bluuebunny/crossref_metadata_2025 huggingface dataset:
Spectral narrowing of emission in self-assembled colloidal photonic superlattices
Authors: Baert Kasper , Song Kai , Vallée Renaud A. L. , Van der Auweraer Mark , Clays Koen
Published: January 2007

We report on the influence of a well-designed passband in the stop band of a suitably engineered self-assembled colloidal photonic crystal superlattice on the steady-state emission properties of infiltrated fluorophores. The photonic superlattice was built by convective self-assembly of slabs of silica spheres of two different sizes. Transmission experiments on the engineered photonic crystal structure show two stop bands with an effective passband in between. The presence of this passband results in a narrow spectral range of increased density of states for photon modes. This shows up as a decrease in the emission suppression (enhancement of the emission) in the narrow effective passband spectral region. These experiments indicate that the threshold for lasing can possibly be lowered by spectrally narrowing the emission of fluorophores infiltrated in suitably engineered self-assembled photonic crystal superlattices, and are therefore important towards the realization of efficient all-optical integrated circuits from functionalized photonic superlattices and heterostructures.
Nanoscale patterning of (La,Pr,Ca)MnO3 thin film using atomic force microscopy lithography and their electrical properties
Authors: Yanagisawa Yoshihiko , Hirooka Motoyuki , Tanaka Hidekazu , Kawai Tomoji
Published: January 2007

We have applied the atomic force microscopy (AFM) lithography technique to electrically phase-separated (La,Pr,Ca)MnO3 (LPCMO) thin films. It was found that the maximum pattern height of 10.5nm for the as-deposited film was much higher than that of 5.3nm for the annealed film, suggesting that AFM lithography of LPCMO thin film was highly influenced by oxygen nonstoichiometry that enhances ion migration. The nanochannel with 150nm width was fabricated using this technique. The nanostructure shows insulating behavior under H=0T and large hysteretic behavior accompanied with metal-insulator transition temperature Tp=140 and 170K upon cooling and warming under 5T. In contrast, the unpatterned film has Tp=170K (H=0T) and 240K (H=5T) without large hysteretic behavior. The difference between the nanochannel and the unpatterned film can be related to the electronic phase separation.
Electromechanical contact of microelectromechanical structure
Authors: Yang Fuqian
Published: January 2007

Contact deformation of a membranelike microelectromechanical structure subjected to uniform mechanical pressure was analyzed by considering the effect of electric stress. Using the membrane theory, a closed-form solution of the contact deformation in an electric field was obtained. The contact size increases with the increase in the electric field intensity and is a linear function of the electrical voltage between the membrane and the rigid substrate if the membrane is only subjected to an electrical stress. Using the energy criterion, the adhesive contact between the membrane and the substrate in an electric field was also discussed. A lower bound of the contact size was obtained as a function of the electric stress and the adhesion energy.
Relaxation of the CH stretch in liquid CHBr3: Solvent effects and decay rates using classical nonequilibrium simulations
Authors: Ramesh Sai G. , Sibert Edwin L.
Published: January 2007

This article addresses two questions regarding the decay of the CH stretch in liquid CHBr3. The first is whether the initial steps of the relaxation primarily involve energy redistribution within the excited molecule alone. Gas phase quantum mechanical and classical calculations are performed to examine the role of the solvent in this process. At the fundamental excitation level, it is found that CH stretch decay is, in fact, strongly solvent driven. The second question is on the applicability of a fully classical approach to the calculation of CH stretch condensed phase decay rates. To this end, nonequilibrium molecular dynamics simulations are performed. The results are compared with quantum mechanical rates computed previously. The two methods are found to be in fair agreement with each other. However, care must be exercised in the interpretation of the classical results.
Are recent water models obtained by fitting diffraction data consistent with infrared/Raman and x-ray absorption spectra?
Authors: Leetmaa Mikael , Ljungberg Mathias , Ogasawara Hirohito , Odelius Michael , Näslund Lars-Åke , Nilsson Anders , Pettersson Lars G. M.
Published: January 2007

X-ray absorption (XA) spectra have been computed based on water structures obtained from a recent fit to x-ray and neutron diffraction data using models ranging from symmetrical to asymmetrical local coordination of the water molecules [A. K. Soper, J. Phys.: Condens. Matter 17, S3273 (2005)]. It is found that both the obtained symmetric and asymmetric structural models of water give similar looking XA spectra, which do not match the experiment. The fitted models both contain unphysical structures that are allowed by the diffraction data, where, e.g., hydrogen-hydrogen interactions may occur. A modification to the asymmetric model, in which the non-hydrogen-bonded OH intramolecular distance is allowed to become shorter while the bonded OH distance becomes longer, improves the situation somewhat, but the overall agreement is still unsatisfactory. The electric field (E-field) distributions and infrared (IR) spectra are also calculated using two established theoretical approaches, which, however, show significant discrepancies in their predictions for the asymmetric structural models. Both approaches predict the Raman spectrum of the symmetric model fitted to the diffraction data to be significantly blueshifted compared to experiment. At the moment no water model exists that can equally well describe IR/Raman, x-ray absorption spectroscopy, and diffraction data.
New approach to the kinetics of heterogeneous unary nucleation on liquid aerosols of a binary solution
Authors: Djikaev Yuri , Ruckenstein Eli
Published: January 2007

