bluuebunny/crossref_metadata_2025 huggingface dataset:
The Elegiac Woman at Rome: Propertius Book 4
Authors: Wyke Maria
Published: November 2023

How do women enter the discourse of Augustan love poetry and become elegiac? Studies of the representation of women in antiquity generally suggest that women enter its literatures doubly determined. Broadly speaking, literary representations of the female are determined both at the level of culture and at the level of genre: that is to say, by the range of cultural codes and institutions that order the female in a particular society and by the conventions that surround a particular practice of writing.1 Having largely focused in the previous chapter on consideration of generic determinants (the configuration of Cynthia in the Propertian corpus as a distinctive poetics of Roman Callimacheanism), I propose in this chapter to explore further the place of the elegiac woman in the literary landscape of Augustan Rome through an examination of the interplay of her generic and cultural determinants.
Glamour Girl: Cleopatra 1930s–1960s
Authors: Wyke Maria
Published: November 2023

While Elizabeth Taylor was in Rome shooting the spectacular Hollywood epic Cleopatra, women’s magazines began to advise their readers on how to construct for themselves a new Egyptian look.
Suburban Feminist: Messalina 1930s–1970s
Authors: Wyke Maria
Published: November 2023

A search on the internet for information about Valeria Messalina leads to a webpage in which her biography is briefly summarized: full name, parentage, connection to Augustus, marriage to Claudius, motherhood, supplementary marriage to Silius, suicide (sic). The bulleted list on the left receives visual authentication from its juxtaposition with a Roman cameo on the right which bears the profile of a Claudian woman flanked by two tiny, child-like figures. Underneath, however, in a chiastic arrangement is a colour photograph of a woman’s face on the left juxtaposed with a caption on the right: ‘REALITY CHECK: She looks innocent enough. Girl next door? She’s nothing but a tramp’ (Fig. 10.1).
Belatedness: Silver Linings
Authors: Hershkowitz Debra
Published: November 2023

We sing of the sea first penetrated by the great sons of gods, and the prophetic ship which dared to seek the shores of Scythian Phasis and to burst through the Clashing Rocks with a middle course, and finally settled in the fiery heavens (1. 1 – 4).
Recuperations: Better, Stronger, Faster
Authors: Hershkowitz Debra
Published: November 2023

The heroic status of Apollonius Rhodius’ Jason has been the subject of — and has come in for — much criticism. Remarkable more for his depressive episodes and his beauty than for his skills in battle or in other traditional epic pursuits, Jason has been labelled everything from a love-hero to an anti-hero to a ‘realistic’ human being. Not only is Apollonius’ Jason no Achilles or Odysseus, but the implicit rejection of Homeric heroic values, exemplified by his character, is further emphasized by the jettisoning of Hcrades. Cast in an archaic mould and a figure with whom Jason can scarcely compete in conventional terms, Heracles is removed from the epic before the end of its first book.
Dissimulation: Unlearnèd in the World’s False Subtleties
Authors: Hershkowitz Debra
Published: November 2023

During the previous chapters, the importance of certain literary or meta-literary themes, such as the conflict between East and West or the effect of Romanization on conventionally Hellenic characters, has become apparent. This chapter will look at another of the Argonautica’s central thematic concerns, dissimulation, which functions on both a literary and a meta-literary level, and which also helps to position the work within its historical context. By examining various instances of dissimulation, I will chart the emerging pattern of its uses and abuses within the epic, and at the conclusion of the chapter I will suggest that this pattern can also be applied more broadly to the epic itself. But before turning to the Argonautica itself, I want to focus on two trend-setting epic deceptions, and the important questions which they provoke.
Ancient Egyptian concepts and uses of the past: third to second millennium evidence
Authors: Baines John
Published: November 2023

In the words of a medieval Arabic poem, the Great Pyramid, the archetypal ancient Egyptian monument, is ‘feared by time, yet everything else in our present world fears time’ (ℯUmāra al-Yamanī, cited by Schäfer 1986[1974]: 24 with n. 43). At any moment, the chief actors in such a culture are defying the future to erode their achievements and they may appear to be set against change. Yet their successors must be aware of change, and they have the monuments of the past almost ineradicably before them; they too seek to construct enduring monuments; in looking to the future they emulate the past and extend its traditions.
Introduction
Authors: Kallendorf Craig
Published: November 2023

This is a book about books —viewed as both carriers of ideas and as material objects, as both records of intellectual and social relationships and as forces that are themselves able to do work in history. The books under consideration are editions of the Roman poet Virgil —132 in Latin, sixty-four in Italian —published in Venice and the surrounding area between 1470 and 1600. I am less interested in production and distribution than in consumption — specifically, consumption by readers in the area around Venice during the late Renaissance. My argument, stripped of all its accompanying nuance and qualification, is that the poetry of Virgil became a best-seller in Renaissance Venice because it sometimes challenged, but more often confirmed, the specific moral, religious, and social values that these readers brought with them to their books.
Class, Gender, and the Virgilian Myth
Authors: Kallendorf Craig
Published: November 2023

