bluuebunny/crossref_metadata_2025 huggingface dataset:
The Trophies of Time
Authors: Parry Graham
Published: November 2023

The Trophies of Time presents the first comprehensive survey of the English antiquarians of the seventeenth century. In Britain throughout the period there was a persistent curiosity about the origins of the nation and its institutions, inspired initially by the publication in 1586 of Camden's Britannia. A remarkable campaign of scholarship developed, which attempted to imagine the vanished societies that had once flourished there. What could be known of prehistoric Britain from its monuments and language? Could the lay-out of Roman Britain be recovered? Was it possible somehow to retrieve the language, religion, and laws of Saxon England? The answers to these questions often had a bearing on contemporary issues of church and state and also enabled citizens to gain a new insight into the character and identity of their nation. Many of the most learned men of the age addressed themselves to antiquarian enquiry and this book presents lively and fascinating portraits of Camden, Cotton, Selden, Spelman, Ussher, Dugdale, Aubrey, and many other lesser-known scholars.
Sir Robert Cotton
Authors: Parry Graham
Published: November 2023

Without Sir Robert Cotton and his celebrated library, the whole Jacobean antiquarian endeavour would have been much diminished, and would have lacked a centre. For Cotton was the universal facilitator among the antiquaries, the liaison officer, the man one had to know. His library was the meeting place for all who were enquiring into the past, and his open-handed generosity in making his books and manuscripts available probably did more to advance the cause of scholarship than the combined patronage of Oxford and Cambridge. The prefaces of so many books on British historical themes resound with gratitude to Cotton, and authors deep in their books will interrupt their narratives to recall a kindness from him: he is the great provider of essential texts, and the oracle of the antiquaries.1 Above all, Cotton loved the business of scholarship, the acquisition of books and manuscripts, the discovery of new texts, the evaluation of the status of manuscripts, and the piecing together of the fragments of the past to make it comprehensible. He encouraged all who shared this passion, regardless of age or rank or ideological stance. One of the memorable glimpses of Cotton ‘s irenical domain is given by Father Augustine Baker, the English Benedictine monk who lived a shadowy life in London.
The Persian Ships at Mycale
Authors: Mcdougall Iain
Published: November 2023

According to Herodotus (9. 96. 3), when the Persians received information of the Greek fleet‘s hesitant advance across the Aegean in 480 BC, they decided against confrontation at sea. The Phoenician fleet was dismissed and the remainder of the fleet withdrew to Mycale in order to secure the protection of their army in Ionia. There they beached the ships and constructed a fortified refugeϵ ρ κoc ϵ ρ ν μ α τ ω ν ν ϵ ω ν κ αi cϕ ϵ ω ν α υ τ ω ν κ ρ ηcϕ υ γ ϵ τoνLater, when the Greeks landed their forces, broke the Persian line, and breached the palisade, they set fire to and destroyed the ships and the entire wall, after looting the enemy camp (Hdt.9.rnz; rn6. I). While many other details of Herodotus‘ narrative of the campaign have been exposed to the searching gaze of scholarly criticism, little attention has been paid to the oddity of the Greek action in burning the captured ships, despite the fact that such wanton destruction of what would normally have been looked upon as useful spoils of war is virtually unparalleled. Yet almost all accounts of the battle accept Herodotus‘ testimony without question and make no attempt to rationalize it. The only scholars to have in any way questioned the action are Beloch, who places the responsibility for the burning of the ships on the shoulders of the Persians themselves, Gianelli, who suggests that the Athenians, and in particular Themistocles, were responsible, and Hignett, who presumed that only the ships of the Persians themselves were burnt, but that those belonging to the Ionians were set aside and preserved.
Argive Perioikoi
Authors: Andrewes Antony
Published: November 2023

"At a date close to 495 BC king Kleomenes shipped the Spartan army across the Bay of Nauplia and brought the Argives to battle at Sepeia near Tiryns. The casualties were high, 6,000 according to Herodotos (7. 148. 2); after the battle (6. 83) their slaves (δoν λoi) took over the government and managed all the affairs of Argos, till the sons of the slain grew up and regained control. Plutarch (Mor. 245 F) contradicts Herodotos: it was not to the slaves that the Argives married their women in order to replenish their numbers, but to the best of the perioikoi. This is an appendix to the spurious story of the poetess Telesilla and the Argive women defending the walls against Kleomenes, and a careless addition since Herodotos had said nothing about marriage. But Aristotle (Pol. 1303a2-1o) tells us that their losses compelled them to admit to citizenship certain of the perioikoi, so in some form this correction goes back to the fourth century and already spoke of admitting a selection. It is not easy to take Herodotos‘ δoν λoi literally, and it is conjectured that his informants were aristocrats who were prepared to use this extreme term for persons whom they thought inferior; and these might be Aristotle‘s perioikoi.
Erinyes, Semnai Theai, Eumenides
Authors: Lloyd-Jones Hugh
Published: November 2023