The formation of a droplet on a hygroscopic center may occur either in a barrierless way via Köhler activation or via nucleation by overcoming a free energy barrier. Unlike the former, the latter mechanism of this process has been studied very little and only in the framework of the classical nucleation theory based on the capillarity approximation whereby a nucleating droplet behaves like a bulk liquid. In this paper the authors apply another approach to the kinetics of heterogeneous nucleation on liquid binary aerosols, based on a first passage time analysis which avoids the concept of surface tension for tiny droplets involved in nucleation. Liquid aerosols of a binary solution containing a nonvolatile solute are considered. In addition to modeling aerosols formed through the deliquescence of solid soluble particles, the considered aerosols constitute a rough model of “processed” marine aerosols. The theoretical results are illustrated by numerical calculations for the condensation of water vapor on binary aqueous aerosols with nonvolatile nondissociating solute molecules using Lennard-Jones potentials for the molecular interactions.
Phase-sensitive detection in Raman tweezers
Authors: Rusciano G. , De Luca A. C. , Sasso A. , Pesce G.
Published: January 2007

The authors discuss on a method to acquire the Raman spectrum of a single optically trapped particle. The method makes use of two laser beams: the first laser traps the particle and moves it back and forth in a plane perpendicular to the laser beam propagation; a second laser acts as Raman probe and it is fixed in space. The Raman spectrum is obtained by phase detecting the backscattered Raman photons using a lock-in amplifier. Within this approach, the background due to the scattering of the environment is completely removed. The authors apply this method to 4.25μm diameter polystyrene beads in aqueous solution.
Distinguishing between cooperative and unimodal downhill protein folding
Authors: Huang Fang , Sato Satoshi , Sharpe Timothy D. , Ying Liming , Fersht Alan R.
Published: January 2007

Conventional cooperative protein folding invokes discrete ensembles of native and denatured state structures in separate free-energy wells. Unimodal noncooperative (“downhill”) folding, however, proposes an ensemble of states occupying a single free-energy well for proteins folding at ≥4 × 10
4
s
−1
at 298 K. It is difficult to falsify unimodal mechanisms for such fast folding proteins by standard equilibrium experiments because both cooperative and unimodal mechanisms can present the same time-averaged structural, spectroscopic, and thermodynamic properties when the time scale used for observation is longer than for equilibration. However, kinetics can provide the necessary evidence. Chevron plots with strongly sloping linear refolding arms are very difficult to explain by downhill folding and are a signature for cooperative folding via a transition state ensemble. The folding kinetics of the peripheral subunit binding domain POB and its mutants fit to strongly sloping chevrons at observed rate constants of >6 × 10
4
s
−1
in denaturant solution, extrapolating to 2 × 10
5
s
−1
in water. Protein A, which folds at 10
5
s
−1
at 298 K, also has a well-defined chevron. Single-molecule fluorescence energy transfer experiments on labeled Protein A in the presence of denaturant demonstrated directly bimodal distributions of native and denatured states.
On the Application of Wind to String Instruments
Authors: Baillie-Hamilton J.
Published: January 2007

There seems to have been a feeling in all times, that the combination of wind and string in music would afford some strangely beautiful result.
Schoenberg and Schenker
Authors: Dahlhaus Carl
Published: January 2007

The dispute between Arnold Schoenberg and Heinrich Schenker—witnessed in Schoenberg's ironical remarks in the Harmonielehre and Schenker's vigorous polemics in the second volume of Das Meisterwerk in der Musik—was in the first instance a controversy concerning the significance of nonchordal notes (in the German, literally, notes foreign to the harmony), a subject that appears harmless enough. The dispute as such would be hardly worth examining if it revealed nothing beyond each antagonist's lack of understanding of the other and the failure of both to do justice to the subject about which they claimed to be speaking. But beneath the surface of a discussion about technical details is concealed a conflict of fundamental principles concerning modes of musical thought—modes of thought that cannot simply be reduced to the clichés of ‘progressive composer’ and ‘conservative theorist’.
The Peak Period of Venetian Public Opera: The 1650s
Authors: Glover Jane
Published: January 2007

