cave Terence , Bowie Malcolm
Published: November 2023

The oldest document to record this emergent French includes it alongside Latin and German: the Strasburg Oaths of 842 constitute a treaty sworn between two of Charlemagne’s grandsons, Louis and his brother Charles the Bald, against the third, a treaty which conﬁrms the division of Charlemagne’s empire into three. The framing description of the oath-taking is in Latin. But to guarantee public understanding and witness, each ruler pronounces his oath in the tongue of his brother’s supporters: the German Louis swears in French as do the supporters of the French Charles, while Charles swears in German in the same way as the supporters of the German Louis.
Overview of the Period
Authors: Kay Sarah , Cave Terence , Bowie Malcolm
Published: November 2023

The Revolution of 1789 represents an exemplary moment of discontinuity in the social and political history of France, and certain of its con- sequences are still unfolding over two hundred years later. If we look closely at the events and personalities of the Revolutionary decade we can see all manner of institutional, artistic, and intellectual survivals from the ancien régime, but for most practical purposes it makes more sense to think of 1789, in the manner of the Revolutionaries themselves, as the beginning of a new epoch. Social changes that had previously been the stuff of fantasy suddenly became possible. And, together with the American revolution of the previous decade, the upheaval of 1789 became the inspiration and the model for later revolutions in France and around the globe. In the ferment of these extraordinary times, a variety of new social roles became available to writers, and French literature became a scene of paradox, contradiction, and restless formal innovation.
The Associated British Picture Corporation
Authors: Harper Sue , Porter Vincent
Published: November 2023

THE Associated British Picture Corporation (ABPC) was, like Rank, principally a cinema company with a production appendage. Its output was markedly smaller than that of British Lion, as during the 1950s it only invested in between four and six first features a year. ABPC was built up during the 1930s by the Glaswegian solicitor John Maxwell. His original aim was not just to make films to show in his cinemas, but to provide employment for skilled film technicians and manual workers. During the immediate post-war years, ABPC’s production losses regularly exceeded any profits it made from distribution, and it was not until 1950-1 that the two combined activities made a profit. Even though the company continued to make small profits on production alone, it had still not recouped its large post-war losses by1957. In order to try and ensure permanent employment for its workers, the company also hired out its Elstree studios to independent producers and kept under contract a small roster of actors that it could either use in its own productions or hire out to other companies. The latter included stars such as Audrey Hepburn, Richard Todd, and Sylvia Syms and contract artistes such as John Fraser, Susan Stephen, George Baker, and Janette Scott, who appeared in many of its films.
Catherine and ‘Victor)
Authors: Segal Naomi
Published: November 2023

I believe my great intellectual debt to Gide consists in this: he taught me never to be satisfied with ready-made ideas. I know I am not alone in having him to thank for that high standard. If he answered some of the questions I had begun to ask myself, he raised others, but he did it in such a way that I thought they were spontaneous, just as I believed the answers he had hinted to me were all out of my own head. Though less obvious than Socrates ‘ method of persuasion, his was for that very reason more effective: he made you enter into the game far more actively than all those ‘lvlost assuredly, Socrates ‘ or ‘I can see no objection in accepting that ‘. It was up to you to raise the objections, and it was you too who, with his guidance, provided the answers. He was the perfect example of that freedom, that lack of inter¬ference that he himself claimed as a right-more than a right: the obliga¬tion to think for oneself. He presented the method and showed how it should be applied.
Texts, Scores, and Musicians
Authors: Walls Peter
Published: November 2023

The soothsayer’s comment on the final reconciliation in Cymbeline comes after the descent of Jupiter in the vision scene; like so many of the climactic moments in Shakespeare’s late plays, it is shaped by the court masque. This is not simply a matter of borrowing clearly recognizable elements from masque devices, but a way of using these features to allude to the ethos of the masque-an assertion that just, benevolent, and cohesive human government participates in a much larger order. The image of such government as divinely inspired music permeates masque texts in the Jacobean and Caroline period and it endows the music heard in those entertainments with an immediate and vital significance.
Masques away from Whitehall
Authors: Walls Peter
Published: November 2023

The Jacobean masque was an invention specifically tailored to the tastes, aspirations, propaganda goals, and-not least-the resources of the court at Whitehall. But a great number of masques were in fact devised for performance elsewhere.All of these were inevitably adaptations of the Whitehall form—but they are so various (some grandiose, some technically modest yet intellectually sophisticated, some naïve) that they seem at first to form a confusingly miscellaneous group.
Wesley the Romantic
Authors: Horton Peter
Published: November 2023