Homer‘s chief concern is with the gods of heaven, the ouranioi; only rarely does he mention the gods of the underworld, the chthonioi, so that if he says little about Demeter or about Dionysus, that does not prove that they were not important in his time. But in tragedy the gods of the underworld take on great importance. Aeschylus exploits the polarity between ouranioi and chthonioi, as he exploits that between the gods of the older generation and the gods who rule Olympus; both in the Oresteia and in the Prometheia (which has not been proved not to be the work of Aeschylus) there is a clash between the two. In the Oresteia the theme of the vendetta brings into special prominence the ministers of divine justice, the Erinyes. At the end of the Choephori they appear to Orestes, demanding vengeance for the murder of his mother; in the last play of the trilogy they form the chorus, appearing visibly in all the horror of their terrifying aspect. Furious at the acquittal of Orestes by the Court of Areopagus, they threaten to vent their fury upon Athens. But Athena is able to avert the danger. By offering them a home within her city, where they will receive special honours, she not only saves Athens from their wrath, but obtains for her city the great advantage of their good will. From henceforth murderers in Athens will be tried by the Court of Areopagus.
‘Treading Birds’ An Unnoticed Use of πατεω
Authors: Bain David
Published: November 2023

My purpose here is to discuss an unnoticed item of the Greek sexual vocabulary attested only in the Cyranides. Since this work is not particularly well known and recently published studies, which have brought about great advances in our understanding of it and of its attendant problems, have not yet perhaps become common currency in the world of scholarship, it seems appropriate to begin with a brief account of its format, character, and transmission. Necessarily this account will be highly selective and, for a fuller discussion encompassing matters not mentioned here, the reader is referred to the article by Alpers which will be cited below.
Literature in potentia
Authors: De Obaldia Claire
Published: November 2023

The intensive concern with generic studies in recent times has clearly shown that despite—or perhaps because of—striking progress in this field, the question of ‘genre’ remains one of the most difficult in literary theory. Whether approached synchronically or diachronically or both, ‘genre’ remains a notion with frustratingly blurred edges. Nevertheless, while a broad agreement does seem to exist as to what is meant by ‘poem’, ‘play’ and, to some extent, ‘novel’, the essay always appears as a particularly problematic form of writing, even—or especially—where the seemingly more specific category of the so-called ‘literary essay’ is concerned. Divergences in the descriptions of the genre, whether they are based on a historical perspective or on the study of the form at any one time, are extreme. Some argue that the fluctuations in the meaning of the word ‘essay’ are due to the fact that the genre varies greatly from one country to the next.
Montaigne’s Essais: A Poetics of the Margin
Authors: De Obaldia Claire
Published: November 2023

The emergence of the Essais as a form which marks the transition between the reign of the universal and the particular is inextricably bound to the centrality of the practice of what we now call intertextuality. Indeed, in the Renaissance the text is seen as the principal instrument of human knowledge, and imitation is acknowledged as an indispensable prerequisite for literary production. Writing involves learning from one’s predecessors, that is, from the wisdom and morality embodied in the texts of the antiquity. Samples of these sources capable of illustrating certain moral principles are compiled in a number of catalogue or inventory-like ‘lesson’-books which are also used as formal, rhetorical models: compendia in which ideas, themes, quotations, words and phrases are put into storage and which constitute a collective memory.
Philosophical Essayism
Authors: De Obaldia Claire
Published: November 2023

As suggested in Chapter 1, Lukács and Adorno’s complementary approaches to the essay(istic) in ‘On the Nature and Form of the Essay’ and ‘The Essay as Form’ provide an appropriate link between Montaigne’s Essais and the Montaignian essay. The affinities and differences between Lukács and Adorno’s aesthetics have been explored at length; but in so far as the essays which concern us here were written in the margins, as by-products of a ‘main’ —or at least better-known—work, one can argue that they are ‘separate, self-contained pieces” which do not require an understanding of the respective philosophies.
Novels ‘Without Qualities’
Authors: De Obaldia Claire
Published: November 2023

To illustrate the transition from essay to novel as rehearsed and theorized in the writings of Roland Barthes, we now turn to novelists who are not only known to have begun their career as essayists, but whose more famous novels are supposed to have developed directly from essayistic material (in the wider, ‘epitextual’ sense of notebooks, journals, aphorisms, letters, diaries, articles, etc.), and even from specific essays. Proust’s Remembrance of Things Past, which Barthes refers to time and again, is representative, for it is the reworking of a number of pieces which include essays, notebooks, sketches, translations, articles, pastiches, and, more particularly, the development of one essay begun around 1908, the fragments of which are subsequently published under the title Against Sainte-Beuve [Contre Sainte-Beuve]. In this essay, Proust presents his ideas on literature by way of a critique of Sainte-Beuve’s method which champions the understanding of the work of art through the personal knowledge of the writer as a man.
‘Intelligence is Always an Interlocutor’: A Dialogue with the Literature
Authors: Hartley John , McKee Alan
Published: November 2023

Discussing the question of ‘who’s got’ something that might be identified as ‘Aboriginal content’ in the field of television provision, Eric Michaels felt constrained to make a statement: I will begin by noting my own genetic lack of Aboriginal-or even Australian content, and admitting that the topic excites me partly because it requires a reflexive posture if I intend to develop this any further at all. (Michaels, 1994: 22).
Watching the Watchdogs: Community Reception and Discussion of Media
Authors: Hartley John , McKee Alan
Published: November 2023

