bluuebunny/crossref_metadata_2025 huggingface dataset:
Some Observations on the Life and Career of Lionel Power
Authors: Bowers Roger
Published: January 2007

The contribution of Lionel Power to European sacred music during the first half of the 15th century has long been appreciated, and the current publication of a complete edition of his surviving work has long been overdue. The purpose of this article is to present such few details as are known of his career, and to sketch enough of their background to permit some approximation to a coherent picture of the circles in which he lived and worked.
English Song Repertories of the Mid-fifteenth Century
Authors: Fallows David
Published: January 2007

Writing a year before Mozart died, Joseph Ritson prefaced the earliest attempt to summarize the history of medieval English song with the comment:

To pretend to frame a History, or any thing resembling one, from the scanty gleanings it is possible to collect upon the subject of our Ancient Songs and vulgar music, would be vain and ridiculous.

Nearly two hundred years later it is still necessary to begin any such survey on a note of extreme caution and with a declaration that the picture must be built on a series of widely separated stepping-stones—or more precisely, on a scattered group of stones peeping up from the river and perhaps never intended to pave a way across. Perhaps I may continue the river metaphor for a moment by saying that a landing place is now fairly solidly established on the far bank thanks to the recent publication by John Stevens of the Fayrfax Manuscript (GB-Lbm Add. 5465), dating from around 1500, and of the English songs in the Ritson Manuscript (Add. 5665), some of which must have been copied around 1470. Further, a little way up the river, there is a more or less continuous path across provided by the English carol tradition, also fully published by John Stevens and surviving in a series of five manuscripts that are miraculously fairly even in their chronological and stylistic spacing over the years from 1430 to 1500.
Computers and Music Composition
Authors: Manning Peter
Published: January 2007

Since the launching of the first commercial computer by the American firm of Remington Rand in 1951 the world has witnessed a technological revolution of a significance which may be compared with the invention of the wheel. In recent years the escalation of manufacturing activity in this sphere has fuelled a fierce controversy over the sociological implications of a world increasingly dominated by the powers of automation. Attitudes towards computing and the arts have also tended to polarize around two points of view, one in favour of exploring the creative benefits of such a marrying of disciplines, the other firmly opposed to any further encroachment of scientific principles into the cultural spheres of human expression. The fears which give rise to the latter attitude have been fermented to a considerable extent by a natural suspicion of the unknown, and it is the purpose of this paper to identify and examine at least some of the areas of music to which the processes of computation have been applied, with particular regard to the benefits or otherwise which have accrued from such ventures.
Hindemith's Early Songs for Voice and Piano
Authors: Fischer Kurt Von
Published: January 2007

In May 1917 Paul Hindemith wrote to his friend Emmy Ronnefeldt:

I realize more and more that it is high time I got free of all that old conservatory stuff! What is it that links me to all these people? Tradition! When I want to know something, nobody can help me. I can't talk seriously about music with anybody because no one any longer has ideals, and because the whole art has been reduced to craftsmanship… I want to make music I don't care whether it pleases anybody. Music has only to be true and genuine.
Tembang Macapat in Central Java
Authors: Hastanto Sri
Published: January 2007

One of the most important poetic forms in Java is inseparably connected with melody: the form known as tembang. Tembang have always been sung, never spoken. The word ‘tembang’ itself is used in two senses: it refers both to a broad category of verse-forms and to the various melodies associated with them. There are very many different types of versification which come under the general heading ‘tembang’, but the three most important are tembang gede, tembang macapat and tembang tengahan.
A Roman Concerto Repertory: Ottoboni's ‘what not’?
Authors: Everett Paul J.
Published: January 2007