As we have seen, those who bought and read a Latin edition of Virgil in Renaissance Venice tended to approach the text with several concerns uppermost in their minds. When their interest in Virgil came from the institutional environment of the schools, they tended to concentrate on the moral content of the poetry, to hear in it exhortations to work hard for God, country, and what they knew to be right and to accept what could not be changed as part of the ultimate justice of an ordered universe. As Christians, Virgil’s Venetian readers also struggled throughout the Renaissance to integrate his poetry into their own religious life through the concept of theologia poetica. These moral and religious concerns emerged naturally as Virgil was read in accordance with the prevailing intellectual and political paradigm of the day, such that in this time and place Virgil can only be understood in relation to the myth of Venice.
Introduction
Authors: Lintott Andrew
Published: November 2023

Though the corruption of politics by violence has long been recognized as a major factor in the fall of the Roman Republic, it has rarely received separate investigation. In particular the special problems posed by violence within the field of civil government, as opposed to military insurrection, have received less attention than they deserve. It is possible to overstress the effect of a large empire and powerful proconsular armies on the equilibrium of Roman politics in the city while neglecting factors in Roman society and the constitution which made critical contributions to this lack of balance. Yet there can be little doubt that the conflicts within the city were the first steps in civil war. They not only prepared the ground psychologically, but also provided the provocation that induced a man whose interests had been worsted through the struggles in Rome to resort to war.
The Gangs
Authors: Lintott Andrew
Published: November 2023

When a Roman politician decided to use force, where did he find his strong-arm men? Before the sixties there is no trace of hired professionals. Men participated in violence if their own interests were at stake, or to support a politician who was their patron, either because they were in the strict sense hisclientes,or because he had won their loyalty by the policy that he was pursuing at the time. The three or four thousand men who were accustomed to escort Ti. Gracchus from his house, treating him as their patron, were probably recent recruits attracted by his programme. On the other hand the attendants who carried clubs for Scipio Nasica and his companions are more likely to have beenclienteslong attached to their families. Such men would have provided the foundation of thevis Claudianain 185. In general, great men must have surrounded themselves with clients, when proceeding to public business and especially at election time, not merely to enhance their reputation but to ensure their physical protection.
‘Baudelaire-Dufays’ and the Politics of Consensus, 1842-1848
Authors: Burton Richard D E
Published: November 2023

When Baudelaire landed at Bordeaux in February 1842 at the end of his seven-month round trip to Mauritius and the lie Bourbon, he returned to a country which, not just on the surface but in fact, was enjoying a period of prosperity, security, and political stability such as it had not known since before the Great Revolution.
‘A Reader not a Visitor’: Barthes in ‘Japan’
Authors: Knight Diana
Published: November 2023

IN February I980, Barthes had intended to introduce a conference paper on Stendhal with a personal (and perhaps invented) anecdote. On a recent trip to Italy (‘A few weeks ago .. .’), one cold, foggy, and grimy evening at the station in Milan, his attention had been caught by the yellow stickers (‘Milano-Lecce’) on the carriages of a departing train, and he had imagined travelling all night to find himself the next day in ‘the warmth, the light, the peace of a faraway town’ (une ville extreme).
A Short History Of French Literature
Authors: Kay Sarah , Cave Terence , Bowie Malcolm
Published: November 2023

In this lucid and innovative volume, three distinguished scholars trace this history of French literature from its beginnings to the present day. From the oral, unstable anonymous works of the early Middle Ages via the emergence of a print culture in the Renaissance, through to the attempted codification of genres and styles in the nineteenth century and the resourceful experimentation of the twentieth, A Short History of French Literature demonstrates the world importance of French literature, and the extraordinary richness of its range. The three main parts of the volume cover the Middle Ages, the Early Modern period, and the Modern period, and offer wide-ranging, personal, and detailed coverage of major writers and movements. Writing for the interested general reader as much as for students, the authors range expertly between authors and their works, historical events, and literary movements, offering as a whole an authoritative and innovative account of the history of French literature.
Overview of the Period
Authors: Kay Sarah , Cave Terence , Bowie Malcolm
Published: November 2023

People with the means to do so move around a good deal: despite intermittent wars in various parts of Europe, travel is increasingly easy and well organized. Columbus’s voyage was still barely conceivable when Villon was writing; by the late eighteenth century, the Americas are a major feature on the economic, political, and cultural map. Journeys in late medieval literature are liable to lead to fabulous encounters with strange and monstrous beings; in eighteenth-century texts, Persians, Peruvians, and Hurons—all of them eminently civilized in their own way—visit Paris, and ﬁctional travellers from France insatiably explore other cultures. Travel-writing has become a popular genre in its own right. Visitors from outer space are beginning to arrive, too.
Hammer Films
Authors: Harper Sue , Porter Vincent
Published: November 2023