In the early months of 1637, a Roman opera company of six singers with instrumentalists presented Francesco Manelli's Andromeda in the newly reopened Teatro San Cassiano at Venice. These performances marked the beginning of a vital period of development in opera: the new art form of drama in continuous music had hitherto been largely the privilege of the aristocratic few, but was now presented to a cross-section of Venice's richly varied population. Andromeda and its successor, La Maga Fulminata, given by the same company in the following year, aroused in Venetian dramatists, composers and audiences alike a voracious appetite for operas, and were the source of an almost continuous flow of such works presented in Venetian theatres throughout the rest of the century.
Jacopo Peri (1561–1633): Aspects of his Life and Works
Authors: Carter Tim
Published: January 2007

Jacopo Peri, the so-called ‘inventor’ of opera, is well known to music historians. To concentrate solely on his Dafne and Euridice, however, is to present a distorted picture of this court musician. The time has come to seek out a more balanced view of a composer who was not quite the revolutionary that the history books would have us believe.
The Study of Britten: Triadic Harmony and Tonal Structure
Authors: Whittall Arnold
Published: January 2007

In 1946, the critic Scott Goddard ended an enthusiastic and judicious discussion of Britten's achievement with this comment: ‘Whoever tries to discover the intrinsic quality of the music of Britten and his generation must take courage from what they possess in only a small degree, sufficient knowledge to form a judgment.’ Things ought to be very different today. We are able to consider Britten's life and work as a complete whole. We are able, and possibly even willing, to read the millions of words which have been written about him. If anything, the problem is not that we have too little knowledge to form a judgment, but too much; with so much material, so much information, so many opinions, to make any kind of decision about it all can seem, to the late twentieth-century mind, faintly improper. Worse still, I can state with some confidence that our knowledge of Britten and his music is still far from complete: the archive in the Britten-Pears Library at Aldeburgh contains a wealth of unpublished material of all kinds, from the diaries and letters which will no doubt be extensively quoted in Donald Mitchell's official biography, to sketches and drafts which will eventually enable authoritative discussion about Britten's working methods to take place.
Remarks on Certain Peculiarities in Instruments of the Clarinet Family, Together with an Account of Mr. Wm. Rowlett's Experiments with Clarinets Having a Bassoon Reed Instead of Their Own
Authors: Crow
Published: January 2007

During my residence in Leicester, some years ago, I was connected with a most interesting little body of amateur wind-instrument players. Our band consisted of flute, oboe, clarinet, corno di bassetto, and bassoon; the pianoforte being called in to do duty as “strings,” and this fell to my share.
The Vocal Art
Authors: Santley Charles
Published: January 2007

Adam, when he got into a scrape, endeavoured to excuse himself by laying the blame on the partner of his joys: I, a true son of Adam, having got into a scrape, will endeavour to excuse myself, by laying the blame on the partner, not of my joys, but on the partner, or rather the instigator, of my audacity.
The Emotional Aspects and Sympathetic Effects of the Sister Arts — Poetry, Painting, and Music
Authors: Osborne G. A.
Published: January 2007

Ladies and Gentlemen,—The emotional aspects and sympathetic effects of the sister arts is the title of the paper which I have the honour of reading to you, but it has especial reference to the relationship of the sister arts— poetry, painting, and music. I need not say that any one of these three subjects would require a volume for itself, instead of a paper combining the three. It is therefore necessary that I should state at once the object I have had in view, namely, the throwing together of a few ideas interspersed with anecdotes when appropriate. I assign to music the position of the younger sister which she indubitably holds at the present day, but, in point of fact, in one sense, she is the elder sister, and as such I shall introduce her. I must ask you to define to yourselves this simple question—What is music? The answer must not be a preconceived idea or predilection, without a reason for your belief. A mighty river can be traced to its source, which may be a dripping rivulet; in like manner we must go to the fountain head, and trace music back to its primitive origin. What is music? To my mind music is a deviation from monotonous sound in its strict sense. If I hear the wild sounds which the wind capriciously elicits from the Æolian harp, and which can produce according to its force the softness of a child's slumber or the boisterousness of rage—this I call music. When I hear the gentle murmuring of a purling stream, the breaking of a wave on the seashore, the chirping of birds, or the echoing of a bell borne o'er the plain from distant hills—this I call music. If such be the case, then, music is the elder of the three sisters. Professor Tyndall shows that music differs from noise in that the sound entitled to the definition of a musical note is produced by regular and perfectly periodic vibrations, whereas noise is caused by an irregular succession of shocks. The shaking of a tool-box with its various metal contents can only produce a noise, because the shaking makes an irregular succession of shocks; but the drawing of a violin bow across a string produces music.
Musicology and Intellectual History: A Backward Glance to the Year 1885
Authors: Bujic Bojan
Published: January 2007

In 1892 Bernard Bosanquet wrote:

As the true value of German idealism in general philosophy was never understood, till the genius of English naturalists had revolutionised our conception of the organic world, so the spirit of German aesthetic will not be appreciated until the work of its founders shall have been renewed by the direct appreciative sense of English art and criticism.