LOOKING back at Wesley’s life and music we are faced with a remarkable paradox-a minor composer who, by developing an individual and instantly recognizable musical style, outshone many possessed of greater technical skill. That he did so in the isolated and circumscribed field of Anglican cathedral music makes it difficult, however, to assess his standing in a broader, European context. Difficult, but not impossible, as early in his career he regularly employed the (predominantly German) lingua franca, as familiar in Berlin, Paris, or Vienna as in London. But even in the 1830s this was regularly combined with an old-fashioned and typically English ingredient-a fondness for counterpoint-to fashion a unique blend of ancient and modern. And it was in his grafting of a contemporary harmonic vocabulary on to an old-fashioned contrapuntal technique-what could be described as ‘progressive conservatism’-that Wesley’s originality lay. Among those who commented on this marriage of the old and the new was Spohr, who noted that the sacred works were ‘distinguished by their dignified and, frequently, antique style … [with] rich and choice harmonies, and … surprizing … modulations’.
Bristol
Authors: Spink Ian
Published: November 2023

Despite the fact that Bristol was one of the largest cities in England, the musical establishment of the cathedral was one of the smallest. It was in its parish churches that the importance and prosperity of the city was reflected, there being according to Lieutenant Hammond in 1634 ‘18 Churches, which all are fayrely beautify’d, richly adorn’d, and sweetly kept, and in the major part of them, are neat, rich, and melodious Organs, that are constantly play’d on’.1
Exeter
Authors: Spink Ian
Published: November 2023

Lieutenant Hammond and his party visiting Exeter in 1634 noted ‘a delicate, rich and lofty organ’ in the cathedral, with pipes ‘of an extraordinary length and of the bigness of a man’s thigh’. He observed further that ‘with their viols and other sweet instn1ments, the tunable voices and the rare organist, together make a melodious and heavenly harmony, able to ravish the hearer’s ears’.
Salisbury
Authors: Spink Ian
Published: November 2023

At Archbishop Laud’s visitation in 1634 the choir of Salisbury consisted of ‘six vicars chorall, wch are to be in holy orders, seaven singing men, which are not required to be in holy orders and six choristers of wch seaven singing-men, one is teacher of the choristers, and another organist’. By this time the ‘singing men’, originally members of the college of vicars, had become mere stipendaries. By September r66r there were four vicars choral, six lay vicars, and seven choristers; and once the full number had been reached, it was more or less maintained throughout the period. In 1686, for instance, the vicars comprised the statutory six priests and seven laymen (each paid ꌕ20 a year), all of whom were said to be satisfactory in their attendance, though most of the priest vicars served parishes dose by. At that time the choir was made up of seven trebles, four countertenors, four tenors, and five basses.
York
Authors: Spink Ian
Published: November 2023

One of Thomas Mace’s great musical experiences occurred at York m 1644 during the siege.

Now here you must take notice, that they had then a Custom in that Church, (which I hear not of in any other Cathedral, which was) that always before the Sermon, the whole Congregation sang a Psalm, together with the Quire and the Organ; And you must also know, that there was then a most Excellent-large-plump-lusty-full-speaking-Organ, which cost (as I am credibly informed) a thousand pounds.
Music, Imagination, and Culture
Authors: Cook Nicholas
Published: November 2023

It is a common experience that words are inadequate for music; there seems always to be a disparity between how music is experienced, and how it is described or rationalized. This book is a study of musical imagination. Different musical cultures embody different ways of imagining sound as music, and thus every culture creates its own distinctive pattern of discrepancies between image and experience - discrepancies which are reflected in theoretical thinking about music. Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, Nicholas Cook makes a clear distinction between the province of music theory and that of aesthetic criticism. In doing so he affirms the importance of the `ordinary listener' in musical culture, and the validity of his or her experience.
Introduction
Authors: Cook Nicholas
Published: November 2023

The main theme of this book is the difference between how people think or talk about music on the one hand, and how it is experienced on the other.

