bluuebunny/crossref_metadata_2025 huggingface dataset:
Introduction
Authors: Fox Anthony
Published: November 2023

German is spoken as a first language by approximately 100 million people in the Federal Republic of Germany, the German Democratic Republic, Austria, Switzerland, and elsewhere, and as a second language by many others in Central and Eastern Europe. It is also learnt as a foreign language by people all over the world. There are many books which purport to describe the language, ranging from compendious grammars intended for native speakers to elementary textbooks for foreign learners, and from dictionaries of current usage to philological studies of earlier stages of the language. The present book is none of these, however. Though written primarily for foreign learners of German, it is not a language textbook, and makes no attempt to improve the reader’s practical mastery of the language in any direct way. And, though it presents a description of German, it is not a grammar of the language in the usual sense, and does not contain comprehensive lists of forms. Nor does it have anything to say about the historical development of German.
Phonology
Authors: Fox Anthony
Published: November 2023

In Chapter 1 phonology was introduced as that part of linguistics which is concerned with pronunciation. In this chapter we shall be examining in some detail the phonology of German, but in order to do this we shall need to make a little more precise the scope and meaning of the term ‘phonology’ itself. It is useful to draw a distinction between speech as a physical activity on the one hand and speech as language on the other. Speaking involves making bodily movements and producing sounds, and these can be described in much the same way that any movements or sounds can be described, in physiological and acoustic terms. The investigation and description of speech-sounds and articulations from this point of view is called PHONETICS; it is an important and legitimate area of study in its own right, concerned with articulation and the acoustic and auditory aspects of the sounds produced, and it forms the indispensable starting-point for the linguistic study of pronunciation.1 But in considering the role of sounds in language we must go beyond the purely articulatory and acoustic facts and take into account the relationships between the sounds, and the way in which these relationships are exploited in the expression of meaning. It is this approach to which the term ‘phonology’ is applied. The terms phonetic and phonological are generally used in contrasting and complementary senses: we may speak of the ‘phonological’ as opposed to the ‘phonetic’ characteristics of speech-sounds. Just how a phonological description differs from a phonetic one will be demonstrated in the course of this chapter.
Classes and Categories
Authors: Fox Anthony
Published: November 2023

In our consideration of the word in the last chapter, we were concerned primarily with its structure, i.e. with the parts of which it is composed and their relationships to one another. In the course of our discussion a number of other features of the word were briefly touched on, but not developed. This chapter is devoted to two such features: the different types of words that are found in German, and the nature and significance of the various inflectional categories that are associated with them.
Return Journey: The South-West
Authors: Knight Diana
Published: November 2023

IN the first part of Camera Lucida, Barthes reproduces a beautiful nineteenth-century photograph of the Alhambra in Granada: ‘An old house, a shadowy porch, tiles, a faded Arab decoration, a man sitting against the wall, a deserted street, a Mediterranean tree (Charles Clifford’s “Alhambra”).’ In the first instance the photograph moves him (me touche), and what it supposedly moves him to is a recognition: ‘it’s quite simple-I want to live there.’
Introduction: The Long View
Authors: Kay Sarah , Cave Terence , Bowie Malcolm
Published: November 2023

If you stand on the great Cour Napoléon of the Louvre in Paris, with Mitterrand’s glass pyramids in the foreground, there are, more or less visible in the scene behind, signs of constructions going back to the Middle Ages. It was on this spot that King Philippe Auguste constructed a fortress in the late twelfth century; the foundations of the fourteenth-century castle which King Charles V built on the same site have now been excavated and opened to the public; the present palace was begun in the sixteenth century and was continued into the nineteenth. There has always been a palace at the Louvre and it has always monumentalized a view of French power and culture. The glass pyramids would not be here if Philippe Auguste had not built there, and conversely, if the pyramids had not been built, we would have known much less about the medieval fortresses beneath them.
Overview of the Period
Authors: Kay Sarah , Cave Terence , Bowie Malcolm
Published: November 2023

Time did not pass more slowly in the past than it does today. Although to the modern eye the centuries that make up the Middle Ages may blur together, to the people who lived in them one decade was as different from another then as it is now. Time may have been reckoned more by human activity than by instruments, just as distances were reckoned in journey times rather than in miles, but this made the experience of change central to people’s concept of time rather than a consequence of measuring its passage. Life expectancy was low, which could only increase awareness that time was feeting. Some communities, such as some monastic or rural ones, may have been slower to evolve than others.
The Period in Close-Up
Authors: Kay Sarah , Cave Terence , Bowie Malcolm
Published: November 2023

In 1793 the minor playwright Philippe Fabre d’Églantine produced a dozen poetic neologisms. Created as the names of the months in the Republican calendar, they were the tribute of a fervent Revolutionary to the new social and political order that had just been inaugurated by the Convention Nationale. Although their period of ofﬁcial service ended in 1805, these products of the literary imagination were to enjoy a long afterlife in French literature and, in certain cases, to pass into international usage.
British Cinema of the 1950s
Authors: Harper Sue , Porter Vincent
Published: November 2023