HAMMER FILMS experienced remarkable changes of fortune in the 1950s. At the beginning of the decade, it was a small, unambitious outfit producing B-features and distributing them through its own company, Exclusive Films. By the end of the decade, it was moving into major profit with its innovatory horror/costume films, and it had access to world-wide markets through its connections with the American majors. Its success can be attributed to canny economic practice by its owner James Carreras, and to skilled production/management behaviour by Executive Producer Antony Hinds. It is instructive to compare Hammer’s output and reputation with Gainsborough’s in the 1940s. Both companies specialized in cheap films with high emotional intensity, which were made by a small in-house team. Both employed heavily residual motifs, and both had absolutely minimal status and attracted critical opprobrium. Both did very well at the box office and were critically reassessed many years after their initial release.In 1935, cinema owner Enrique Carreras had formed a distribution company in partnership with Will Hinds, a variety artiste whose stage name was Will Hammer. Their company was called Exclusive Films, and in the same year they registered Hammer Productions Ltd.This made a range of modest films, some of which were distributed by Exclusive and some by other, bigger distributors. Hammer was then avery small outfit, and in 1949 it was expanded and repackaged as a subsidiary of Exclusive by Enrique Carreras and his son James, and by Will Hinds and his son Anthony Hinds. Because it was essentially a family firm, there was continuity of personnel-Anthony Hinds produced virtually everything from 1949 until well into the1960s, there was a small stable of regular directors (Terence Fisher, Francis Searle), and Jimmy Sangster was assistant director on all the films.
Censorship
Authors: Harper Sue , Porter Vincent
Published: November 2023

As the 1950s opened, the film trade inherited a complex set of censorship arrangements that dated back to the 1909 Cinematograph Act which had accidentally given local authorities the power to censor the films shown in their area. Three years later, in 1912, in an attempt to establish a national standard that would ensure that the same film could be shown in every town, the trade established the British Board of Film Censors (BBFC), which would be ‘a purely independent and impartial body, whose duty it will be to induce confidence in the minds of licensing authorities and of those who have in charge the moral welfare of the Community generally’. The film trade’s proposal also attracted the tacit support of the Home Office, although it was unable to give formal endorsement as it no longer appeared to hold the legal powers for film censorship. In 1947, following the death of Lord Tyrrell of Avon, an ad hoccommittee representing all sections of the film trade appointed a new President of the BBFC: Sir Sidney West Harris, the former Head of the Children’s Department at the Home Office. Despite his age, Harris decided, unlike his predecessors, to become a hands-on President, taking an active part in both policy decisions and those affecting individual films, by sitting with the Board’s examiners to view films several times a week.
The dangerous individual
Authors: Segal Naomi
Published: November 2023

The title of this chapter is borrowed from a lecture given by Foucault in Toronto in 1978 in which he shows a very Gidean interest in the perpetrator of unexplained crime. He begins with the example of a young man convicted of five rapes and six attempted rapes. There is no doubt about the facts of his case; in this sense everything that needs to be established is known. Yet the whole judicial ‘machinery jams, the gears seize up ‘ because the accused cannot account for why he acted, for who he is. In another recent case-this time the trial of a man convicted of kidnapping and murdering a child-the defence lawyer puts it thus: ‘ “Can one condemn to death a person one does not know? “ ‘ (p. 127).
The Age of Power and Dunstable
Authors: Caldwell John
Published: November 2023

THE period covered by this chapter coincides broadly with the reigns of the Lancastrian kings, Henry IV, V, and VI, up to the deposition of Henry VI in 1461. While historians naturally see the establishment of the Tudor monarchy in 1485, when the dynastic struggles of the fifteenth century were finally resolved, as a critical turning-point, that moment is of little significance for the history of music. The great movements of the fifteenth century, by and large, were those that were curtailed or transformed only by the upheaval of the Reformation. Two of these, the growth of a sense of national identity and the consolidation of orthodox churchrnanship, are of particular importance to us here.
The Later Fifteenth and Early Sixteenth Centuries
Authors: Caldwell John
Published: November 2023

THE period covered by this chapter witnessed the composition of a great quantity of music of unquestionable stature, much of it hardly performed in modern times and still waiting to take its place in the heritage of national classics. It does not matter that contemporary Continental opinion ignored or misunderstood it; and it should not matter that it has often been neglected since. Judged on its own terms, it cannot fail to impress and uplift.