At around the time of the National Media Forum, a conversation occurred between Alan McKee and an Indigenous lecturer attached to the Kurongkurl Katitjin unit at Edith Cowan University in Perth, Western Australia, where the state newspaper is the West Australian. ‘The West’ is the only daily paper indigenous to that state, and it enjoys one of the highest penetrations (proportion of population who read it) in the world. The paper has a strong investment in its inclusive embrace of all WA citizens. In 1996, the West Australian won the ‘Best print entry’ category in the Louis Johnson Media Awards. The award went to the paper’s Aboriginal Affairs journalist Karen Brown, in recognition of several years’ worth of sensitive and thoughtful work on Aboriginal issues.
Reporting lndigeneity: Magazines, Radio, TV, and Sport
Authors: Hartley John , McKee Alan
Published: November 2023

In this chapter, we apply Yuri Lotman’s (1990) distinction between ‘law forming’ and ‘anomalous’ stories to the minutiae of media texts. Earlier in this study we applied the distinction to larger-scale structures in the ‘universe of Indigeneity’. We believe that the same structure of distinction holds (in a fractal manner) right through from forms (soap opera and news), via genres (features and ‘hard’ news) to the level of individual stories. ‘Law formation’ refers to stories where the construction of communities by a ritualized and familiar address to known (banal but central) aspects of cultural life is paramount.
‘The Fancy-Musick’ The Violin and Court Chamber Music 1625-1663
Authors: Holman Peter
Published: November 2023

Four of England’s leading composers, Orlando Gibbons,John Caprario, Thomas Lupo, and Alfonso Ferrabosco II, died between June 1625 and March 1627/8. Their premature loss-they were all in their forties or fifties-had important consequences for English music. Working in the household of the Prince of Wales, the future Charles I, they had invented or developed most of the genres and scorings of Jacobean consort music, including the lyra viol duet and trio, the air for two bass viols and organ, the madrigal-like fantasia for viol consort and organ, the fantasia with ‘great double bass’, and the fantasia suite for one or two violins, bass viol, and organ. But the four had no immediate successors at court, and the idioms that are associated with them were mostly taken up by composers outside the court.
Opera, Rhetoric, and Rittergedichte
Authors: Schroeder David P
Published: November 2023

The symphony does not stand in isolation among Haydn’s productions as the only type of composition with enlightened characteristics. Some of his finest achievements prior to 1785 were in other types of composition, including opera and the string quartet, and it is possible to see his new directions and refinements taking shape in these works. Until fairly recently, opera has been a blind spot in Haydn scholarship, dismissed because it was believed he showed little critical judgement in the choice and shape of librettos, he failed to make his operas dramatic, and he had little aptitude for opera in general. Inevitably a comparison is made with Mozart in which Haydn fares very poorly, and his own remarks to Franz Roth in Prague concerning Mozart’s operatic superiority are invoked to substantiate the unfavourable comparison.
Prologue: Approaching Beethoven’s Creative Process
Authors: Cooper Barry
Published: November 2023

THE creative process of any composer is always to a certain extent shrouded in mystery. Even the composer himself will not fully understand the psychological processes by which ideas occur to him, nor remember afterwards exactly how he put a piece of music together. The problems of understanding how Beethoven composed are even greater than those with a living composer, and any attempt to present a complete picture of his compositional activity must be doomed. Nevertheless more than enough relevant documents survive for us to be able to gain considerable insight on the subject. In fact there is so much source material that it will take years for it all to be thoroughly examined, and any conclusions reached here must be somewhat provisional; but it is still useful to bring together now what is currently known on the subject. Much has of course been written on it already, and a traditional picture of his compositional process (derived chiefly from nineteenth-century studies by Gustav Nottebohm) has existed for many years. But this picture, which portrays Beethoven as a slow and laborious worker who composed with great difficulty, has been modified in recent years by more detailed research. Hence one of the aims of the present study is to establish a more up-to-date but comprehensive view, based on a more wide-ranging and detailed assessment of the sources than was possible in Nottebohm’s day. Another aim is to see what were Beethoven’s chief compositional goals, and what difficulties he had to overcome in order to achieve them.
Types and Relationships of Sketches
Authors: Cooper Barry
Published: November 2023

NOT all of Beethoven’s sketchbook entries have precisely the same function in the compositional process, and it is convenient to classify them into a number of different types. Certain broad types keep recurring throughout his work in almost all the sketchbooks, regardless of the pieces being composed, and the relationships between the different types are also fairly consistent. It is therefore possible to give an account of the various types and how they relate to each other; this account will be valid with only minor modifications for nearly all the works he wrote. Altogether there are about eight main types, several of which were mentioned in the previous chapter. They include concept sketches, continuity drafts, variants, synopsis sketches, score sketches, brouillons, piano exercises, and random notations. Nearly all Beethoven’s sketches fall into one of these types, although occasionally there are borderline cases or irregular types.
Planning the Later Movements: String Quartet in B flat, Op. 130
Authors: Cooper Barry
Published: November 2023