It is of course a general phenomenon, and not one confined to music, that words and images rarely if ever express quite what they are meant to. They distort the experiences that they are intended to represent, either through carrying false or unintended meanings with them or through leaving unexpressed the finer shades of what was intended. But in the case of music the problem of experience and its representation is so pressing and so specific that some theorists, like the ethnomusicologist Charles Seeger, have questioned the degree to which words can be regarded as capable of expressing musical experiences at all.
Palestrina
Authors: Williamson John
Published: November 2023

For most musicians outside the German-speaking world, Pfitzner’s name lives through his third music-drama, Palestrina. Deservedly this stands unchallenged as the peak of his art; Palestrina is not merely a music-drama (or musical legend, to use Pfitzner’s description), but a reflection (not a representation) of the Weltanschauung expressed in the composer’s prose works. It has been compared on dramatic grounds with the masterwork of his rival, Busoni’s Doktor Faust, but whatever the general validity of such comparison, major qualifications have to be expressed.
Ownership, Management, and Finances
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

The most crucial event in the history of opera in late eighteenth-century London was the sale of the King’s Theatre and its opera company to a partnership headed by Richard Brinsley Sheridan in 1778. The sale itself is well known, though its significance has never been recognized. Sheridan took little part in the management of the opera-house, and he sold out after just three seasons. But the catastrophic tangle of debt he left behind was to haunt Italian opera in London for nearly seventy years.
Opera under Taylor and his Trustees (1781–1785)
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

Few periods in the history of the King’s Theatre can match the four seasons between 1781 and 1785 for managerial chaos and artistic indirection. The emergence of William Taylor in autumn 1781 as the principal proprietor in succession to Sheridan and the series of unmitigated financial disasters that followed have already been discussed in Chapter 2. Their effect on opera production was not, however, straightforward and did not prove immediately disastrous.
Fire and Rebuilding, 1789–1791
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

The Gallini regime was rudely interrupted on 17 June 1789 when the King’s Theatre, Haymarket, burned to the ground. The company’s debts were upwards of £100,000, and unpaid interest was spiralling them ever higher. The budget cap of £18,000 per annum necessitated economies that made the audience restive, and Gallini himself was personally unpopular.
The First Performance of Euridice
Authors: Palisca Claude V
Published: November 2023

This essay was first published in the Twenty-fifth Anniversary Festschrift (1937-62), commemorating the first twenty-five years of Queens College, edited by Albert Mell (New York: Queens College of the City University of New York, 1964), 1–23.
The Modern Rubato
Authors: Hudson Richard
Published: November 2023

The dominating musical style of the first part of the twentieth century involves, in some essential respects, a complete reversal of the ideals of late Austro-German romanticism. Debussy represents a sub stantial but still romantic reaction to this tradition. The new neo classical style emerges when composers turn from a subjective to an objective point of view,1 and when performers reject excessive personal interpretation in favour of fidelity to the musical score. Along with the new spirit come new concepts of time and rhythm which involve a far greater adherence to strict tempo. Influence comes occasionally from the rhythms of folk-music, the music of other cultures, or Western music of the past. Some of the popular music of this period incorporates the earlier type of rubato.
The Future of Rubato
Authors: Hudson Richard
Published: November 2023

The overlapping arcs in Figure 1 depict my own conception of music history. Each arc represents a unified system of musical ideas which gradually evolve toward a moment of fulfillment, then decline. As one cycle declines, it overlaps with the beginning of the next. The process is essentially unrelated to artistic quality, since a great or trivial work may be created at almost any point in a cycle. Furthermore, the evolving musical elements themselves bear no absolute value, for any particular idea such as imitation or counterpoint may be cultivated during one cycle and carefully avoided or restricted during another. The systems of ideas are generated by two opposing factors: the need for change and for something new, and the desire to retain sufficient features from the past to assure a sense of continuity.
Preface to the Revised Edition
Authors: Ehrlich Cyril
Published: November 2023

The piano has been many things and performed many tasks. The pre¬ dominant musical instrument, for tyro and virtuoso, it was also once a potent symbol of social advance. Precursor of our coveted goods, it therefore pioneered the law and finance of hire purchase. Its development, requiring new technologies and systems of manufacture, epitomized the industrial history of competing nations. If its historian, like some of its makers, cannot afford to be tone-deaf, he should also take note of economic and social contexts. He must stress orders of magnitude (how large? how many? how typical?), as music historians seldom do, and then attempt to give coherence to the whole.
The English Industry, 1870-1914
Authors: Ehrlich Cyril
Published: November 2023