The principal novelty in the period was the growth of a quality that can only be called architectural. This may seem a strange proposition in view of the mathematical and proportional basis of much of the music of the preceding era. But the quality which now emerges is based not on numerical proportions as such (though they may indeed be exploited in some cases) but on the realization of the possibilities provided by larger choirs: the distribution of masses of sound in order to provide effective contrasts, the development of harmonic thinking, and the cultivation of a highly decorative superstructure. This is closely parallel to the late Gothic and Perpendicular styles of architecture, in which the resources of space were more imaginatively planned than hitherto, and in which a balanced use of ornament was an essential feature. The parallel must not be pushed too far, if only because architecture was ubiquitous and polyphonic music, even the grandest sort, merely the decorative surface of a musical culture of which the staple commodity was still the age-old plainsong of the Church; but it is perhaps the most helpful way in which to approach the essence of this splendid music.
The Period of the Reformation
Authors: Caldwell John
Published: November 2023

A CHURCH musician of the later years of Henry’s reign would have had little adjustment to make in the practice of his art, provided that he could accept the royal supremacy and, if employed by a monastic foundation, was in a position to find an alternative sphere of activity. So far as the first was concerned, the virtually complete capitulation of the ecclesiastical hierarchy would have made protest by ordinary individuals a pointless exercise. There is no record of any professional musician making an issue of the matter at this period; indeed, the few instances of trouble with the authorities, as in the cases of Taverner and Marbeck, were on the grounds of their Lutheran opinions. These were equally repugnant to the monarch, whose policy was to preserve the outward forms and doctrinal essence (as he saw it) of Catholicism.
The Elizabethan and Jacobean Period: Music for the Church
Authors: Caldwell John
Published: November 2023

THE reign of Elizabeth was one of gradually increasing national self-confidence, mirrored with curious exactness in its artistic (and especially its literary and musical) productions. Once it became clear that there could be no accommodation, at least in the short term, between the English Church and the papacy, the consequences had to be faced with determination. Adherence to Roman Catholicism implied at best disloyalty and at worst treason. It ceased to be mere conservatism, a longing for a vanished past, and became instead an association with a Continental movement of immense vigour. It could not be ignored; the wonder, rather, is that recusancy—so called from the refusal of Roman Catholics to attend their parish church—played so large a part in English intellectual life, despite the risk of severe penalties for those involved. Elizabeth, whose personal position as daughter of Anne Boleyn was a large part of the problem, acted with courage, resolution, and scrupulous fairness. These qualities were put to a severe test when Mary Queen of Scots was brought to trial; but Elizabeth emerged unscathed, and when in the following year the Armada was defeated by a combination of circumstances, the tide of national fortunes seemed truly to have turned, subsequent reverses notwithstanding.
Music Under the Later Stuarts
Authors: Caldwell John
Published: November 2023

IN the middle years of the 1670s, the political and economic future of the nation might have seemed to be set on an uneventful course. The earlier troubles of the restored monarchy were over,1 and while the newly consolidated character of Church and State might be threatened both from the Puritan or parliamentary side and from the Roman Catholic, the monarchy itself, at least in its public face, held a middle course, bowing occasionally to political pressures but losing neither its control nor its distinctiveness. But the seeds of disruption were already sown. Charles died without legitimate issue. Much attracted to Roman Catholicism, at least in its outward forms, the son and husband of Roman Catholic women, he was almost certainly a convert to their faith. His brother, an avowed Papist, succeeded to the throne as James II. His uneasy combination of private and public faith, whatever its moral justification, was doomed to failure in the current climate of opinion, and his conduct was unanimously regarded as a threat to the established Church. The loyalty that had enabled the crisis of Sedge-moor to be surmounted evaporated, and the ignominious flight of 1688 brought William of Orange and his wife Mary, James’s daughter, to the English throne.
The William Lawes Masques
Authors: Walls Peter
Published: November 2023

The published text of The Triumph of Peace is one of the relatively few to mention the contribution of specific musicians. Its author, James Shirley, signs off by paying tribute, first to Inigo Jones as designer, and then—in particularly generous terms—to the musicians: ‘The composition of the music was per formed by Mr. William Lawes and Mr. Simon Ives, whose art gave an harmonious soul to the otherwise languishing numbers’ (11. 787–9).
Samuel Sebastian Wesley A Life
Authors: Horton Peter
Published: November 2023

Born into one of England’s best-known families, Samuel Sebastian Wesley (1810–76) was not only the foremost organist and church musician of his generation, but a vigorous campaigner for higher standards in cathedral music. He was also a troubled, difficult character, and accounts of his abrasive personality or anecdotes about his fishing exploits have tended to obscure his very real achievements as a composer. Peter Horton has drawn on a wide range of source material to produce a detailed account of Wesley’s life and career as he moved from cathedral to cathedral in search of an unattainable ideal, his youthful idealism gradually giving way to the cynicism and disillusion familiar to those who encountered him late in life. He also examines his development as a composer and presents a study of his complete output (including the many non-church works) against the background of his restless career and in a wider European context. The book is illustrated by a generous selection of musical examples and plates, and includes the most detailed list of works to appear in print.
Hereford
Authors: Horton Peter
Published: November 2023