AS was seen in Chapter 12, when Beethoven was working on the first movement of the D minor Piano Sonata he had very little idea about what the later movements were going to be, and he was even uncertain how many there would be. Such uncertainty was by no means uncommon, and often while working on an earlier movement he would jot down possible ideas for later ones without being at all sure which of these ideas, if any, would be taken up. (There was, of course, a standard pattern for multi-movement instrumental works, so that he would normally expect to write a slow middle movement, a fast finale, and possibly a minuet or scherzo, but within this pattern there was enormous scope, and there was also always the possibility of breaking away from the pattern altogether.) Thus he was liable to finish the main sketching for one movement while still faced with the problem of what sort of movement should follow.
The Problem of the Joins: Egmont Overture
Authors: Cooper Barry
Published: November 2023

bEETHOVEN’ s overture and incidental music to Goethe’s play Egmont were written as a result of a commission, in the autumn of I 809, from the Viennese Court Theatre. The music was not completed until the following June, with the overture as usual apparently being finished last. The subject of the play concerns Egmont’s struggle against tyranny and foreign domination and his anticipation of ultimate victory—a subject particularly dear to Beethoven and also one of considerable topical interest in Vienna as a result of the French occupation of the city in I 809.
Introduction: Musical Composition and Problem-Solving
Authors: Brown Matthew
Published: November 2023

Many of us are fascinated by the nature of musical composition and by the possibility of explaining some of its mysteries. Musicologists are interested because composition lies at the heart of the musical experience; they care both about the ways in which individual pieces are put together and about the people who created them. Psychologists are also intrigued because composition is one of the most remarkable expressions of human thought. To quote Howard Gardner: ‘The greatest challenge confronting any science of cognition is the task of explaining superior and revolutionary intellectual achievements-the plays of Shakespeare, the symphonies of Beethoven, the scientific system devised by Einstein.’ Through studying composition, Gardner and his colleagues hope to gain new insights about the ways in which people think and act.
Intentional Goals and Historical Constraints
Authors: Brown Matthew
Published: November 2023

Whenever we try to explain musical compos1t1on in terms of problem solving, it is useful to begin by considering the composer’s various intentional goals and the historical constraints within which he or she worked. In the case of Ibéria, one of the most obvious goals for Debussy was that of writing a piece that created an image of Spain.
Musical Problems and Search Strategies
Authors: Brown Matthew
Published: November 2023

In the previous chapter we saw that, although Debussy took the task of recreating Spanish styles very seriously, he faced far greater challenges in composing Ibéria. Perhaps the most pressing were those of producing a large scale symphonic composition. In particular, he had to decide how to extend his Spanish-sounding themes so as to create three independent movements, and he had to discover how to join his three movements together in order to create a single, continuous whole.
Gesualdo
Authors: Watkins Glenn , Stravinsky Igor
Published: November 2023

Carlo Gesualdo, Prince of Venosa, is equally celebrated as the composer of madrigals of great power and tortured complexity and as the murderer of his wife and her lover in flagrante delicto. His life and compositions are not unconnected. His neurotic sensibility found an ideal outlet in the mannerist tendencies of late Renaissance music and his works are the most extreme examples of those tendencies. Glenn Watkins’s extended study of Gesualdo’s life and works was originally published in 1973. Alongside detailed analysis of Gesualdo’s remarkable madrigals and of the few works in different genres, it contained much new biographical material, particularly on the latter part of the composer’s life. This new edition has been extensively updated by the author and contains a new chapter covering the research of recent years.
Ferrara: 1594–1596
Authors: Watkins Glenn , Stravinsky Igor
Published: November 2023

IT would be a mistake to accept the dramatic events of Gesualdo’s life before r 590 as his ‘story’. Only a single composition of his had been published before that time, and although it can be safely assumed, as we shall see later, that he had written all the madrigals of the first two books before his second marriage in 1594, their conservative style shows that the most important influences lay ahead. Of these few were to be more decisive than his association with Ferrara, to which he journeyed to take a new wife.
Introduction
Authors: Burrows Donald
Published: November 2023

The subject of this book is Handel’s relationship with the English Chapel Royal—the institution and its individual musical performers—and the musical repertory that he composed in the context of that relationship. Historically the topic is of importance because of Handel’s involvement in the celebration of political and domestic events relating to the British court: his music for the Peace Thanksgivings in 1713 and 1749, for the Coronation in 1727, and even for the return of King George I from his visits to Hanover in 1724–6, contributed to strengthening the image of the court, and brought the composer into prominence as a public figure.
The Chapel Royal before Handel’s Arrival in England: Symphony Anthems and Thanksgivings
Authors: Burrows Donald
Published: November 2023

The English Chapel Royal or household chapel began in Anglo-Saxon times as a body of priests and servants who ministered to the spiritual needs of the sovereign and travelled with the court. The first evidence for the office of Dean as head of the Chapel appears about 1350; in 1483 King Edward IV reorganized the Chapel’s constitution and formally introduced the office of Sub-Dean.
Interlude, 1714–1719
Authors: Burrows Donald
Published: November 2023