As a Hegelian, Bosanquet had every reason to believe in the strength of the German idealist tradition, even if its supremacy was seriously challenged in the second half of the nineteenth century; as an Englishman, and brought up in the English philosophical tradition, he was fully aware of the important British contribution to both speculative and experimental psychology. However, bringing various intellectual and philosophical traditions together is no easy task and we can witness a continuing division in the orientation of many scholars who, although not philosophers themselves, felt the need to strengthen their critical theories with ideas which originated in the domain of philosophy.
Janáček's ‘Lost’ Kreutzer Sonata
Authors: Wingfield Paul
Published: January 2007

On 18 July 1896 the 41-year-old Leoš Janáček left his native village of Hukvaldy in north-eastern Moravia to visit Russia. At the end of the first day of travelling he noted in his copy of František Vymazal's Rusky v devíli úlohách (Russian in Nine Lessons; Telč, 1896):

12. hod. v noci Granica. Konečně cítím stát slovanský! … Jací šohaji, čistí, úhlední, úslužní, způsobní při dráze. S úzkostí jel jsem Haličí. A ted' mi tak veselo: probuzení, vykříšení! Otroctví setřásám. Vyjíždíme - Rusko!

(12 o'clock at night Granilsa. At last I can sense what it feels like to be in a Slav state! … These railwaymen are such fine lads' clean, tidy, obliging, polite. As I travelled across Galicia I was full of anxiety. Now I am light-hearted: awakening, resurrection! I shake off slavery Off we go - Russia!)
The Lock Hospital Chapel and its Music
Authors: Temperley Nicholas
Published: January 2007

It has been generally recognized that the music of the Lock Hospital chapel was an important new influence in English and American church music during the late eighteenth and early nineteenth centuries. The chapel attracted fashionable congregations and thereby disseminated an elegant, theatrical type of hymnody that was far removed from the norms of church music, whether in cathedral, town church, village parish or dissenting meeting-house. Many hymn tunes first used at the Lock Hospital became enormously popular; some still remain in common use; and their style became the model for a ‘school’ of hymn tunes that remained in vogue for several decades.
Multivalence, Ambiguity and Non-Ambiguity: Puccini and the Polemicists
Authors: Atlas Allan W.
Published: January 2007

‘Multivalence‘ and ‘ambiguity’: these are the words that serve as the rallying cry in a recent group of essays that, with their strident, polemical tone, seem intent on dictating what is and what is not proper and acceptable in present-day opera analysis, at least as it is practised on opera from about Mozart's time to that of Puccini.
The Sexual Politics of Victorian Musical Aesthetics
Authors: Scott Derek B.
Published: January 2007

A sexual division of musical composition emerged in nineteenth-century Britain: during that period, metaphors of masculinity and femininity solidified into truths about musical style. Contemporary social theory, domestic sphere ideology, the newscientia sexualis, and aesthetics of the sublime and the beautiful ensured that certain musical styles were considered unsuitable or even unnatural for women composers. Female creativity was also denied or inhibited by educational and socio-economic pressures born of ideological assumptions. In consequence, many women found themselves marginalized as composers, restricted to ‘acceptable’ genres such as the drawing-room ballad. Men, too, were affected by the sexual politics of the age, because the supposed revelation of biological truths in music meant that the presence of feminine qualities in their compositions could lead to invidious comparison with the less elevated output of women.
Style
Authors: Praeger Ferdinand
Published: January 2007

The subject of the paper which I have the honour to submit to the members of the Association this afternoon is so intimately entwined about our art, extends over so large an area, and is of such deep personal interest to musicians of every degree, that I venture to hope it will elicit copious observations from the members present. It were easy from a subject of such magnitude to fill a volume, but I have carefully condensed my remarks, and dealt only with the salient features, those from which the art is likely to gain the most by discussion. On this theme most of the master minds in art have eloquently discoursed, and not the least, Goethe. There is the real ring of downright affection for art in his words—“It is our bounden duty to hold style in highest honour, to reverence a term which should imply the noblest and worthiest that art has ever achieved, or ever can achieve. Only to have the power to recognise it is a happiness. To discourse on it with fellow intelligences is a pure joy.” It is in this spirit that I approach my paper.
On Certain Novel Aspects of Harmony
Authors: Breakspeare Eustace J.
Published: January 2007