WHEN the new Dean, John Merewether, DD, arrived at Hereford Cathedral in June r 832 he found much to claim his immediate attention. Not only was the building in a poor state, but the conduct of services also left much to be desired, and at his first chapter meeting on 16 June the latter was discussed. Whilst it was recognized that this proceeded from the disability of the organist, John Clarke Whitfeld, it was now considered that the chapter’s ‘long …forbearance’ could be extended no further. Accordingly, they felt it to be ‘their indispensable duty to communicate to him their decision that the Office of organist ... [would become] vacant at Midsummer next’, unless he wished to retire earlier. The blow was softened by the grant of an annual allowance of £40 ‘in proof of their kindly feelings towards him’-a gesture whose generosity was more apparent than real because the sum was to be deducted from the emoluments of his successor.
Exeter
Authors: Horton Peter
Published: November 2023

WITH its busy port and general air of prosperity the city of Exeter must have seemed a hive of activity after the rural seclusion of Hereford. But it was not only commercial activity that contributed to its vitality, as it also had a flourishing cultural life and was home to the Devon Madrigal Society and the Devon Glee Club; Wesley was doubtless most gratified to be invited to join the members of the former on 17 September 1835 for a dinner in honour of their president, the amateur composer Sir John Rogers (1780–1847).
Services and Anthems
Authors: Spink Ian
Published: November 2023

Detailed consideration of the dozens of service settings and hundreds of anthems (well over 1,500) that survive from the period 1660-1714 is neither possible nor appropriate here. Many will be dealt with later in the book when it comes to examining the work of individual composers in the context of their institutions.
Organs and Organ Music
Authors: Spink Ian
Published: November 2023

The restoration of cathedral organs after 1660 was a two-stage process which we shall find repeated again and again throughout the sections dealing with each institution. First there was a need to get something working as quickly and cheaply as possible, either the old organ made serviceable where it had survived, or a temporary one installed.
Sources and Peiformance
Authors: Spink Ian
Published: November 2023

Cathedral choirs sang from partbooks. In the first half of the century a set usually consisted of ten-treble or ‘mean’; first and second countertenor, tenor, and bass, on both the cantoris and decanisides of the choir-and an accompaniment book for the organ. Four parts rather than five becoming the norm after 1660, a set would include eight (treble, still sometimes called ‘mean’, especially when the Cr clef was used, countertenor, tenor, and bass), again with an organ-book. Compared with scores, partbooks saved space and time in copying, but were liable to contain and reproduce scribal errors which were not easy to correct.
Chester
Authors: Spink Ian
Published: November 2023

The Henrician foundation at Chester established a choir of six minor canons, six ‘conducts’ or lay clerks, a master of the choristers, and eight choristers.1 It was thus one of the smaller of the new foundations, and tended during the Resto ration period to be a musical satellite of Lichfield, lacking prestige for a mixture of historical, geographical, and financial reasons-the latter especially. Its endowments were inadequate, and from 1677 onwards the Chapter resorted to borrowing, with inevitable loss of morale and decline in standards, despite the best endeavours of the dean, Henry Bridgeman.
Durham
Authors: Spink Ian
Published: November 2023

According to the 1554 statutes of the cathedral: ‘there shall be for ever in the said Church one Dean, twelve Canons, twelve Minor Canons, one Deacon, one Subdeacon, ten Clerks who may be either laymen or priests, one Master of the Choristers, ten Choristers1It was thus one of the most lavish of the new foundations, as befitted the seat of a prince-bishop, comparable in size with Canterbury, Westminster Abbey, and Winchester (prior to its 1634 statutes).
Gloucester
Authors: Spink Ian
Published: November 2023

Charles II’s coronation day, 23 April 1661, was celebrated at Gloucester with bonfires, the ringing of the cathedral bells, and a special service at which the lay clerks sang. The following month a set of Barnard’s Church Musick was bought for ꌕ. 5s., and by the end of the year the choir stood at three minor canons, six lay clerks, and eight choristers.
Lincoln
Authors: Spink Ian
Published: November 2023

In pre-Refom1ation times the choir at Lincoln consisted of vicars choral (div ided into seniors and juniors, or those of the first and second forms), poor clerks, and choristers. So rich and magnificent a cathedral could support a large choir, which in I 506 comprised at least twenty-six vicars, nine poor clerks, and twelve choristers.
Norwich
Authors: Spink Ian
Published: November 2023

Lord, what work was here, what clattering of glasses, what beating down of walls, what tearing up of monuments, what pulling down of seats, what wresting out of irons and brass from the windows and graves ... what to[o]ting and piping upon the destroyed organ pipes, and what hideous triumph on the market day before all the country, when, in a kind of sacrilegious and prophane procession, all the organ pipes, vestments, both copes and surplices ... and the service books and singing books that could be had, were carried to the fire in the public market place, a lewd wretch walking before the train, in his cope, trailing in the dirt, with a service-book in his hand, imitating, in an impious scorn the tune, and usurping the words of the Litany, used formerly in the church.
Peterborough
Authors: Spink Ian
Published: November 2023