The piano industry in late Victorian and Edwardian England consisted of three disparate and unrelated groups of firms. First there were three old-established, high quality manufacturers, self-conscious guardians of a fine but obsolete technology who tended to live in the past and faced dwindling sales with varying degrees of equanimity. They are listed in Section I of Table IX. Poles asunder were some two to three hundred garret masters who do not appear in Table IX. Each produced alone, or with a handful of men, a supply of cheap and mostly shoddy pianos and ‘dovetailed’ their highly seasonal activities with summer work in cabinet making, hop picking or even professional cricket. Although every year brought its crop of failures, and the slightest recession could be disastrous, this pool of small makers was constantly replenished by workers from the larger factories tempted by independence, ease of entry into the industry and a pervasive system of subcontracting by larger masters.
The Development of the Violin and Bow in the Early Seventeenth Century
Authors: Boyden David D
Published: November 2023

By the early seventeenth century the violin was so well known, according to Praetorius, that nothing more needed to be said about it. With our advantage of hindsight, one further thing might be said about it now: at the beginning of the seventeenth century the capabilities of the violin and probably the bow were well in advance of the demands made upon them by composers and violinists, who needed to catch up with the musical and technical possibilities inherent in this remarkable instrument. Consequently only a few changes had to be made in the violin in the early seventeenth century; and it is noticeable that new changes in violin design vrerlargely decorative rather than functional (see below, p. ro8). Certain refinements took place in the bow, as will be described presently, to meet demands of players for new effects.
The Violin and Bow of the Early Eighteenth Century
Authors: Boyden David D
Published: November 2023

Antonio Stradivari, whose early works and experiments have already been described (p. 197), continued to make violins steadily until the end of his long life (1737), a career uniquely distinguished by its productivity and consistent output of extraordinary instruments. Having abandoned his ‘long’ model violin about 1700, Stradivari produced shortly afterwards a ‘classical’ model which embodied the tonal and acoustical principles that served him to the end of his life.1 The earliest celebrated example of this model was the ‘Betts’ violin of 1704 (Plate 33a), with which Stradivari enters his so-called ‘golden’ period. Among the great violins of this time were the ‘Alard’ of 1715, the ‘Messie’ of 1716,2 and the ‘Rode’ of 1722, the last of the ornamented violins. While Stradivari continued his experiments to the end of his life, this classical flat model created a standard that has prevailed to the present. The significance of Stradivari lies partly in establishing and perfecting a model more influential than any other in history, and partly in the extraordinary perfection of his instruments. The latter combined the highest standards and beauty of craftsmanship, wood, and varnish with exceptional tonal properties, ease of playing, and carrying power. Stradivari enjoyed an immense fame in his lifetime, although (as has already been pointed out) he shared the highest esteem with others.
Practical Hints to Modern Violinists
Authors: Boyden David D
Published: November 2023

In the body of this book I have presented the details of the history of violin playing from its origins to the middle of the 18th century in connexion with the development of the violin, bow, and music concerned. Is this information of more than historical interest? The answer to this question depends very much on the readers of this book and especially on the attitude of individual violinists toward performance. Some violinists say in effect, ‘I play the music just as I feel it’ -an intuitive approach. Others wish to base their interpretation, as far as possible, on the intentions of the composer, and play accordingly. Naturally, no performer’s attitude is ever quite as simple or clear-cut as this, but, nevertheless, these two points of view are basic. They are also fundamentally opposed.
The Earliest Instruments
Authors: Rice Albert R
Published: November 2023

The makers, design, and construction of the clarinet with two or three keys, known as the baroque clarinet, are the subjects of this chapter. Such instruments were initially made during the first decade of the eighteenth century and continued to be constructed and played throughout the eighteenth century and into the nineteenth. Many common characteristics of construction shared by the extant baroque clarinets are discussed below, along with differences in construction which appear to reflect, the preferences and techniques of their makers.
Town and Court Musicians: The Composer in Context
Authors: Webber Geoffrey
Published: November 2023

The nature of the output of any seventeenth-century North German composer was determined principally by two related factors, the type of employment he held, and the extent of his exposure to Italian music. The post of cantor at a large town church (sometimes called Director Musices or Kapellmeister) held great responsibilities in connectionwith the provision of the regular liturgical music, the leading of the congregational singing, and the instruction of the boys at the adjoining school.
Compositional Styles
Authors: Webber Geoffrey
Published: November 2023