Melody and Harmony in music are commonly held to be two distinct provinces. Strictly, however, the precise shares of the harmonic and melodic elements of the art are hardly to be separately evalued, insomuch that a musical strain, even unaccompanied by supporting harmonies, has its underlying chord-structure, which the mental ear recognises and adds to the impression. All affecting such things as scales, keys, modulations, is essentially dependant upon a rightful appreciation of the harmonic relationship of sounds, and all questions raised thereupon pre-suppose the latter to a greater extent than is commonly imagined. Even the simplest melody contains its harmonic support, and the same, whether we are conscious of it or not, enters into the total impression of the strain. That most elementary of aesthetic principles in music—the antithesis of concord and discord—reposes upon this harmonic element. But, apart from this, the technical distribution and ordering of chords, from the simplest of consonances up to the most complex of dissonant combinations, at the same time that it calls for a certain differentiation of the study, requires a scientific or theoretic basis of the most accurate kind. However free art may be, on the whole, from theoretical control, there is yet no doubt that in this special department a wrongful theory may detrimentally influence the material, and through it, consequently, the technicalities and practice of the art.
What is Sound? The Substantial Theory Versus the Wave Theory of Acoustics
Authors: Audsley George Ashdown
Published: January 2007

It is perhaps a rather startling question to put to the learned and accomplished members of such an Association as this—What is sound ? All your lives long you have doubtless held very firm and clear convictions on the subject of Sound; and have trustingly accepted the theory which has obtained, one may almost say, since the time of Pythagoras, and which has, in our day, been fostered by all the great acousticians, and dogmatically taught by Professors Tyndall, in England, Helmholtz, in Germany, and Mayer, in America.
On Kettledrums
Authors: de Pontigny Victor
Published: January 2007

The earliest musical instruments were most probably those of percussion. Music consists of two parts: rhythm and tone. To produce a tone requires a certain amount of constructive ingenuity; to obtain a variety of tones from one instrument requires considerably more; whereas rhythm may be produced by beating together any solid substances, or even by clapping the hands. By degrees, various as well as improved qualities of rhythmical sound would be discovered; and the stretching of skins over hoops or hollow vessels would soon suggest itself. In the latter case, especially, a musical tone or note would be the result.
On Our Perception of the Direction of a Source of Sound
Authors: Rayleigh Lord
Published: January 2007

When Mr. Spottiswoode asked me some time since to take his place in reading a paper before this Society, I called to mind some acoustical experiments I made last summer, with a view to making out how we detect so easily and generally the direction of a source of sound, and hoped to be able to complete the experiments to some extent, so that I might be able to present the matter in a little more complete form. Unfortunately, however, my health is not good enough to allow of my making acoustic experiments in the open air at this time of the year, and therefore I have but little to add to what I discovered last summer.
Notes on the Trumpet Scale
Authors: Blaikley D. J.
Published: January 2007

At a recent meeting I accepted a suggestion made by a member of our Council, and agreed to put together a few notes on the trumpet scale, at the time believing that these notes would merely fill up the few minutes that might remain over from the reading of a more important paper. I now find that my few remarks are to provide the whole subject-matter for this evening's meeting, and can only trust that you will accept them rather as suggestions for discussion and exchange of views, than as forming a paper such as those to which you are accustomed.
The Treatment of Music by Novelists
Authors: Southgate T. L.
Published: January 2007

In July last a special meeting of The Musical Association was held to welcome a party of distinguished American musicians who were visiting these shores; and at that meeting we had the pleasure of listening to a paper by Professor Waldo Pratt, of Hartford Theological Seminary. The subject he chose to speak upon was “The Isolation of Music “; no doubt you have now read Professor Pratt's thoughtful and suggestive paper, which appeared in our last volume of Proceedings. He complained of the neglect of music in popular and even scholarly thought, and he made an eloquent appeal to those occupying positions of authority in the educational world to accept music as a regular and necessary branch of education; and further, he sought to demonstrate the natural affinities of music with literature. I was unable to accord complete agreement with the picture Professor Pratt drew of “The Isolation of Music,” and have given my reasons for this elsewhere. His view was no doubt correct enough so far as the United States are concerned, but in this country a great deal is done for the encouragement of music. The State pays nearly a quarter-of-a-million a year for the tuition of music in our normal public schools, and we have other important agencies at work; but nothing of the kind is yet found in America. Whether we shall ever attain to the wisdom of the old Greek philosophers, who recognised the great value of music as a factor of general education, and indeed carried their theory into actual practice, we cannot tell; but I believe if such should ever be the case, and the subject be properly taught, that then we shall no longer be offended by the way in which music is too commonly referred to by professional novelists and others, who garnish their writings with allusions to music more or less wrong, and for the most part ridiculous. The novel writer often introduces the regulation gush about music, and eulogises the art in high-flown terms replete with lofty sentiments; and then, proceeding to technical description, he (or she) makes ridiculous mistakes, which show that the writer does not possess sufficient interest in the art to master terms and details which may not unfairly be called commonplace.
Afridi Fiddle
Authors: Blaikley D. J.
Published: January 2007

This instrument was captured in the Tirah country, at a place called Bagh, during the recent campaign on the Northwestern frontier of India. It came into the hands of Mr. S. Liddell, the Bandmaster of the 2nd Battalion Yorkshire Regiment, and by him was presented to Messrs. Boosey and Co., in June, 1898. It was described by him as an Afridi fiddle, but beyond this I have no clue as to its proper designation or classification, and bring it before you rather with a view to gaining information than because I have any remarks of importance to offer concerning it.
The Psychology of Sight-Singing
Authors: McNaught W. G.
Published: January 2007