Simon Gunton in his History of the Church of Peterborough (1688) has left us a horrifying account of the destruction of the Peterborough organ in 1643 by soldiers directly under the command of Cromwell: the next day after their anival, early in the morning, these break open the church doors, pull down the organs, of which there were two pair. The greater pair, that stood upon a high loft over the entrance into the choir, was thence thrown down upon the ground, and there stamped and trampled on, and broke in pieces, with such a strange, furious, and frantick zeal, as cannot be well conceived, hut by those that saw it.1
Wales
Authors: Spink Ian
Published: November 2023

The four Welsh cathedrals of Bangor, Llandaff, St Asaph, and St David’s were all ‘old foundations’, modest in size, poorly endowed by English standards, and geographically isolated. There was even a proposal soon after I 660 that the see of St David’s should be moved to Carmarthen due to the ‘melancholies and loneliness of the place’, but nothing came of it.
Worcester
Authors: Spink Ian
Published: November 2023

On 20 July 1646 after the surrender of the royalist forces at the siege of Worcester ‘the organs were this day taken down out of the cathedral church’. Another three days and the last service according to the Book of Common Prayer was performed; next day the parliamentary army entered the city. Ten years later, the old organist Thomas Tomkins died, having in 1647 commemorated the execution of the Earl of Strafford and Archbishop Laud with elegiac pavans, and the king himself with ‘A sad paven For these distracted Tymes Fehr. 14. 1649’.
Collegiate Parish Churches
Authors: Spink Ian
Published: November 2023

In addition to the cathedrals of England and Wales, and the collegiate chapels of Oxford, Cambridge, Winchester, and Eton, there were four foundations with choirs of vicars (or chaplains), clerks, and choristers endowed to perfom1 the cathedral service despite their status as parish churches. Manchester, Ripon, Southwell, and Wimborne had all been collegiate foundations in the Middle Ages, and though they were suppressed under the Chantries Act of 1547, gradually, for different reasons and in different ways, they reacquired choral establishments during the reigns of Queen Elizabeth I and the first two Stuart kings.
Daily Operations and the Production Process
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

This chapter is a detailed study of how the company managed its business and staged its shows. Some of these problems have been raised in Chapter I, but before plunging into particular seasons and their operas and ballets we need to try to convey some sense of the internal organization and dynamics of the company, its hierarchies and administrative procedures. The basics of performance circumstances also need to be explained. What follows is all pertinent to the succeeding chapters on the opera and ballet repertoires. If the discussion of such matters as scenery, machines, and lighting sometimes seems fragmentary, that is the nature of the evidence available.
Opera under Sheridan (1778–1781)
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

Richard Brinsley Sheridan’s regime as proprietor of the King’s Theatre (1778–81), despite its consequences for the long-term financial stability of Italian opera in London, was artistically a continuation of previous practice. No one commented on any radical change in production style or in the calibre of the performers engaged.
The Ballet
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

Ballet was at least as important as opera in the repertoire of the King’s Theatre, Haymarket, during the 1780s. Enormous amounts of money were spent on importing international superstars. The company often presented the best to be had in Europe, but when it economized and failed to satisfy the audience the result could be riots.
Studies in the History of Italian Music and Music Theory
Authors: Palisca Claude V
Published: November 2023

Claude V. Palisca has long been acknowledged as a leading authority on Italian music of the late sixteenth and early seventeenth centuries. These nineteen essays, originally published between 1956 and 1989, draw together a body of significant research into Italian music and music theory, and make readily available papers widely scattered and most now out-of-print. They have further been selected because of their relevance to current research, as evidenced by their continued citation in publications and dissertations. The book is in two parts, providing studies on the History of Italian Music Theory and studies in the History of Italian Music. The thread that runs through the book is the interaction between music theory and practice and between the humanist revial of antiquity and modern ideals of expression in the decades around 1600, a time of transition between the Renaissance and Baroque. A prefatory note — sometimes extensive — accompanies each of the older essays, reviewing recent research on the topic, including the author's and reactions and responses to the original article. Footnote references have been brought up to date. The test is complemented by over a hundred music examples and a number of illustrations.
Aristoxenus Redeemed in the Renaissance
Authors: Palisca Claude V
Published: November 2023

This essay was presented in the form of a paper at the Study Session ‘Ancient Greek Elements in Later Musical Traditions’ at the fifteenth Congress of the International Musicological Society in Madrid, IO April 1992.
Background of the Later Rubato
Authors: Hudson Richard
Published: November 2023

Changes of tempo during the course of continuous music occurred even before the word rubato was associated with it. Tempo markings first appeared during the Baroque period. Words for the modification of tempo, such as ritardando, rallentando, and occasionally accelerando, began to appear during the second half of the eighteenth century in the works of Haydn, Mozart, and Beethoven. Before this time, however, flexible tempo sometimes occurred as a part of the performance practice of certain kinds of music.
Both Types of Rubato in Keyboard Music
Authors: Hudson Richard
Published: November 2023