The performances of Handel’s music in the Chapel Royal before King George I and his family in September and October 1714 demonstrated that the composer had been accepted by the new regime. The established position of the former Hanover Kapellmeister at the English court was confirmed: a year later, George I (in his role as Elector) even went so far as to grant some retrospective payment for his Hanoverian services.
The Chapel Royal and Handel’s Oratorios
Authors: Burrows Donald
Published: November 2023

Passing mention was made in the previous chapter of the performances of Handel’s Esther initiated by Bernard Gates in 1732, which led Handel towards the introduction of English works into his Italian opera seasons, and ultimately to the creation of the genre of English theatre oratorio that formed the basis of his later career. In 1785 Charles Burney related the history of these performances in two separate sections of his book recording the Handel Commemoration of the previous year.
War and Peace: Commemorations in the 1740s
Authors: Burrows Donald
Published: November 2023

Like his father, King George II paid regular visits to Hanover. The principal function of these visits was to sustain direct contact with the administration of the Electorate, but they served other purposes as well. At Hanover he was well placed geographically to undertake formal and informal diplomatic contacts, on behalf of Britain as well as Hanover, with other European powers, and also to deal with family matters such as the choice of marital partners for his children; in 1736 the visit took on an additional aspect when he acquired a new mistress, the wife of the Hanoverian Baron von Walmoden.
Epilogue
Authors: Burrows Donald
Published: November 2023

The Thanksgiving Service for the Peace of Aix-la-Chapelle in April 1749 was the last occasion for which Handel composed music specifically for the musicians of the Chapel Royal. His concert in the chapel of the Foundling Hospital a month later included a repeat performance of the Anthem on the Peace, in which Bayly and Mence almost certainly repeated their solo roles in the anthem: although the Foundling Hospital Chapel was not yet consecrated, it seems likely that the nature of both the building and the charitable occasion would have removed the inhibitions that normally prevented Priests from the Chapel Royal from performing at public venues such as the theatres.
Orchestral Accompaniment
Authors: Burrows Donald
Published: November 2023

Apart from the two verse-anthem versions of As pants the hart (HWV 251a and HWV 251d), all of Handel’s music for the Chapel Royal has orchestral accompaniment. The core of the orchestra for his performances was provided by the Royal Musicians, whose establishment consisted of the Master of the Musick and 24 Musicians in Ordinary; the full roll of twenty-four was maintained throughout the period 1700–60.
Buildings
Authors: Burrows Donald
Published: November 2023

The material in this chapter covers the buildings in which Handel performed his Chapel Royal music, and in addition two other relevant locations. The church of St Lawrence, Whitchurch, the site for the original performances of the Cannons anthems and canticles, is significant on account of the reworkings of the same music between the Chapel Royal and Cannons repertories that were described in Chapter 6.
Conductors
Authors: Ehrlich Cyril
Published: November 2023

Costa’s innovations were fortunate in their timing because they were assisted by revolutions in the disparate but equally volatile worlds of London opera and continental politics. The theatrical revolt, which had been threatening to break out for several years, reached a suitably flamboyant climax in 1846. The manager of Her Majesty’s Theatre, Benjamin Lumley, claimed in an open letter that he had offered Costa an increased fee to retain his exclusive services, and that it was impossible for a conductor to serve two masters.
Independence 1877-1890
Authors: Avins Styra , Eisinger Josef
Published: November 2023

In some respects, 1877 is the year Brahms hit full stride. He came to terms with the freedom his financial independence allowed him, and was at the height of his creative powers. He began to travel to Italy, and to spend the better part of his summers in mountainous regions of great natural beauty. He still had almost half of his creative output before him.
Musitcians At drury Lane
Authors: Girdharn Jane
Published: November 2023

Operas were clearly integral to the London theatre world in the 1790s, many of them popular and profitable. Music was not confined to operas, however, as many staged works combined speech and music in varying proportions, ranging from plays with occasional stage songs to operas which had spoken dialogue.
Conclusions
Authors: Girdharn Jane
Published: November 2023

It is difficult to evaluate Storace,s achievements without first regretting his early death. Thirty years after it, the Harmonicon expressed the sentiment plainly: Had fortune enabled [Storace] to write at leisure, and not on the spur of the occasion, as was too frequently the case,-had he enjoyed better health, and lived but a few years longer, it is reasonable to conclude that he would have proved his claim to a still higher niche in the temple of fame than is now allotted him.
Legato Tonguing
Authors: Schuller Gunther
Published: November 2023

In essence, tonguing is nothing more than a musical ‘decoration’ of a note. It should not be just a means of ‘getting’ the note. This is most important to remember if one aspires to any degree of sensitivity in phrasing. I feel that gradations in tonguing should be developed as early as possible, since limited tonguing abilities can quickly become a serious handicap, and make the proper performance of a great deal of the repertory well-nigh impossible. A sharp attack will obviously be inappropriate in soft dolce passages. Conversely, a soft ‘mushy’ attack cannot possibly be musically adequate in a strong marcato phrase. I need not labour the point: the entire horn repertory contains phrases requiring not only these two extremes, but the complete gamut of infinite and subtle gradations between the two. Once this fact is fully realized, the necessity for complete tonguing control becomes obvious, and my original point becomes clearer: tonguing is a variable decoration of a note or a phrase, dependent entirely upon the musical context.
Staccato
Authors: Schuller Gunther
Published: November 2023