In this definitive and long-awaited history of 1950s British cinema, Sue Harper and Vincent Porter draw extensively on previously unknown archive material to chart the growing rejection of post-war deference by both film-makers and cinema audiences. Competition from television and successive changes in government policy all forced the production industry to become more market-sensitive. The films produced by Rank and Ealing, many of which harked back to wartime structures of feeling, were challenged by those backed by Anglo-Amalgamated and Hammer. The latter knew how to address the rebellious feelings and growing sexual discontents of a new generation of consumers. Even the British Board of Film Censors had to adopt a more liberal attitude. The collapse of the studio system also meant that the screenwriters and the art directors had to cede creative control to a new generation of independent producers and film directors. Harper and Porter explore the effects of these social, cultural, industrial, and economic changes on 1950s British cinema.
Introduction
Authors: Harper Sue , Porter Vincent
Published: November 2023

BRITISH cinema of the1950s is a largely unknown country. There have been some recent forays to chart aspects of film culture of the period. But on the whole, 1950s British cinema has been neglected, and there has been no attempt to draw a comprehensive map of its landscape. This is because it is widely perceived as being a dull period-an interregnum sandwiched between the inventive 1940s and the exciting 1960s. Critics and film-makers as influential as Linsday Anderson have berated it as dull and uninventive-’a “hack” period ... a long period of marking time.’Raymond Durgnat considered it to be ‘middle-class’ in its style and provenance, and the editorial board of Movieregarded it as simply ‘dead’.Not so. The1950s was essentially a period of transition for the British film industry, and such periods are usually marked by a struggle between old-fashioned, ‘residual’ artistic forms and those newer, ‘emergent’ types which confer status upon their consumers. In 1950s cinema, this struggle was unusually acute, since it was predicated on a seismic shift in its cultural resources. In the 1930s and 1940s, the aristocracy was a key recurring motif in film culture, and that class was used as a symbolic, disguised means of addressing social and moral anxieties and resolving them. But in the 1950s, that class symbolism disappeared with astonishing speed. The aristocracy had reached the end of its usefulness as a dynamic explanatory model, for the cinema at least. That was because canny producers had recognized that its style-of elan, insouciance, je ne sais quoi-hadbeen appropriated by the up-and-coming middle classes, whose belief in meritocracy was only tempered by their desire for fair play.
The Rank Organisation
Authors: Harper Sue , Porter Vincent
Published: November 2023

THROUGHOUT the 1940s, J. Arthur Rank had been seen as the saviour of the British film industry. But by the start of 1950s he was in deep financial trouble. This was partly due to his financial over-commitments, but also partly due to Dalton’s ill-fated attempt to impose an ad valoremtax on American films. In October 1948, Rank told the shareholders of Odeon Theatres Ltd. that the company had £13.6 million in bank loans and overdrafts, and a year later the figure had risen to £16.3 million. The youngest son of the milling magnate Joseph Rank, Arthur Rank started his career as an apprentice in his father’s flour mills and became a millionaire by his early forties. It was Rank’s Methodism that took him into films. In 1934, he set up British National, together with Lady Yule, the widow of the Calcutta jute magnate Sir David Yule. When Rank discovered that their first film, Turn of the Tide(1935), a melodrama about Yorkshire fishing folk with a moral message, had been denied a proper circuit release, he went into films in a big way. Rank quickly realized that the money was made in exhibition and distribution, rather than in production. By November 1941, he had acquired the Gaumont-British and Odeon cinema circuits, and was distributing all the films produced by his growing production empire. He owned studios in Pinewood, Shepherd’s Bush, and Islington, and in 1942 established a new holding company, Independent Producers, to provide production finance and management facilities to a number of artisanal production companies, notably the Archers (Powell and Pressburger), Cineguild (David Lean, Anthony Havelock-Allan, and Ronald Neame), Individual Pictures (Launder and Gilliat), and Wessex Productions (Ian Dalrymple). He also added Two Cities, with its studios at Denham, to his portfolio.
American-British Productions
Authors: Harper Sue , Porter Vincent
Published: November 2023