The design of this paper is to draw attention to the mode in which our minds work in the act of sight-singing. The subject is one mainly for the consideration of teachers, but it should be of interest to musical students generally. Every rational attempt at an educational classification of the details of such a subject as music must be governed by a knowledge of the way in which the mind develops its latent powers. As singing has exclusively to do with conceptions of sound, I have ventured to style this modest investigation the “Psychology of Sight-singing.” The title may appear to promise a more deeply philosophical enquiry into the elusive subtleties of mental phenomena than I contemplate, or am capable of making. But I trust I may succeed in avoiding a path where discreet angels fear to tread and that I may be able to appeal throughout simply to the every-day musical experience of my audience. There are hundreds of books upon sight-singing, Some pay their possible disciples the compliment of assuming that their capacity is so great that the whole matter can be mastered in a very short time and may be presented in a nutshell. These nutshell methods conveniently assume the skill they affect to impart, and, consequently, are hard for common folk to crack. More elaborate methods claim to ensure success if you only succeed in succeeding. If you do not succeed, the individual is to blame, not the system, which is infallible. It has already been remarked that every system of teaching worthy the name must assume in pupils the existence of certain potential capacities that can be developed. So every teacher is a psychologist, or at least he ought to be if he is worth his salt. It is far from my intention to discuss or advocate any particular method. I design simply to endeavour to tabulate the faculties which all methods assume their pupils to possess in a greater or lesser degree. I propose to omit all reference to rhythm and to confine myself to the relationship of musical sounds to one another.
Alessandro Scarlatti
Authors: Dent Edward J.
Published: January 2007

At a time when so many obscure composers are rediscovered and reprinted in sumptuous volumes, that for the most part are issued only to grow as dusty on their shelves as the original manuscripts which their industrious editors have so laboriously collated, I need not apologise for bringing to your notice a composer who has been more neglected than any, and who has deserved neglect a good deal less than most.
Primitive African Instruments
Authors: Rose Algernon
Published: January 2007

The difficulties of getting about in Africa, and the distances to be covered, make it regrettable that pioneers, when they visit isolated districts and bring back mementos of the natives, confine the selection of articles they have to show on their return to trophies of the chase, weapons of war, and domestic utensils, overlooking the ingenious though primitive instruments of music which to members of this Association are of unique interest.
Singing as An Art
Authors: Shakespeare William
Published: January 2007

The limited time at my disposal this afternoon compels me to be brief in my remarks on “Singing as an Art.”

I must preface what I have to say with a few words on the historical development of the art, recalling to your memories the names of some of the most eminent of the writers for a single voice.
Leonardo Leo
Authors: Dent Edward J.
Published: January 2007

When I last had the honour of reading a paper before this Association, I tried to show you how Alessandro Scarlatti gathered up the results of all the musical experiments which Italian composers had made during the seventeenth century, and wove these various threads into that smooth and supple texture which formed the foundation of what we call classical music. He was of course not alone in the accomplishment of this great task, but we may certainly regard him as by far the most important and the most influential of the musicians who were at work upon it. Historians have sometimes refused to accept him as the real founder of the Neapolitan School of the eighteenth century. Certainly there were composers and teachers at Naples before Alessandro Scarlatti, but it was not until Scarlatti had established himself there that Naples became the musical centre of Italy and therefore of Europe. Nevertheless, I do not wish to maintain that it was the spirit of Scarlatti which animated the teaching of that school of composition, although the Neapolitans always regarded him as their figurehead; indeed I shall have occasion to point out to you this afternoon how soon his immediate influence was forgotten. But the generation that followed him did include a few composers whose work was inspired by ideals almost as lofty as his; and of these the man who has most claims on our respect is Leonardo Leo.
The King's Musick
Authors: de Lafontaine H. Cart
Published: January 2007

In these days when it is, perhaps, not considered impolitic or impolite unblushingly to vaunt one's wares, the invitation graciously conveyed by the Council of this Association to me, as the compiler of the work entitled “The King's Musick,” to say some few words regarding my literary first-born, did not so much startle me as it might have done in my salad days. Still, it is not an easy task to preserve an even balance when speaking of one's own particular efforts, and the only efficient way is to assume to a large extent the position of one looking at the book from a perfectly unprejudiced point of view, such as a member of the outside public can alone possess.
The Present Cultivation of Sacred Music in England
Authors: Mackeson Charles
Published: January 2007