Quantz mentions tempo rubato in relation to the keyboard accompanist in 1752, and it is first presented in books on keyboard playing by Marpurg in 1755 and 1756. In keyboard music of the Classic period a homophonic style develops in which the functions of melody and accompaniment are ordinarily assumed by the right and left hands, respectively.
The Later Romantic Rubato
Authors: Hudson Richard
Published: November 2023

The second half of the nineteenth century and the early years of the twentieth represent a high point of freedom for the performer. Pianists and conductors especially—but, indeed, all performers in general—felt they had a right, if not a duty, to apply all manner of rhythmic flexibilities, and even to alter the composer’s score on occasion, in order to achieve their own personal concept of expression. The word rubato now referred generally to the later type. The various methods of applying it were transmitted by Liszt and his numerous pupils and acquaintances to other countries and to later generations.
Steinway and the New Technology
Authors: Ehrlich Cyril
Published: November 2023

In the history of the modern piano one firm has been pre-eminent. Its rise to a position of world leadership in the industry was meteoric, its influence upon standards of technology and quality pervasive. Within two decades, the Steinway family emigrated to America, transformed the instrument’s technology, establishing the essential features of the pianos we use today, assumed leadership of the American industry and then returned to conquer Europe. Pianos made before the Steinway revolution are of interest today primarily to music historians, antiquarians and collectors of furniture. Those made since have adopted the Steinway’s main features or earned a rapid obsolescence. The verdict of the market is unequivocal. Steinways dating from the 188os are still in regular use by practical musicians, and those a little younger are eagerly sought.
France
Authors: Ehrlich Cyril
Published: November 2023

The history of the modern piano in France and America presents an extreme contrast, a polarity against which the experience of other countries can be measured. In France the story is one of stagnant production and parochial conservatism in an industry which consisted of a few old firms determined to preserve an outmoded technology, and a number of small makers, proud of their traditional skill and seemingly indifferent to new techniques or commercial opportunities. In the United States, a large and rapidly growing market stimulated the growth of a dynamic industry, with many new large firms wholly committed to modern technology and machine production, alert to the values of the market place, and sceptical, even brashly dismissive, of past tradition. There were exceptions of course: Antoine Bord was a pioneer in the manufacture of cheap massproduced uprights, and another French business, Herrburger-Schwander, became the world’s leading manufacturer of actions.
Between the Wars
Authors: Ehrlich Cyril
Published: November 2023

The post-war decade is an ambiguous and confusing period in the piano’s history, a bewildering mixture of genuine and false achievements by men whose major inarticulate assumption—a return to pre-war conditions of demand—was only briefly fulfilled. By European standards, American production had been comparatively unaffected by the war, although the greatest makers were unable to maintain supplies of concert grands. Rather than lower standards they restricted output, and to such an extent that in 1919 leading pianists who wanted instruments by Steinway, Knabe, or Mason and Hamlin were temporarily asked to make other arrangements. Generally, however, the industry continued to thrive.
Scene and Personae
Authors: Cohen Sara
Published: November 2023

It is difficult to describe and characterize a city, particularly one as complex and varied as Liverpool. For the media, Liverpool has been a newsworthy place, a provider of headlines, a colorful backdrop to inner-city decline, scene of numerous soap operas, documentaries, and socially relevant plays. It is famous for its football teams and supporters, its rock bands and other performance arts (poets, playwrights, comedians), and for passionate politics.
The Deal
Authors: Cohen Sara
Published: November 2023

The struggle and hardship at the grass roots of the record industry were overshadowed by huge profits and glamour at the top which enticed thousands of bands and conditioned much of their music making activities. The gap between the two worlds was enormous and only a very small percentage of bands ever managed to cross it. Yet there was always that element of luck, the hope of being in the right place at the right time, the belief that persistence, talent, and sound planning would win through in the end.
Music in the Making
Authors: Cohen Sara
Published: November 2023

Music is notoriously difficult to describe and analyse. The discussion in this chapter focuses upon the ways in which it was created through composition and rehearsal. Composition could be the work of an individual or of pairs of band members, the whole band, or a combination of these. It could involve rearranging older songs, or adopting and sometimes adapting sequences of music or whole songs from other bands to reproduce as ‘covers’ or as part of the band’s own material. Compositions could also develop from an idea, from short sequences of notes, from a lengthier and more structured sequence, or from lyrics. They could be continually recomposed or improvised upon with each performance, or relatively .fixed. Generally, only one or two members of a band wrote the lyrics, one of whom was usually the vocalist who had to sing them, but many bands also discussed and altered lyrics collectively after they had been written. Thus lyrical composition could be both an individual and a collective activity.
The Threat of Women
Authors: Cohen Sara
Published: November 2023