THE American companies produced about 170 American-British films during the 1950s, some twenty more than British Lion. About half of them were first features. Great Britain had been Hollywood’s principal foreign market for several decades, because the American companies normally covered their production costs at home and made their profits abroad. But what Britain wanted was a space for a small indigenous production industry and, if possible, to attract inward investment from America. It had traditionally imposed a quota of British pictures on both film distributors and cinema exhibitors, but in 1948 it had to remove the distributors’ quota when it signed the General Agreement on Tariffs and Trade (GATT). This left screen quotas as the country’s sole protectionist measure, and meant that attracting inward investment became central to Government film policy. The importance of American investment for the British film industry was sharpened by the debacle following Hugh Dalton’s calamitous attempt to stem Britain’s dollar drain by imposing an ad valoremtax on foreign film rentals. The agreement that was signed between the British Government and the American film companies in March 1948 divided the Americans’ film rentals into remit table and non-remittable sterling, a distinction that persisted until 1954. The stated intention of the agreement was that the American companies would invest nearly all their blocked sterling on film rights, prints, or the production of British films. The agreement was renewed in 1950 and modified again in September 1951 (see Chapter 1).
Pedagogy, pederasty, difference, and desire
Authors: Segal Naomi
Published: November 2023

Can there be a hydraulic theory of pedagogy? I ask this question in order to start off the examination of a body of texts in which I shall be searching not simply for facts and readings or structures and shapes but for movements and flows and the issues they produce. The problem of the hydraulic theory is in a way very simple and well known: it models the functions of psychic desire on the supposedly mechanical processes of a man ‘s body. It does this by imagining a man ‘s body to operate very much like a machine. He is full of tubes and channels. Drives drive fluid down channels towards a point of outlet. Desire pumps out fluid; then he is at rest. The ideal post-orgasmic state, the state towards which in Freud all desire tends, is a blissful stasis of undesire in which all the fluid levels are steady, nothing presses, and release has provided the answer (the scratch) to which tension was the question (the itch). In hydraulic heaven, no vessel holds more than another.
The Oxford History of English Music
Authors: Caldwell John
Published: November 2023

The Oxford History of English Music will survey in two volumes the whole field of music by English composers. This first volume begins with the settlement of the North German peoples and the cultivation of church music following the mission of St Augustine in 597. Relations between France and England form the background to the account of medieval music after the Norman Conquest, and the growth of a distinct national style is then traced from the early fifteenth century, through the early Tudor period and that of the Reformation, to the outstanding achievements of Elizabethan and Stuart England. The arrival of Handel is related to the period of experimentation following Purcell's death in 1695 and the volume concludes with his decision to remain and the end of the Stuart monarchy. The contribution of such outstanding figures as Dunstable, Taverner, Byrd, and Purcell is placed in the context of the music of their contemporaries, while the social, religious, and historical background to their music is given full attention. There are over two hundred musical examples and sixteen pages of plates.
Chichester
Authors: Spink Ian
Published: November 2023

By September 1661 the vacancies in the choir at Chichester had been filled to the statutory complement of four vicars choral, four ‘Sherburne’ clerks, four lay clerks, and eight choristers-an establishment of average size but far from lavishly endowed.1 As at Salisbury and York, the vicars were exclusively priests, and despite the fact that the clerks were often called lay vicars, they did not belong to the college of vicars and thus did not share in its revenues.
Friends, Enemies, Teachers
Authors: Williamson John
Published: November 2023

IN effect there are three composers in Hans Pfitzner. Preeminent is the composer of opera and music-drama, though music for the stage does not fill so permanent and regular a place in his career as other genres. Then there is the composer of instrumental music in the traditional genres: symphony, concerto, string quartet, and piano-led ensembles. Finally there is the master of the Lied, less versatile than Wolf, less ample in invention than Strauss, but none the less a setter of German lyric poetry as scrupulous as any of his predecessors. It would hardly seem necessary to draw attention to such many-sidedness had not Pfitzner lived in Wagner’s aftermath.
An Inner Emigration?
Authors: Williamson John
Published: November 2023

Had Pfitzner’s abandonment of composition after Mimi’s death and the valedictory Lethe proved permanent, his career as a composer would appear remarkably complete. But in practice there were too many ties to music to permit him to remain silent. There were collected papers to be published, and Werk und Wiedergabe to be written. Das dunkle Reich was another work of valediction, but on a scale to suggest that Pfitzner’s career was not over. Life too had an unexpected development, as the 60-year-old Pfitzner to his own surprise fell in love with a pupil nearly forty years younger, Lilo Martin.
The Italian Opera Establishment in London
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

To attend the King’s Theatre in the late eighteenth century was to encounter a small part of Italy transported on to the south-west side of the Hay market. Management aimed to give well-travelled members of the nobility and gentry essentially the same operatic experience to be had at La Scala or La Fenice.
The Artusi-Monteverdi Controversy
Authors: Palisca Claude V
Published: November 2023

Giovanni Maria Artusi, like Eduard Hanslick, made the mistake of tangling with a great composer. Thereby he earned the fate of the Beckmessers of this world, to be branded a hopeless reactionary and a philistine unable to appreciate true genius. Music historians have had few kind words for Artusi. He has even been charged—unjustly—with composing a polemic pamphlet against his teacher Zarlino, when, actually, the pamphlet was a eulogy, and it was as Zarlino’s defender that he entered the debates on the rules of counterpoint.
Vincenzo Galilei’ s Arrangements for Voice and Lute
Authors: Palisca Claude V
Published: November 2023