The importance of Cardinal Pietro Ottoboni of Rome in the history of early eighteenth-century Italian music is widely appreciated. We remember him as the illustrious patron of music and the other arts, and the benefactor of Corelli, Alessandro Scarlatti, Handel and a host of other musicians. It is a matter for regret, however, that so little is known of what became of his music library, which, by the time of his death in 1740, would have grown to enormous proportions. In the fifty years since he was created a cardinal he must have amassed a rich collection of vocal and instrumental pieces, for there was not a single genre which he failed to promote. He surely possessed settings of his own librettos and those of other dramas whose production he had supported, manuscript scores of cantatas and sacred works, presentation volumes given to him by grateful recipients of his munificence, numerous prints dedicated to him and all manner of material relating to the regular accademie and other performances at his establishment. Ultimately such treasures became dispersed; they were probably disposed of in the sale of Ottoboni's works of art to which Horace Walpole refers in a letter from Rome in 1740. We know, at any rate, that the collection did not remain intact.
The Theorist's Sense of History: Concepts of Contemporaneity in Composition and Analysis
Authors: Whittall Arnold
Published: January 2007

My title is as much a play on words, or even a choreographic flourish, as the statement of a thesis. After all, to say that theorists have, or should have, a sense of history is rather like saying that composers, singers or instrumentalists tend on the whole to be able to read music. Having a sense of history is not just a necessary preliminary to adequate professional attainment in all branches of musicology: it is what being a theorist, and an analyst, is all about. And that is just as true for the theorist as practitioner - as pedagogue promoting the perception of structures - as it is for the theorist who is primarily an historian of theory. For the theorist, having a sense of history means knowing something of the past, and being able to interpret that ‘something’ in ways which may be judged uncontroversially orthodox or wildly idiosyncratic, but which in the end enable theorists to make worthwhile contributions to the state of the discipline in their own time.
Some Problems in the Text of Le nozze di Figaro: Did Mozart Have a Hand in Them?
Authors: Tyson Alan
Published: January 2007

A few puzzling features in the text of Figaro have been discussed for a very long time within the vast literature on this opera. Nevertheless there is little in the libretto that Lorenzo Da Ponte based on Beaumarchais's revolutionary play La Folle Journée, ou Le Mariage de Figaro, and in the music that Mozart then provided for it, which is really problematical. After all, almost the entirety of Mozart's long autograph score has come down to us, even though today Acts 1 and 2 are divided geographically from Acts 3 and 4 - the first two acts being in the Deutsche Staatsbibliothek, Berlin (DDR), and the last two (which left the Berlin library in World War II) being at present in the Biblioteka Jagiellońska at Kraków in Poland. (The whole autograph is fortunately accessible today.) It would seem that the only portions that have not come down to us in Mozart's handwriting are a couple of passages for recitative, and some of the supplementary wind parts for the last act's finale; we have these merely in the handwriting of copyists, included inter alia in scores made for early performances, or for sale in Vienna and other cities. Several of these copyists' scores will shortly be discussed here.
Market Themes
Authors: Ehrlich Cyril
Published: January 2007

In 1977 I discussed some common ways of writing about the social and economic contexts of music, and then suggested alternative procedures. Expressing dissatisfaction with prevailing fashions, that paper was essentially a plea for the use of economic history, recommending its analytical insights and quantitative sense. It sought discussion oftypicalevents, and deliberately challenged the ‘deep-seated antipathy felt by most humanists toward anything that smacks of statistics’. The desired emphasis was also upon ‘thick’ description and analysis, by which one might avoid such contrasted, but equally fruitless, pursuits as unsubstantiated dogma and antiquarianism. Ten years later the invitation to arrange a conference on ‘music in the market-place’ provided an opportunity to look again. There was no attempt to survey current research systematically; less still to restrict subjects and speakers to any particular discipline. Indeed, despite the conference title, conventional approaches to the analysis of markets were scarce, with the notable exception of Julia Moore's paper, an exemplary demonstration of ‘thick’ economic history. Trying to achieve some coherence without imposing a strait-jacket inevitably brought overlaps and gaps. But if penalties were attached to open-mindedness, it also ensured the stimulus of diverse and multi-disciplinary papers, and informal contributions by active participants in the market-place. This introduction is not a summary of the conference, and is not confined to, though it touches upon, what was said there. Schematic, and therefore thin, it merely introduces a few possible themes which are further developed elsewhere, or still await exploration.
Josquin as Classic: Qui habitat, Memor esto, and Two Imitations Unmasked
Authors: Macey Patrick
Published: January 2007