It is one of the great advantages of a body established upon such a basis as that upon which the Musical Association was set on foot, that it affords an opportunity for all those who have anything to contribute to the great art work in which we are so deeply interested to cast their mite into the common treasury of plans and practices, and even if they cannot hope to add largely to the learning or the science of the Association, they can still give of their best with the conviction that it will at least meet with a kind and appreciative hearing.
The Ancient Dance-Forms (Second Paper)
Authors: Pulver Jeffrey
Published: January 2007

When at your opening meeting of the thirty-ninth session I was privileged to read my first paper on “The Ancient Dance-Forms” to you, I regretted that the time at my disposal would only allow me to treat my subject to a detailed examination in part, and on that occasion I received your courteous attention while I brought before you a few historical facts relating to the ancestors of the forms that constituted the Suite, and to these forms themselves as far as, and excluding, the Gigue. I propose to-day to continue the subject; but I am afraid I shall not be able to add as many forms as I treated on the last occasion. Indeed, I intend to confine myself to one form only,—the Gigue. Spme explanation, however, is due to you to justify me in occupying your time with a single dance-form. Patriotism alone, apart from the importance of the form, should be sufficient justification. When I opened your last session I treated of seven dances, six of which became great favourites in England; yet every one of them was of foreign origin. In the Gigue, at least, we have what is without doubt a British product, and the comparative paucity of indigenous forms should cause such a dance to assume important dimensions in our musical history. Yet there are authorities,—yes, even English ones,—who would rob us of our right to this form and give it to the Continent. I am here to-day with the avowed intention of claiming the Jig for Britain as a native production, thoroughly in keeping, in its spirit and characteristics, with the traditions of this nation.
String Quartets
Authors: Walthew Richard H.
Published: January 2007

When I was honoured by an invitation to read a Paper before the Musical Association, the suggested title was “The Evolution of the String Quartet” But the word “evolution” has a scientific flavour which hardly accords with the, I am afraid, very unmethodical discourse which I am to present to you this evening. A practising musician has no leisure for learned research, and my acquaintance with String Quartets is no greater—is in fact very probably less—than that of many now present One slight qualification I may possess for talking on this subject may lie in the fact that I have written a certain amount of music in this form, and although the result has been to me disappointing, still the mere endeavour, however bungling, gives the writer a certain insight into the difficulties and perils of this form of musical composition, and increases his admiration for the performances of those great artists who have successfully surmounted the one and avoided the other. I wish, then, to treat of the String Quartet mainly from the composer's point of view, and particularly of the works of the classical masters. The use of the word “classical” in its musical application is rather strange. It may be taken as describing works that by their perfection of structure, as distinct from their purely emotional qualities, recall the sculpture of classical times,—or it may import that the works in question were written long ago (as time is reckoned in musical matters) and have become classical by reason of their survival. But it comes to much the same thing, I think. No piece of music, least of all a String Quartet is likely to have a long life which does not satisfy our sense of symmetry and proportion.
The Laudi Spirituali in the XVIth and XVIIth Centuries
Authors: Dent Edward J.
Published: January 2007

The historians of music, in so far as they have discussed the relations of the art with the rites and doctrines of the Christian churches, have expatiated chiefly upon the works of such composers as Palestrina and J. S. Bach—to name two instances only: I mean those composers about whose greatness there can be no dispute, and whose claim to that reputation is based principally if not entirely upon works of an ecclesiastical character. If in the survey of any particular period it becomes necessary to mention composers of sacred music whose works are of a definitely inferior quality, that inferiority is generally ascribed to a want of true religious feeling either in the composers as individuals or in the age or the country in which they happened to live. It is the natural temptation of the musical historian to view these matters from a standpoint that is mainly aesthetic; but there is another aspect of the subject which must not be left out of account. If we turn to the ecclesiastical writers, we shall find that aesthetic and artistic considerations receive a very different treatment. The subject of music finds frequent mention in the early Christian Fathers, and although they recognize to the full the powerful influence which music may have upon the human mind, they are preoccupied with two aspects which to the pure musician have little significance. One of those aspects is the alleged moral danger of the art when not under the strict control of authority, and the other is its undoubted practical utility.
Violins, Old and New; with some Observations on their Tonal Characteristics
Authors: Piper Towry
Published: January 2007

For upwards of a hundred years the violin has been the subject of more experiment, and probably more controversy, than any other musical instrument devised by the wit of man. Since the early part of the last century, when Savart, the French scientist, first gave to the Academy the results of his researches, and propounded his theories of violin making and acoustics, all sorts and conditions of men, from the humble village artizan to the highly-trained chemist and man of science, have experimented with practically every part of the fiddle's anatomy, in the hope of making some grand discovery either in relation to matters of construction or to the eternal and much misunderstood question of varnish.
The Recent Inventions for Reproducing the Sound of the Human Voice
Authors: Bidwell Shelford
Published: January 2007

Not much more than a year ago the world was startled by the announcement of Professor Graham Bell's marvellous invention—the electric telephone—which rendered it possible to talk by telegraph.