This essay was first published in Essays in Musicology in Honor of Dragan Plamenac on his 70th Birthday, edited by Gustave Reese and Robert J. Snow (Pittsburgh: University of Pittsburgh Press, 1969), 207–32 and is reprinted by permission of the publisher.
G. B. Doni Musicological Activist and his Lyra Barberina
Authors: Palisca Claude V
Published: November 2023

This essay was first published in Modern Musical Scholarship, edited by Edward Olleson (Stocksfield, Boston, Henley, and London: Oriel Press, 1980), 180–205. This volume contained the papers presented in the fall of 1977 at the Oxford International Symposium at Christ Church, organized and chaired by Denis Arnold, then Heather Professor of Music. The theme of the symposium was ‘Modern Musicology and the Historical Tradition of Musical Scholarship’.
Stolen Time
Authors: Hudson Richard
Published: November 2023

The history of tempo rubato (‘stolen time’) is as old as music itself, composers and performers ever introducing expressive fluctuation of the tempo contrary to music’s precise notation. The technique has been variously described by theorists and composers as ‘an honest theft’, ‘a pernicious nuisance’, even ‘seductive’ (by Franz Liszt), yet it remains integral to the performance and history of music. Professor Hudson’s book is the first to present the complex history of this device. He identifies and traces the development of two main types of rubato: an earlier one in which note values in a melody are altered while the accompaniment keeps strict time, and a later, more familiar, one in which the tempo of the entire musical substance fluctuates. In the course of his narrative he ranges widely over western music, from Gregorian Chant to Chopin, from C.P.E. Bach to jazz, quoting extensively from the writings of theorists, composers, and performers. In so doing he not only suggests new ways of approaching the rubato in the music of nineteenth-century composers like Chopin and Liszt, where we expect to encounter the term, but also illuminates the music of earlier and later periods, revealing its use even in the music of that most metronomic of composers, Stravinsky. As such his book will be of wide interest and of particular relevance to performers. The text is illustrated throughout by some 150 music examples and a number of illustrations.
The Piano
Authors: Ehrlich Cyril
Published: November 2023

For more than a century the piano occupied a dominant place in music and society. Professor Ehrlich follows its fascinating history from the fortepiano of Mozart's time, through the Victorians' `household orchestra and god', to the most sophisticated modern products of the Japanese manufacturers. His protagonists include barnstorming virtuosi, fashionable ladies and aspiring clerks, the great makers and the back-street `garrett-masters', distinguished musicians, and hire-purchase touts. Originally published in 1976 by Dent, this book has now been updated and revised by the author in the light of developments of recent years.
The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music
Authors: Boyden David D
Published: November 2023

David Boyden's classic book, first published in 1965, was the first to deal comprehensively with the history of violin playing against the vast panorama of the violin's evolution and the music written for it. Its principal theme is the manner in which the violin was actually played in past centuries, dealing with such practical questions as bowing disciplines in their national and historical evolution, the performance of staccato, the use of vibrato, the meaning of numerous and esoteric performing directions, the notation and performance of double stops, the rules of scordatura playing, and the sound of the violin in early times. Remaining an invaluable source of reference for the performance of early music, this book is now available for the first time in paperback.
The Advent of the true Violin and its Development to 1600
Authors: Boyden David D
Published: November 2023

The true violin came into being about the middle of the sixteenth century, when a fourth string was added to the early three-stringed violin, viola, and cello ( the cello may already have had four strings). The change to the four-stringed instrument must have taken place by 1556, since Jambe de Fer, in his Epitome musical of that year, specifically mentions these fretless instruments with four strings. He distinguishes the violin family clearly from the viols, mentions their respective social functions, and gives their tunings, the soprano member (dessus) being tuned like the violin today: g d’ a’ e”. There is no doubt he is describing the true violin.
How The Violin Sounded and How it was Played in the Sixteenth Century
Authors: Boyden David D
Published: November 2023

although Sherlock Holmes’s remark to Dr. Watson would not survive the scrutiny of the strictest student oflogic, his principle of investigation has its uses in searching for the details of anything as confused and elusive as violin playing in the sixteenth century. Reductio ad absurdum is a negative method which may lead to positive results. Consider the matter of the sound of the sixteenth-century violin. How can we possibly know what the violin sounded like four centuries ago? Obviously we cannot know absolutely, even if there were adequate words to convey an accurate notion of sound. However, it is useful to establish the fact that the old violin could not possibly have sounded like the modern violin; and thus, having eliminated the impossible, we can go on, by more positive methods, to show what must have been the truth-however improbable (c£ p. 67).
Jean Sibelius Symphonic Fantasia, Pohjola’s Daughter, Op. 49
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Wainamoinen, true and ancient hero of Finnish mythology, is driving home upon his sledge out of the twilight kingdom of Pohjola, the home of dark songs. ‘Hark! what is this sound?’ He gazes upwards. There, upon the rainbow high in the blue air, Pohjola’s daughter sits radiant, and spins. Her beauty entrances him; he implores her to come down to him. She refuses mockingly. Again he implores, and she demands, ‘Turn my distaff into a boat such as I have long desired. Show me your magic powers, and I will gladly follow you.’
Pyotr Ilyich Tchaikovsky Symphonic Poem, Francesca Da Rimini (Fantasia After Dante), Op, 32
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