Further progress in Josquin research and in the study of the music of the whole age will largely depend on detailed inquiry into the catalogue of the authentic works of the master. This will probably be the most burning problem, for how should the scholar pursue serious studies of Josquin's music, and how should the amateur find an approach to this outstanding musician, unless they know that the composition in their hands is really by Josquin?'
Base d'harmonie: A Scene from Eighteenth-Century French Music Theory
Authors: Gessele Cynthia M.
Published: January 2007

History can often be read as story or drama, with the events of the narrative partitioned into scenes. As a play, the history of music theory in eighteenth-century France has Jean-Philippe Rameau as its main character. The scenes in which Rameau and his opponents debated his theory are filled with contentious dialogue. Even if the historian excludes Rameau and devotes scenes to his predecessors, contemporaries and interpreters, the plot still revolves around the story's protagonist who stands in the wings.
Music as a Language
Authors: Banister H. C.
Published: January 2007

Music as a Language: not as an adjunct of other languages, though it is that, but as itself a language; that is, a means, not of intercommunication, nor of narration, nor of description, but ofexpression.
The Old Clavier or Keyboard Instruments; Their Use by Composers, and Technique
Authors: Hipkins A. J.
Published: January 2007

The object of this paper is to bring before your notice the clavier or keyboard stringed instruments that preceded the pianoforte; to make it evident, by performance upon instruments of various kinds, wherein they differed from the pianoforte and from each other, and to show, as far as is in a short time possible, the historic development of composition for them and of the corresponding technique. The instruments shown, taken in the order of illustration, are an Italian trapeze-shaped spinet of sixteenth century model, an English transverse spinet of late seventeenth century; a Flemish double keyboard harpsichord, dated 1614; an English double keyboard harpsichord, dated 1771; and a German clavichord made about the middle of the last century. In order of invention the clavichord was first; it will be seen why I prefer to place it last in the historic order of illustration. The use of the spinet began about the year 1500; it was nearly contemporary in its start with the larger harpsichord, and both remained popular until nearly the close of the eighteenth century. Relatively they were met with much as grand and smaller pianos are met with now. As I have said, the clavichord or keyed monochord was invented and came into use earlier, and most likely in the fourteenth century—about the time of the composer Josquin des Près; but it was a pitch carrier or interval measurer only for a very long while, without the least suggestion of independent musical effect. The dawn of such effect in keyboard stringed instruments was due to the invention of the spinet jack, with its quill, or perhaps, at first, brass plectrum, and little cloth damper. This was in the last years of the fifteenth century. As far as we know, independent instrumental compositions or separate accompanying parts to the voices did not exist until about 1529; the keyboard instruments of all kinds and even the lute, viol, and psaltery, were treated as voices, and as such were submitted to the interweavings of contrapuntal ingenuity. When an instrumental treatment, as apart from vocal, arose, it was by grafting upon the counterpoint and canonical imitation, the devices of variation, a natural and world-wide tendency, accomplished chiefly by figuration and passages contrived to display executive skill. The great secular revolution which, following the invention of printing, ushered in the sixteenth century, brought about the recognition of the people's song and dance which the domination of church modes and school theories had hitherto kept out of notice. From this time came about, by degrees, the substitution of the major and minor scales for the ecclesiastical modes, helped no doubt by the facilities the keyboard instruments, including the organ, gave to the practice of harmony, upon which our modern European music rests.
The Double Bass
Authors: White A. C.
Published: January 2007