If the attack of a note is in musical essence decoration, so is the ending of the note. This is unfortunately one of the most neglected areas, not only of horn playing but of all wind instrument playing. As we know from Chapter II, the closing of the larynx is the means by which we properly may stop a note. This can be done in various degrees of intensity and at various points in the duration of the note. When we stop the note almost immediately after starting it, we call this ‘staccato’ playing.
Aspects of Performance: Ad libitum Parts and Sequence of Songs
Authors: Cooper Barry
Published: November 2023

Most aspects of performance practice associated with Beethoven’s folksong settings apply equally to his other music, and have been widely investigated in recent years. But the role of the accompanying instruments and the question of the order in which the songs should be published or per formed are specific issues that need closer examination, since a greater understanding of them should result in more numerous and more effective performances than occur at present.
D
Authors: Clinkscale Martha Novak
Published: November 2023

DACKWEILLER, Paul-Guillaume (b Ubach, Germany, 16 Aug. 1750-d Paris, 13 Sept. 1801). Keyboard instrument maker in Paris. Dackweiller went to Paris to study instrument construction and in the 1770s became an apprentice there of Jean Killien Mercken (q.v.). He was probably already well acquainted with Mercken, for both men were born in Ubach, a town near Aachen, which at that time was under the jurisdiction of Austria.
K
Authors: Clinkscale Martha Novak
Published: November 2023

KADEL, Karel (Carl, Charles) I (sen.) (b Ehrenbreitstein (now part of Koblenz), Rhineland Palatinate, 1770-d [Amsterdam], after 1833). Karel (Carl or Charles) Kadel I worked first in Am sterdam and re-established his shop in Brussels in 1827. His son Karel (Charles) II (jun.) (b Am sterdam, 1805-d Melsbroeck, 1849) also built pianos in Brussels from 1832 to 1840. (Haine-M/DICT, 231)
M
Authors: Clinkscale Martha Novak
Published: November 2023

MAAG, Jean Caspar (Hans Kaspar, Jean Gaspard) (b Oberglatt, near Zürich, 30 Aug. 1744-d Hottingen, near Zürich, 16 Nov. 1822). From 1783 Maag lived in Zurich at NiederdorfstraRe 68, later in Riesbach, and from 1810 in Hottingen. He married in 1786. Of his three children, only Johannes Kaspar (Hans) Maag (hap. 20 Nov. 1787-d 17 Nov. 1865) became a piano builder; he worked alongside his father. (Hirt/MEISTER, 478; Rindlisbacher/KLAV, 157)
O
Authors: Clinkscale Martha Novak
Published: November 2023

OESTERLEIN [Oesterlin], C. H. (d 1792). Grand piano maker in the Salzhofe in Berlin. (Boalch2, 117; Haase/BERL, 67) OHL, Tobias (b Sent, c. 1760-d Vienna, 14 Jan. 1809). Piano maker in Vienna. (Haupt/WIEN, 165) OSBORNE (Osborn), John (b New England, c.1792-d New York, 27 May 1835). One of the finest of the early American makers. A former stu dent of Benjamin Crehore (q.v.) from 1808 until 1814, Osborne would himself be sought after as a tutor. He established his first workshop in 1815 at 3 Newbury Street in Boston. In 1819 he moved the business to 12 Orange Street and in 1822 to 1 Boylston Square. After he became well established, Osborne attracted several outstanding apprentices: John Dwight, Jonas Chickering, and Lemuel and Timothy Gilbert.
Q
Authors: Clinkscale Martha Novak
Published: November 2023

QUANTE, Melchior. His name was formerly thought to be Melchior Guante. Maker of pianos and probably harpsichords or clavichords in Munster, Westphalia. (Krickeberg)
R
Authors: Clinkscale Martha Novak
Published: November 2023

RACKWITZ, George Christoffer (fl. 1796-1828). Clavichord and piano maker in Stockholm. (Helenius-Öberg/SVENSKT, 17, 26)
U
Authors: Clinkscale Martha Novak
Published: November 2023

ULDAHL, P. C. (b [Denmark?], 1778-d [Copenhagen?], 1 Mar. 1820). A student of Joseph Wachtl in Vienna, Uldahl never worked independ ently in that city. He established his business in 1809 in Copenhagen, where he built pianos of ex cellent quality. (Hirt/MEISTER2, 463)
Haydn's Keyboard Music Studies in Performance Practice
Authors: Harrison Bernard
Published: November 2023