This work was selected by its composer for performance at Cambridge on that memorable occasion in 1894 when he came with Boito, Max Bruch, and Saint Saens, and all four composers conducted their own works and received honorary degrees from the University.
Donald Francis Tovey
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

A composer cannot but be gratified at the invitation to explain his work to the Listener. But I do not think that listeners as such will have more difficulty in understanding my pianoforte concerto than in understanding any other work written in a classical language, though our friends the critics are making it exceedingly difficult to listen to any classical artistic language known to be writ ten by a person who is still alive. My case is beyond apology, and does not lie at all heavily on my conscience. As a conductor and a producer and teacher of music, my services are at the disposal of every sincere person who can use them; so that I do not consider myself a blackleg when as a composer I write to please myself, and recognize no duty to imitate either my contemporaries or the classics.
Richard Wagner Die Meistersinger Von Nornberg: Prize Song From Act III
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

In the concert-room we cannot realize the full effect of the Prize Song, for we are not given the three strophes in which Walther worked it out according to the Mastersingers’ rules when he told his dream to Hans Sachs. In those three strophes the first part of the tune is not what it became in the supreme moment of final inspiration when the hero sung it before all Nuremberg to win his bride. The point where the final version diverges is one of the subtlest and greatest moments in all Wagner. We cannot realize it without the earlier strophes which cannot possibly be attached to it: but the next best thing is to hear it after the Overture which contains Eva’s figure and the whole of the Abgesang or Envoy.
Ian Whyte Overture, The Treadmill
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

I am allowed to reveal the dread secret that The Treadmill is a presumably unofficial title for the interior works of a (let us use the indefinite article) broadcasting house.1 We must therefore not look for the monotony which is usually associated with treadmills; on the contrary, there is the strain of considerable variety: pro portions and rhythms must be fitted with the accuracy of a well cut jigsaw.

The work of the treadmill is eminently practical and you may expect that everybody in the orchestra is treated humanely. With modern music, however, there is one orchestral instrument who is treated in a way that would justify interference by the RSPCA. There are two aspects of musical rhythm, which may be called the syllabic and the muscular, of which the types are, respectively, speech rhythm and dance rhythm.
Johann Sebastian Bach (1685-1750) [Rediscovery And Influence; Compositional Method As Shown In Rearrangements]
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The rediscovery of Bach’s choral music dates from the boyhood of Mendelssohn, who at 12 years of age read the autograph of the Matthew Passion in the Royal Library at Berlin, and never rested until he had given a private performance of it, the first since Bach’s death. In England the revival began still earlier, by the performances and publications of Wesley and Crotch. (In 1850, a century after his death, a society was started for the correct publication of all Bach’s remaining works.) Robert Franz, the song-writer, arranged some of Bach’s finest works for modern performance: a valuable service so long as the scholarship of the rediscovered art was in its infancy, but now superseded by the realization of Bach’s own methods.
Anton Bruckner(1824-1896
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Anton Bruckner, the Austrian composer, was born on 4 September 1824, at Ansfelden in Upper Austria. He successfully competed for the organistship for Linz cathedral in 1855. In 1867 he succeeded his former master of counter point, Sechter, as organist of the Hofkapelle in Vienna, and also became professor in the conservatorium. In 1875 he was appointed to a lectureship in the university. He made a great impression by his extemporizations on the organ, and his success in an organ competition at Nancy in 1869 led to his playing in Paris and London (six recitals at the Albert Hall, 1871). His permanent reputation, however, rests on his compositions.
Eight Lectures on Beethoven (I 922)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

I propose tonight to deal with what are known as Beethoven’s three periods. It is quite futile to attempt to connect Beethoven’s work with the course of his life. The more we study his compositions and the methods by which he achieved them, as shown in his sketch-books, the more we realize that the keynote to his development is the assurance of mastery. He will not undertake a thing in conditions which he cannot thoroughly master. That is an invariable thread throughout all his work: we can say all his work, with hardly any qualification; because even in the very small category of works that are thrown off with a manifestly inferior technique, there is the same note of mastery, only it is a mastery that has become disdainful-we might say insolent.
Note on the Text
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Below are printed what survives of the 1937 series (with the last three talks on key­contrasts and key-relationships run together as one and pruned of a section in which Tovey answers listeners’ letters), preceded by a substantial selection from the two series of short ‘Keyboard Talks’ broadcast in 1934 and 1935, taken from the BBC Written Archives texts. As the title implies, there was a large element of Holding Forth at the Piano in these programmes, which does not necessarily make good printed book mate­rial.
Sound Vibrations
Authors: Maconie Robin
Published: November 2023