In drawing together the various themes that have been highlighted so far, this chapter discusses their practical implications regarding the functioning and development of a band, focusing in particular (and largely from the perspective of the men involved) upon the way in which they relate to women, or rather, to the absence of women.
The Technique and Sound of the Violin in the Early Seventeenth Century
Authors: Boyden David D
Published: November 2023

In any technical advance, the status quo, the dead tradition of the past, is altered only by some compelling need or fresh idea from the present. In the sixteenth century the violin was inseparable from vocal accompaniment and dance music, which, being simple, demanded little except rhythmic animation from the player. It is not surprising that where violin playing was so restricted the technique of the violin remained static at an elementary level. A classic case was France, whose devotion to dance music and whose scorn of the new Italian sonata inhibited her technical progress throughout the seventeenth century.
Origins
Authors: Rice Albert R
Published: November 2023

The word ‘clarinet’ was classified by Hornbostel and Sachs (1914) as a generic term for all pipes, usually made of cane, in which the sound is produced through the vibration of a single reed which is either cut from the pipe itself (idioglot) or produced separately and attached to a mouthpiece (heteroglot) (NGDMI ‘Reed instruments’; Sachs 1930: 338). This book includes the further stipulation that the clarinet is an instrument which overblows, functionally, at the interval of a twelfth above the fundamental notes (NGDMI ‘Overblowing’). These two characteristics-the production of sound by means of a mouthpiece with a single, vibrating reed and a cylindrically bored body providing the capability of being overblown at the twelfth-are what distinguish the present-day clarinet from all other woodwind instruments. To examine the clarinet’s ‘prehistory’, however, we will use Hornbostel’s and Sachs’ generic definition. The more specific definition will become useful when we discuss the earliest manifestations of the eighteenth century clarinet and distinguish these from the closest relative of the clarinet-the chalumeau with a heteroglot reed.
The Use of the Baroque Clarinet by Amateurs and Professionals
Authors: Rice Albert R
Published: November 2023

The use of the clarinet before 1760 is documented in various sources including iconographical documents, concert reviews and notices, listings of orchestral players, and biographical accounts. In this chapter iconographical documents are discussed along with the concert appearances and orchestral posts of several individual clarinettists. Their positions, obligations, and privileges within eighteenth-century society are also noted.
Music in the Lutheran Liturgy
Authors: Webber Geoffrey
Published: November 2023

Although the Reformation was brought about through disagreement over matters of religious doctrine, the new freedom that resulted from the separation from Rome affected all aspects of church life, including the liturgy. In England, the church, now under the authority of the sovereign, soon developed its own liturgy, which was adopted throughout the kingdom. However, in the German Lutheran territories the complex political situation militated against the adoption of a single new form.
Performance Practice
Authors: Webber Geoffrey
Published: November 2023

Details concerning the size and nature of the musical forces employed in seventeenth-century North German church music survive either in the form of original documents or in nineteenth- and early twentieth-century musicological studies of sources that were lost in the Second World War. The archival studies by Lisette Krilger on Hamburg and by Hermann Rauschning on Danzig are particularly interesting as they contain transcriptions of several documents that provide information going far beyond a mere listing of numbers of musicians available.
Johann Sebastian Bach
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

This is one of the greatest as well as the most elaborate of Bach’s solo cantatas. It lends itself especially well to performance in a room which possesses a fine organ, and yet is not too large for chamber music and for Bach’s rich ornamentation, which even in his most massive works so urgently demands many of the conditions of chamber music. Moreover, though it was, like all Bach’s church cantatas, written expressly for a certain church service, on a certain day of the church year, it happens to be in a form which does not absolutely demand the production of the service itself to justify it as a scheme with an artistic climax.
Granville Bantock Hebridean Sea-Poem, Caristiona
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The Lady Clanranald sat on the shore of Moy dart watching the setting sun, and as she watched, she saw with the keen eye of a mother’s love and a mother’s pain, two ships sailing through the Western Sea. From the one, though sailing seaward, came the sounds of harping and of song, and of a bride’s laugh that was sweeter than both-while from the mast-top waved the Clanranald badge, a spray of purple heather fresh with the bloom of the hillside. From the other ship, though sailing homeward, came the sound of the croon and the keening for the dead-the bride of yesterday-the one-no-more of to-night-while from the mast-top drooped and withered a spray of purple heather.
Frank Bridge Phantasy In F Sharp Minor For Violin, Viola, Violoncello, And Pianoforte
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Some years ago Mr W.W. Cobbett instituted a prize, or rather a series of prizes, to stimulate the production of pieces of chamber music in the form of a single design not broken up into the four typical movements of the sonata style. Wagner’s Siegfried Idyll, or some short symphonic poem, might be taken as the nearest existing approach to a model in orchestral music for what was desired in chamber music; but the term Fantasy was chosen as being the special English name used throughout the seventeenth century for the voluminous, if not always inspired, activity we showed then in instrumental music.