Towards the end of the seventeenth century the principal stylistic development in vocal music was the gradual polarization of recitative and aria; as the dominant recitative style became increasingly secco, consisting of short, formulaic passages, so the aria became more extended and elaborate. But during Buxtehude’s youth the demarcation between the two styles was much less clear, allowing composers to move more readily from one to the other and explore the shades of musical possibilities in between them, responding rapidly to the demands of the text. This fluidity of style was recognized by some contemporary theorists, who sought to identify a style unique to church music, part way between recitative and aria.
Note on the Text
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The essays which follow, all of them published in connection with particular concerts in the first instance and none previously reprinted in book form, constitute a substantial supplement to the seven volumes of reprinted pieces brought out by the Oxford University Press between 1935 and 1944: the six volumes of Essays in Musical Analysis, and Chamber Music.
Ludwig van Beethoven
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Much has been written and said as to the legitimacy and scope of what is called ‘programme music’-that is to say music that, without employing the human voice or the aid of scenery or action, depicts external objects. But it may be doubted whether we shall ever find a better solution of the problem than Beethoven’s, as expressed so tersely in the superscription to his ‘Pastoral’ Symphony. ‘Mehr Ausdruck der Empfindung als Malerei’-’expression of feeling rather than pictorial expression’; the phrase has almost become a proverb.
Vincenzo Bellini Aria, ‘Casta Diva’’ From Norma
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

To the great enlargement of musical culture, a miniature score of Norma has been available since 1915; and musicians are thus able to see for themselves what grounds Wagner had for regarding with affection and respect a vocal and dramatic art so obviously at the opposite pole from his own. Among the many strange features of Italian opera in the first half of the nineteenth century, per haps the strangest is the predominance of blood and thunder in opera libretti. With early classical music, the instinct of librettists and composers led them to avoid a tragic outcome in an opera.
Antonin Dvoř ák Symphony No. 8 In G Major, Op. 88
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Before the days of broadcasting, the foreign composer was ill-advised in trying to hit the British popular taste in music. He had no means of guessing the enormous gulf between the tastes of people who wanted to listen to music and those who wanted merely to eat or to dance to it. He imagined the state of things that prevails in a continental beer-garden, where there is plenty of dance music and extracts from popular operettas but where there is also a symphony which is heard in perfect silence.
Ein Heldenleben (1902)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Herr Richard Strauss has now conducted the first performance in London of his most advanced and typical work; and it has given so much refined and healthy pleasure to the large audience that assembled in the Queen’s Hall last Saturday that the least we can do is show our gratitude by trying to clear the air from foggy theories that make the name of Strauss a terror to those who know and love classical art. For the new art of Straussian Tondichtung is not the first to be hampered by devotees of a kind that must be laughed out of existence if the sanity of the artistic world is to be preserved.
J. A. Fuller Maitland, The Age of Bach and Handel (1903)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

This book would need careful and sympathetic reading in any circumstances, but its position as one of the volumes of the Oxford History of Music will perhaps expose it to some degree of misunderstanding. Mr Fuller Maitland’s methods are not those of Sir Hubert Parry or Professor Woodridge,1 though any unprejudiced reader will soon realize that Mr Fuller Maitland has as much skill in his own methods and as much right to use them as his learned colleagues have skill and right to use theirs. Yet we cannot but think that his method is somewhat ill-timed for readers of the first and third volumes of the series, and his subject stands even more in his way than his method.
W. H. Hadow, The Viennese Period (1905)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

With the present volume we begin to feel that our impressions of the Oxford History of Music are taking shape, though it is unsafe to predict what they will be when the second volume shall have supplied its account of the ‘Golden Age’ of sixteenth-century polyphony, and the sixth volume shall have completed the scheme with a description of the ‘Romantic’ period that may be said to bring the history of music up to the present day. But, however our impressions may be modified hereafter, one thing is clear, that the Oxford History of Music com bines a high standard of work with a great variety of method.
Joseph Joachim, 1831-1907 (1907)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

What have we lost by the death of Joachim? The answer is not found easily. To the thousands of music-lovers who perhaps heard him only once or twice in his later years, and whose judgement has been confused by the conflicting voices of more knowing folk, the answer may be-an interpreter who, in youth a noble pioneer of art, defied the weakness of advancing age; one whose spirit so rose above physical limitations that he could at all times inspire his audience to read the message of his art.