Baron Munchausen, Jules Verne, Méliès, and H. G. Wells all invented stories about space and space travel treating space as if it were full of air. As late as the 1930s Flash Gordon and his intrepid space explorers were still depicted as travelling to Mars and back through continuous cloud cover. Long after the Michelson-Morley experiment of the final decade of the nineteenth century put paid to the existence of the ether, people continued to believe that there must be something occupying the space between the stars. After all, how would light reach the earth if there were no medium for it to travel through? Sound requires a medium, and for our practical purposes that medium is the air we breathe. The transmission of sound as pressure waves through air was beginning to be properly understood by the mid-nineteenth century, and provided the model for speculation about the transmission of other forms of sensory information, such as smell by vapours, disease by germs (why not? disease was a communicable influence on the senses transmitted by an unknown and invisible agency), and light itself.
Attraction
Authors: Maconie Robin
Published: November 2023

The word ‘attractive’ is usually taken to mean ‘beautiful’. Why should this be so? Attraction says something about how we perceive the world. Those things which are attractive help to define our ways of seeing and hearing; they do not have to be beautiful in themselves or in an absolute sense. As we now realize, attractiveness is species-specific: a bright flower to us may appear quite different to a pollinating insect whose vision extends beyond the humanly visible spectrum, just as the nocturnal environment must sound very different to bats and other creatures whose hearing discrimination is more acute at higher frequencies than ours.
Melody, Harmony, Tonality
Authors: Maconie Robin
Published: November 2023

Melody, harmony, and tonality are different ways of describing pitch relationships. Melody relationships are sequential, harmony relationships simultaneous, and tonality (the prevailing scale or mode) the system of interval relationships of which melody and harmony are transient and partial expressions. A line of melody, whatever else it may signify, is a proposition concerning the interpretation of data in succession. One interpretation may require a continuous correlation of the range of pitches a melody brings into play and how that collection may alter over a period of time.
Ornamentation
Authors: Maconie Robin
Published: November 2023

Ornamentation is the convenient term found in dictionaries of music to describe the various ways in which a performer brings freshness, spontaneity, and a sense of individual personality to a familiar composition. The name suggests decoration, and decoration to a twentieth-century mind has rather dismissive overtones of the trivial and the superfluous. In the late twentieth century, post-modern architecture has renewed interest in the functional, as well as the merely decorative aspects of ornament, so the time is perhaps opportune to consider whether ornamentation might not also play a more significant role in music than conventional scholarship has seen appropriate to acknowledge hitherto.
Palladio
Authors: Maconie Robin
Published: November 2023

A Sixteenth-Century Italian architect of genius proportions his interiors to ratios corresponding to musical consonances. His German near-contemporary Michael Praetorius publishes a massive illustrated treatise on musical instruments, one of which has never been satisfactorily explained. Could it be that the two mysteries are related? The place of music in Palladian design is amply documented but a source of lingering embarrassment to architectural historians. Andrea di Pietro, known as Palladio (1508-80), was the outstanding representative of a generation committed to the renewal of civilian culture according to the Platonic principles which had given rise to the great monuments of Greece and Rome.
Dissonance
Authors: Maconie Robin
Published: November 2023

Harmony has two aspects, the physical and the musical. Harmonics refer to the physical reality of periodic vibrations, audible or otherwise, whereas harmony and harmonization allude to the combination of two, three, or more voices or instruments sounding at different pitches. The two are related, of course. The dogmas of classical tonality are defended by appealing to the natural order of acoustics, and to natural intuition of what constitutes satisfying pitch relationships. The difference lies in the association of harmonics with intrinsic order, the timbre of a musical instrument or resonant cavity making audible a natural order that is already present,—in contrast to harmony which is essentially a product of human activity in imitation of the acoustic order observable in nature.
Vincent D’indy and His World
Authors: Thomson Andrew
Published: November 2023

Over sixty years after his death in 1931, Vincent d’Indy is still a much misunderstood and maligned figure in French music. Previous biographers have left a portrait of the academic figure par excellence, who turned the seemingly inspired and selfless inspiration of his master César Franck into a cold and authoritarian pedagogical system. This new study re-examines the evidence, reveals a much more psychologically complex and turbulent character, and finds that d’Indy was a tireless propagandist for a spiritual revival of French musical civilization. Yet he was fully aware of the social and intellectual problems of the secular Third Republic which militated against his Dante-inspired Catholic humanism, embodied in the work of the Schola Cantorum, the Paris institution founded by d’Indy to reform the practice of sacred music. Far from being a pure reactionary, his outlook was in reality remarkably progressive, manifest in his revivals of early music, notably Monteverdi’s Orfeo, his encouragement of Debussy, and his willingness to engage - often pugnaciously - with the latest musical manifestations of Richard Strauss, Stravinsky, Schoenberg, and Varèse. His own compositions likewise contain passages of astonishingly bold invention and modernistic effects, all too easily overlooked.
The Immigrant Composers Traniform the Musical Scene
Authors: Hirshberg Jehoash
Published: November 2023