In this comprehensive study of performance practice in Haydn's keyboard music, Bernard Harrison confronts the important issues facing any performer of Haydn's keyboard music. He deals with the full range of Haydn's keyboard work - concertos, divertimenti, concertini, trios, Klavierstücke, and sonatas - and emphasizes the connection between performance practice and compositional style. He addresses many of the most controversial issues in recent research on the performance practice of eighteenth- century music, and takes a stance on some of the recurring controversies in Haydn research. Haydn's ornamentation is treated in four extensive chapters which range over Haydn's changing notational practices, the large corpus of 18th-century theoretical information on performance, and an examination of the music itself. Other issues in performance are elucidated in wide-ranging discussions, and Harrison presents new evidence on the question of the influence of C.P.E. Bach on Haydn. He surveys broader aspects of interpretation, commenting sympathetically but critically on the phenomenon of ‘early music’.
Questions of Rhythmic Interpretation and Tempo
Authors: Harrison Bernard
Published: November 2023

The notated rhythms in Haydn's music, and generally in music from the second half of the eighteenth century, do not require a systematic alteration in performance. There is no convention of notes inégales, as is applicable to certain French music, by which notated rhythms are altered in performance according to well-documented conventions governed by the metre of the music; nor is there in Haydn's music any convention requiring the systematic double-dotting of rhythms as has traditionally been claimed for the ‘French overture style’. This is not to say that Haydn's rhythmic notation conveys the rhythmic subtleties requisite in performance, nor that the notation is by comparison with modern notation always accurate. The notated rhythm of Haydn's music is of course subject to manifold subtle alterations in performance for accentual and expressive reasons, chief among which is the agogic accentuation discussed in Chapter 2. It is also true that certain features of modern rhythmic notation were not available to Haydn, or were only adopted by him later in his career, and that features of conventional Baroque notation which are imprecise and require modification in performance continue to occur in Haydn's music, primarily in his early music but also, to some degree, in his late music. The concern of the present chapter is with such problems of notation, with the duality of literal and implied readings of Haydn's notation. However frequently occurring, these problems are essentially matters of reading Haydn's notation and not with the application in any pervading rhythmic style or systematic inequality.
C. P. E. Bach and Haydn: The Question of Influence Revisited
Authors: Harrison Bernard
Published: November 2023

The question of C. P. E. Bach's influence on Haydn is a perennial subject in the literature on Haydn and is addressed in some detail here because of, as I see it, its direct relationship to problems of performance practice discussed in Chapters 6-9. Musicologists have generally accepted that Haydn was influenced by C. P. E. Bach and there is what appears to be a very solid documentary basis for this assumption. The legend of this influence dates from the eighteenth century and appeared first in a review of Haydn's Sonatas, Hob. XVI: 21-32 in the European Magazine and London Review in October 1784. Various other, mostly obscure, references date from the 1780s and 1790s but more precise information is found in two contemporary biographical sketches of Haydn, the Biographische Notizen of Georg August Griesinger and the Biographische Nachrichten of Albert Christoph Dies. Following a description of Haydn's dismissal from St Stephen's and his early life in Vienna, Griesinger's account has the following passage: About this time Haydn came upon the first six sonatas of Emanuel Bach. ‘I did not come away from my clavier till I had played through them, and whoever knows me thoroughly must discover that I owe a great deal to Emanuel Bach, that I understood him and have studied him diligently’.
Epilogue: Beyond the Notation
Authors: Harrison Bernard
Published: November 2023

The emphasis in much of this book, particularly in those chapters dealing with articulation and ornamentation, has been, unashamedly, on the evidence of the notation. Haydn's notation is a series of codes, some of which may be read by the contemporary performer with relative ease, while others involve a more complex process of decoding, mediated by indirect knowledge gleaned from sources other than the composer. In Haydn's notation the pitches which make up a melody and the harmonies which accompany them are generally prescribed without ambiguity, allowing a fairly literal reading of the notation in this regard and, in the interpretative chain suggested by Fig. 10.1, creating a direct link between the composer and the interpretation via the notation. At its most precise Haydn's notation can at various times, although not consistently, be equally unambiguous in prescribing aspects of ‘performance practice’: when in an autograph manuscript Haydn writes out in unambiguous pitch and rhythmic notation the realization of an ornament (an appoggiatura, for instance) the interpretation of this ornament need not be determined by reference to performance-practice conventions which Quantz or any other theorist discusses in relation to the appoggiatura. At the other extreme, the interpretation of Haydn's tempo indications must always be informed by numerous factors.
A Quantitative Look at Discourse Coherence
Authors: Hurewitz Felicia
Published: November 2023

Centering transitions, as a measure of discourse coherence, allow us the means to compare the function of syntactic pragmatic constructions across various styles of discourse. This study demonstrates a way to use centering transitions in a corpus-based quantitative analysis in order to test hypoth eses about discourse structure and speech production.