Mr. Stephens.—Before the paper is read, I wish to make a few observations on the discussion which ensued on the very interesting paper which was read at the last meeting, On that occasion Mr. Whomes challenged the audience, and I accepted the challenge, to name the key of every piece that he played, the pianoforte being concealed from us. I put down on paper, and read afterwards, the key of every piece which he played, as they appeared to me at least, and the Chairman, who had sat at the pianoforte, came afterwards to the table and read out the key in which he had seen Mr. Whomes play. In every case the key in which Mr. Whomes had played on the pianoforte was a semitone higher than the one I had named. Now I am very anxious that any impression should be removed that I had been guilty of a failure on that occasion. It was simply that Mr. Whomes had, for the special purpose of his lecture, caused the pianoforte to be tuned a semitone lower; consequently, I was right in every instance, and Mr. Whomes has kindly come here on this occasion to corroborate what I say, and acknowledge that, for the purpose of his lecture, he was obliged to practise what, applied to my own particular case, would appear a deception, and he will acknowledge, I believe, that I was right in every instance as regards the true pitch, and when a selection from a Concerto of Beethoven in C minor was played, I said, not in C minor, but in B minor, and so it proved. After several of the audience were gone away, we compared the pianoforte with another one in the room, and found it was exactly what I have said, half a tone below pitch; therefore, whatever the position may be with regard to tone colourists, I wish to claim that I was in every instance correct in my judgment as to the key which was played.
The Rondo Form, as it is found in the Works of Mozart and Beethoven
Authors: Abdy Williams C. F.
Published: January 2007

Some months ago, during a conversation on Musical Form, the remark was made to me that the Rondo had been rather scantily treated in theoretical works; and that the portion of that great book on musical composition by Marx, which deals with this form, had never been translated into English. My friend went on to say, “Why should you not write a paper on the Rondo (taking Marx as your basis), and offer it to the Musical Association?” Acting on this suggestion I proceeded to write the paper, which with much diffidence I now offer you; and if it should give rise to a discussion in which further light may be thrown on the subject, I shall feel that it has not been written in vain.
The Rhythmical Construction of Bach's “Forty-Eight” Fugues
Authors: Williams C. F. Abdy
Published: January 2007

I wish to-night to lay before the members of the Musical Association some portions of the theory of musical rhythm, as explained by the late Rudolph Westphal; and with this object have chosen the Forty-eight Fugues for my subject, since their rhythmical construction shows more variety of form, and more instinctive knowledge of the possibilities of rhythm, than perhaps any other modern music. Westphal's investigations and explanations of the principles of rhythm are so important and far-reaching that they must in the near future occupy a prominent place in musical theory; the chief bars to their general acceptation being their somewhat startling novelty, and the large use he makes of unfamiliar Greek terms.
Notes on Indian Music
Authors: Day C. R.
Published: January 2007

Of all the Indian arts one of the most popular is that of music, and perhaps of them all the least known to Europeans. Almost every one who has been in India knows that native music exists, but there are comparatively few who recognise the deep hold that it possesses over Indian minds. Europeans, as a rule, leave India with the idea that the national music of the country consists only of noise and incessant drumming, varied, perhaps, by nasal drawling—equally repulsive as unmusical. That there is a real musical art—with an employment of various scales, abounding in rhythmical beauty and full of passionate expression, seems to many almost incredible. And yet this is so.
A Fifteenth Century MS. Book of Vocal Music in the Bodleian Library, Oxford
Authors: Stainer John
Published: January 2007

The important book to which I desire to call your attention to-day belongs to a collection of upwards of 2,000 MSS., formed by a Venetian Jesuit of the name of Canonici, in the latter part of the last century. The Bodleian purchased this collection in its entirety in the year 1818. The liturgical MSS. which it contains are well known and have often been cited; and the whole of these Canonici MSS., as they are still called, have been carefully catalogued in the various classes to which they belong, such as Greek, Latin, Italian, miscellaneous, &c. But for some reason or other this particular MS. of music appears to have entirely escaped observation. It was in the “Miscellaneous” catalogue, under the following entry: “213. Codex Chartaceus, in folio, ff. 145. Saec. XV. Canticorum liber, precipue sacrorum, notis musicalibus necnon auctorum nominibus instructorum. Nomina scriptorum sunt.” Then follows a long list of names,∗ amongst which those of Binchois and Dufay at once arrested my attention.
On Some Tendencies of form as Shown in the Most Modern Compositions
Authors: Maclean Charles
Published: January 2007