The successful solution of a problem which had hitherto baffled all attempts excited universal interest, and has had the effect of directing considerable attention to the science of acoustics, particularly to that part of the subject which relates to the human, voice.
The Gramophone. Its Past: Its Present: Its Future
Authors: Mackenzie Compton
Published: January 2007

I hope that you will forgive me for passing over as rapidly as possible the early history of experiments with recorded sound. I am more anxious to call your attention in this paper to some of the problems that confront us in the present, and to offer you the results of my own practical experience with the gramophone rather than a hotch-potch of other people's acoustical theories which I lack either the ingenuity to exploit or the scientific training to appreciate.
English Opera
Authors: Dent Edward J.
Published: January 2007

The most ardent patriot could hardly contend that the history of English Opera has been a glorious record; but the most captious critic must admit that that record has at least been intensely English. It has been a continuous—no, a very discontinuous—record of amateurishness and “muddling through somehow,” and it is well known that these are the characteristics of our English attitude to life in general. Our national temperament does not incline us to be positively proud of them, but we are certainly well contented with them, and there seems every probability that we shall continue for the rest of our national existence to take them for granted as our instinctive guiding principles, if indeed we are ever conscious of proceeding on principles at all.
Three Seventeenth Century Poet-Parsons and Music
Authors: Naylor E. W.
Published: January 2007

Most of us have had occasion to lament the indifference and self-satisfied ignorance of literary authors when writing of Music in their novels, or poetry, as the case may be. It is pleasant to turn away from the many glaring examples of this sort of thing which are to be found in the works of the xxth, xixth and xviiith centuries, and enjoy the contrast with the treatment of Music by some of the xviith century writers.
Musical Education in America
Authors: Fowles Ernest
Published: January 2007

In respect of educational equipment, America just now is like a sponge filled with water in every part of its organism. Schools, colleges, universities, abound in every State, and the mechanical means provided for their efficiency are unequalled in the case of any other country. If time had permitted, I should have liked to have described some educational centres, such as the finely equipped universities of Stanford, California; Cornell, New York; Urbana, Illinois; Madison, Wisconsin; Yale, Connecticut; Chapel Hill, North Carolina; Ann Arbor, Michigan; Lawrence, Kansas; Seattle, Washington; and others at which I have lectured. It is sufficient to say that, in external appearance, in general facilities and breadth of opportunity, these places are probably second to none of the kind in the world.
Haydn's Opus Two and Opus Three
Authors: Scott Marion M.
Published: January 2007

It is on record that Haydn frequently told the publisher, Artaria, that he wished his string quartets to be reckoned as beginning only after the first eighteen, since these early works did not embody the true principles of quartet form.

It is also related that Haydn, as an old man, used to tell his friends that he had had “no real masters, but had taught himself entirely by listening and reading and by observing everything.”
The Four Parent Scales of Modal Music
Authors: Clements Ernest
Published: January 2007

On the philosophical side all that I need do is to enter a protest against the prevailing materialism. The earth life is a school. Its first lesson is to draw inferences from the known to the unknown. That way lie faith, imagination and truth. There are three necessary inferences. One is bound to draw them in order to live one's life as it should be lived. They lead, when followed to a logical conclusion, to a belief in three worlds instead of one. These worlds are the world of the body, the world of the sentient soul, and the world of the spirit. As a working hypothesis one may assume that there are three atomic systems in the ether, and that when they are brought together and material from them grows up so as to function as one individual, there is life. The art of music has its roots in mind or spirit. Its basis is intonation, and intonation, like creation itself, comes from the science of numbers. The musician who scorns what he calls mathematics and acoustics and prefers to follow the dictates of his own sentient soul, is likely to be the slave of his environment. He should look higher and learn the properties of numbers as applied to vibrations and the interference of vibrations. He will find that music depends on the contrast between beats or interference and no-beats or consonance. Without heeding that contrast his instrument cannot be tuned. And that contrast is presumably the same in all the worlds of existence.
Fact and Fiction About Purcell
Authors: Westrup J. A.
Published: January 2007

The purpose of this paper is to make one or two corrections and additions to the account of Purcell's life as it is normally presented in modern biographies and works of reference. I am quite prepared to admit that a composer's life is infinitely less important than his music; and this is particularly true of Purcell, who moved in a very limited circle and pursued a comparatively unadventurous career. For all that, I see no point in discussing music as though it appeared, so to speak, out of the blue without human agency or without any connection with human society. A knowledge of a composer's life may often help us to determine the chronology of his works and so provide us with valuable evidence for tracing the development of his style; and the conditions under which a man lives and works affect his artistic output by limiting or enlarging the scope of his activities. Not only individual character and genius account for the particular range and style of a man's music, but also environment and circumstances. And if we are going to make use of the facts of a composer's life, it is essential that our knowledge of them should be as accurate and complete as possible.