In a comparison of spoken and written passive sentences to their active counterparts, we find evidence that the passive construction has different uses in the spoken and written form. In conversational spoken speech, passives are reliably more likely to have the CONTINUE transition than a control sample. This effect is not found in written text. On the other hand, written passives tend to be used reliably more often for PARTIAL SHIHS, where the Cb is a subset or functional dependency of elements realized in the previous utterance. Finally, the utterance following written passives, but not spoken passives, are found to SMOOTH-SHIFT more often than the control.
Cathedralism
Authors: Page Christopher
Published: November 2023

SINCE the Renaissance, the Western imagination has been inclined to picture the medieval period as a kind of odyssey: an exhilarating but enforced journey, taking mankind to a strange country and ending in the Renaissance with his homecoming and the restoration of his inheritance. Medievalists may deny that they see their period in these terms, and they invariably take professional pride in rejecting a view of the Middle Ages that seems so authoritative to the general mind and yet so erroneous to theirs. None the less, the concept of a medieval odyssey is easier to denounce than to displace.
The Origins of the Seventeenth-Century Staged Ballo
Authors: Fenlon Iain
Published: November 2023

The autumn of 1615 found Claudio Monteverdi at work on a new commission for his old masters, the Gonzaga. More precisely, a court official, Annibale Iberti, had recently been in touch with the composer through the Mantuan Resident in Venice, Camillo Sordi, with instructions that the composer should be commissioned to compose a hallo at the specific request of Ferdinando Gonzaga, who now found himself somewhat unexpectedly destined to become the sixth Duke of Mantua. The reasons for the commission are unknown, but it seems likely that it was intended for performance as part of the celebrations planned to mark Ferdinando’s official installation early in the new year.1 Yet beyond the fact of the commission itself, the Mantuans had given precious few details, unlike Ferdinando’s direct predecessor (and Monteverdi’s first employer at the court), Duke Vincenzo Gonzaga, who, as Monteverdi now put it (in his letter to Annibale lberti of 21 November 1615), ‘used to demand of me such productions either in six, eight or nine movements, besides which he used to give me some account of the invention, and I used to try to fit to it both the harmony and the metres that I knew to be most appropriate and similar’. Here, it seems, the composer was referring to the Ballo delle ingrate or to something similar, in which the choreography did not merely consist of a sequence of elaborate geometrical configurations, but operated within a narrative framework.
Málaga and García’s Return to Madrid, 1799–1804
Authors: Radomski James
Published: November 2023

Little information about the theatre in Málaga at the tum of the nineteenth century remains. Yet, García’s brief stay there marked a turning-point in his early career. In Málaga, he proved himself both as leading tenor and composer of significance. With the large Italian community in Málaga supporting the ever-popular opera, it is not entirely surprising that the environment there on the Mediterranean coast, far from away from the capital, was conducive to the formation of an opera star.
Last Years in Madrid, 1805–1807
Authors: Radomski James
Published: November 2023

The year 1805 was particularly important in García’s Spanish career, for it brought him one of his greatest theatrical successes-the premiere of his monologue opera, El poeta calculista. It was also the year in which Joaquina Briones bore him their first child, confirming the relationship that would last for the rest of his life.
Paris (1816–1817) and London (1818–1819)
Authors: Radomski James
Published: November 2023

On 16 October 1816, the Moniteur universel presented the following notice: ‘Tomorrow, for the return of M. García, first tenor, II matrimonio segreto.’ Six years of experience and triumphs in Italy had changed García’s status considerably. He was no longer the young novice, vulnerable to the discriminating taste of the Parisian public. Neither was he vulnerable to the competition of incumbent tenors; he was now ‘first tenor’–the position he would retain until the end of his life.
García as Teacher
Authors: Radomski James
Published: November 2023

The large number of successful García students, among whom were numbered some of the most famous singers of the day (his daughters Maria and Pauline, Adolphe Nourrit, Henriette Méric-Lalande) suffices to confirm him as one of the greatest teachers of all times. His contemporaries regarded him with reverence as the heir to the great Italian singing traditions of the seventeenth century which had since died. His own son, Manuel, continued the García school and has become, for the modem world, even more famous as a singing teacher than his father. It was the younger García who established the standard of the modern teacher, basing method upon scientific research of the larynx.
Introduction
Authors: Wegman Rob C
Published: November 2023

This book is a case-study in late fifteenth-century music history. Its underlying theme is part of a broader one, the transformation of the cyclic mass in the so-called Josquin period, roughly 1480-1520. In textbook terms this is the transition from ‘cantus firmus’ to ‘parody’ mass, yet the complex of changes was much broader, and affected a range of interconnected features: techniques of imitation, functional relationships between voices, the modal conception of counterpoint, relative ranges, mensural usage and theory, the matching of music and text, and, least tangible, that intersubjectively perceived quality which we call musical style. The transition, in short, amounted to a complete transformation of the received musical language.
Formative Years
Authors: Wegman Rob C
Published: November 2023

Jacob Obrecht had turned 15 by 1473. Legally this age marked his majority, but effectively he was to remain under the loose supervision of his legal guardian, Willem Obrecht, until he had shown himself competent to conduct his own affairs. This was also about the age when his voice would have broken, and hence the moment to leave the choristers’ foundation (wherever it was) where he must have received his musical training.
Gluck in London (1746)
Authors: Howard Patricia
Published: November 2023

When did Gluck come to London? There is no mention of him in the press until the announcements of the forthcoming La caduta de’ giganti in the General Advertiser of 4 January 1746. The commission to write this particular opera is unlikely to have been given before the second week of December 1745. The King’s Theatre was closed for most of 1745 ‘on account of the [Jacobite] rebellion, and popular prejudice against the performers, who, being foreigners, were chiefly Roman Catholics’.1