The already-limited compositional activity in the field of concert music during the 1920s nearly came to a halt with Joel Engel’s death and Jacob Weinberg’s emigration to the United States in 1927.1 The renewed prospect of the arrival of first-rank Jewish composers was welcomed by the ideological circles in the Yishuv, as when rumours spread that Arnold Schoenberg, “the founder of the modern school … who became famous all over the world, considers immigration to our country … Perhaps very soon out of Zion shall go forth music? … Let the lost sons return to their people’.2
Individualism versus Collectivism Music and the Kibbutz
Authors: Hirshberg Jehoash
Published: November 2023

The kibbutz1 movement was the most powerful manifestation of the ideology of communal life and of a voluntary rejection of private property and pecuniary greed. The communal spirit penetrated all walks of kibbutz life, such as insistence on joint meals at the common dining hall which also accommodated most social and cultural functions. From 1921 to 1948 the number of kibbutzim in Palestine leaped from 11 to 130 and their population increased from about 700 in 1921 to 54,000, that is, from less than I per cent of the Yishuv in 1921 to more than 7 per cent. Kibbutz life was idolized in urban society among many of those who were not willing to join communal life themselves. Consequently, the kibbutz movement was permeated by the optimistic vision of paving the way to utopia. Yet the way was fraught with obstacles, doubts, and soul-searching.
Nutcracker
Authors: Wiley Roland John
Published: November 2023

IN a letter of 25 February/9 March 1890, Tchaikovsky writes to Dé sirée Artot of a ballet to follow Sleeping Beauty, one work in an unrealistically ambitious list of new compositions:Now, dear Madame, you will ask me what I want to do after my opera [The Queen of Spades]? If the Good Lord grants me life and good health, this will be an opera on a French text by J. Detroyat and Gallet that I very much like and which I must do, having promised it to these gentlemen. And then I must absolutely take on a Russian opera of which I have had the poem in hand for two years, and which I have given my word of honour to do.
Swan Lake in St Petersburg
Authors: Wiley Roland John
Published: November 2023

Swan Lake was not forgotten in the twelve years between its last performance in Moscow and its first in St Petersburg. After bringing out a piano arrangement of the score at the time of the first performance, Tchaikovsky’s publisher Jurgenson added to his catalogue in the 188os excerpts from the ballet for various performing forces, including arrangements of three dances for two pianos, four hands, by Claude Debussy. Plans for a Petersburg production of Swan Lake may have predated Nutcracker, and even Sleeping Beauty.
The Collapse of a Tradition (Italian Opera 1840-70)
Authors: Budden Julian
Published: November 2023

Up to 1850 the background to Verdi’s artistic growth and the influences that nourished it are fairly easy to trace. The two main landmarks stand out clearly enough: on the one hand the more or less static tradition of post-Rossinian romantic melodramma; on the other the cosmopolitan world of Parisian grand opera. Thereafter the pattern becomes more confused as the landscape itself changes. In France grand opera declined in importance, though the yearly supply was scrupulously maintained till 1870. Meanwhile at the Theatre Lyrique a more truly native opera came of age with works by Gounod, Bizet and, later, Massenet; and from the Bouffes Parisiens sprang a rejuvenated lyric comedy under Offenbach, which was to epitomize the heady gaiety of the Second Empire.
A Problem Of Identity (Italian Opera 1870-90)
Authors: Budden Julian
Published: November 2023

It is always tempting to find a historical turning-point at the beginning of a decade, and usually wrong. But the year 1870 provides a legitimate exception to the rule; enough happened then and immediately afterwards to give a new direction to Italian Jpera and Italian music in general. Not all the decisive events were concerned with music; nor were they confined to Italy. First and foremost was the shock of Sedan, felt throughout continental Europe and all the more powerfully because no one had thought it possible. True, the Europe that had existed since 1815 had been planned with a view to keeping France in her place. None the less successive French governments had been able to take advantage of tensions within the ranks of the Holy Alliance to acquire the prestige and influence from which their country was supposed to have been debarred.
Introduction
Authors: Frogley Alain
Published: November 2023

My own feeling is that we ought only to show MS. of the new one, 9,—but who ever does that I should like them to show the whole of the scaffolding, so to speak…with regard to this no. 9 its a case of all or nothing: I usually destroy my rough copies but I have kept these as I thought it might be useful to show the scaffolding.
Technology and Authority
Authors: Frith Simon
Published: November 2023

In its most basic definition, the technology of music simply refers to the ways in which sounds are produced and reproduced. From this perspective the history of music can be divided into three stages, each organized around a different technology of musical storage and retrieval.

In the first (or “folk”) stage, music is stored in the body (and in musical instruments) and can only be retrieved through performance.
Chronology of Josquin’s Life and Career
Authors: Sherr Richard
Published: November 2023

The following chronology summarizes the known documentary evidence for the biography ofJ osquin des Prez and the people who have been con fused with him (most of it published, some of it unpublished). The chronology reflects the drastic revision of Josquin’s birthdate and early career necessitated by the discovery that the ‘Josquin’who worked for forty years in the cathedral of Milan and the ducal chapel was not our composer, whose true family name we now know to have been Lebloitte.
Motets for Five or More Voices
Authors: Milsom John
Published: November 2023

While Iacchus wondered at the vast waves of the Adriatic, and the rage of the furious whirlpool, and the waters churned up from the deep seabed, and Scylla, and the quick sands of Syrtes, and monsters unknown in any age, with a vine-frond girt about his fair temples, he sang these artful verses with an antique sound: ‘Let us recount, ye muses, Josquin’s ancient loves, whose bidding the ruler of Olympus did, outwith the eternal course and governance of the world, as the Mother stood pitying and, remaining inviolate, bewailed with seemly tears her Son, slain by an unjust judgement. Hail, 0 Most Holy one, Hail Queen; and Thou, highest God, have pity, to whom every year I shall heap up the altars with a calf and unfailing gifts.’
Chansons for Five and Six Voices
Authors: Bernstein Lawrence F
Published: November 2023

Chan Sons for five or six voices would seem to represent a significant proportion of the secular music attributed to Josquin. Some twenty chansons a 5 and fourteen a 6 are ascribed to the Prince of Musicians in at least one sixteenth-century source (see Table 13.1). As is true of numerous Josquin motets, however, a great many of these chansons appear only in posthumous sources. Indeed, only six of these multi-voice chansons are pre served in sources that were compiled during Josquin’s lifetime-three a 5 and three for six voices.
Portrait of Elgar
Authors: Kennedy Michael
Published: November 2023

The public image of Elgar as patriotic country squire was established in his lifetime, but, in reality, it concealed a highly complex, sometimes baffling, private individual. Although acquaintances found him a man of endless curiosity and good humour, his family and close friends knew him to be rather different: a prey to despair, neurotically mistrustful both of himself and of those who loved him and so damaged by the condescension and neglect of his early years that emotionally he never recovered. This is a reissue of the third edition of Michael Kenedy's portrait of this complexman — not an analytical survey of the music but a faithful likeness of the composer, recognizable, but at the same time a thoroughly individual interpretation of the subject.
Nobilmente
Authors: Kennedy Michael
Published: November 2023

Elgar’s music is inextricably associated with the Edwardian era, a period which has attained a mythical aura. From a distance of over half a century it appears as a golden age—a glittering social scene; Covent Garden at its most opulent; literature and the theatre adorned by Hardy, Wells, Kipling, Bennett, Pinero, Beerbohm Tree, Shaw, and Barrie; the cricket field peopled by giants; the political world of Asquith, Balfour, the young Churchill, and Lloyd George; the zenith of the country-house party. Yet there was another side—poverty, unemployment, violent industrial strikes, the threat of war, the spread of subversive and revolutionary doctrines in politics and religion, the agitation of the suffragettes. Much like any other age, indeed, as we are reminded by Jaeger’s words in his analysis of The Apostles when he referred in 1903 to the music’s message of beauty and peace ‘in these days of unprecedented stress and complexity.’ Our age’s superficial nostalgia for the imagined Eden of Edward VII’s reign has become attached to Elgar’s music. But the nostalgia Elgar expresses is not our nostalgia. He wanted to escape from his present as much as we do from ours; it is the perennial desire of the Romantic artist. Elgar in the late 1890s and early 1900s is a parallel case to the Pre-Raphaelites of a generation earlier. Just as they escaped from the harshness of the real world into a mock-mediaeval earthly paradise, so he fled to the historical past of Caractacus, the literary past of Falstaff, the chivalry of Froissart. Later, as will be seen, the world of his childhood, the wand of youth, beckoned irresistibly. There is a distinction to be made between what we recognise in Elgar’s music as representative of the spirit of his time and his own unconscious reflection of its precarious hollow features so that now, like contemporaneous works by Mahler and Strauss, it seems to foretell its own impending Gotterdammerung. The greatness of his music sprang from the unceasing tension between, at one level, his need for solitude and his desire for recognition, and, at another, his Catholic need to hope and to believe and his personal tendency to despair. Gradually, his faith crumbled, his hope dwindled, and he saw that the reality of life and of human behaviour conflicted totally with what he had been led to believe.