The general subject which underlies the following paper is the geometry of the practical composer, and I regret that I find it impracticable to deal effectively with even a part of that subject by any methods except such as involve much definition, symbolization, category, classification, cataloguing, and so forth. A broad and even aesthetic treatment of the same subject is no doubt possible, and surveys of that class are of great assistance to the art; it seems however sufficient to say that such is not the object of the present paper, which deals rather with the labour of the workshop proper. All the principal writers on the practical aspect of musical form have, whatever their special method, built up their subject in more or less of geometrical fashion. The composer himself must equally have such processes in his mind. More confusedly no doubt than has the analyst, for the sub-division of labour entails this; and perhaps only just enough for his own immediate purposes, for that is human nature. But still the processes must be there. The subject then in short demands a mechanical treatment, and I can only hope that I may be able to offer this with the least offence.
On the Musical Introductions Found in Certain Metrical Psalters
Authors: Stainer John
Published: January 2007

These Introductions, Directions, or Principles, as they were variously styled, contain what we should now term the Rudiments of Music, or at all events, as much of them as is needed for those who wish to sing a simple melody. They have an interest peculiarly their own, as illustrating the efforts made by the pioneers of congregational psalmody to secure an intelligent, as well as a general participation in its rendering.
The Structure and Arrangement of Concert Halls
Authors: Statham H. Heathcote
Published: January 2007

The subject of this paper is, I am aware, a little outside of the usual programme of the Musical Association, as it deals partly with matters of building and architecture; but it is of some consequence that music should be heard under the most advantageous conditions, and some of those whom I am addressing may have to decide on some occasion on the choice of a plan for a concert hall, and I should be glad if I could think that any of the suggestions I have to make may be of use to them in the future. The construction of theatres for opera I am purposely leaving on one side; opera is a spectacular as well as a musical business, and the theatre is a special class of building, which would demand a paper to itself. We are here considering only the question of hearing music.
Scriabin's Scientific Derivation of Harmony Versus Empirical Methods
Authors: Hull A. Eaglefield
Published: January 2007

I do not flatter myself that so numerous an assemblage has come here this evening to listen to me, for it is much more likely that' you have foregathered to hear Mr. Arthur Alexander play some of Scriabin's remarkable music. I cannot—at any rate this evening—enter into a full discussion of Scriabin's music and aims, as our present subject is concerned with the harmonic method of Scriabin rather than with his actual music.
Musical Libraries and Catalogues
Authors: Squire W. Barclay
Published: January 2007

With the exception of the libraries attached to such institutions as the Royal Academy and the Royal College of Music, the Students' Libraries at Oxford and Cambridge, the Henry Watson Library at Manchester, and Mr. Cobbett's Free Library of British Chamber Music, musical libraries, in the sense of libraries solely devoted to music and musical literature, can hardly be said to exist in this country. But the term Musical Libraries is short and convenient, and under it I propose to deal briefly with (1) Great Public Libraries which have (or should have) a special department devoted to music, and which can be used for purposes of both general instruction and special historical research; and (2) Smaller Libraries, where music can only form one of the many subjects for which provision has to be made. In this second category I include (a) Free Libraries and (b) Libraries of Institutions (such as Cathedrals and Colleges), into which for a variety of reasons a certain amount of music has drifted. Private collections, though they are often of considerable importance, hardly come within the scope of this paper.
Why Not British Ballet?
Authors: Perugini Mark E.
Published: January 2007

I deeply appreciate the honour of having been asked to read a paper to-day on Ballet. I cannot but feel, however, that I have far more to learn on this subject from my audience than any here could possibly learn from me.
The Subconscious Mind and the Musical Faculty
Authors: Eggar Katharine
Published: January 2007

“The quest of origins,” says a recent writer∗—“the quest of origins seems to have a special attraction for the modern mind.”
A Corelli Forgery?
Authors: Arnold F. T.
Published: January 2007

In the British Museum (G. 40) are three part-books (bound together), containing six sonatas or suites, entitled: Suonate da camera a tre, doi Violini, Violoncello, e Cembalo, da Arcangelo Corelli da Fusignano, detto il Bolognese. Opera Quarta. Prima Parte. Nuovamente Ristampata. In Anversa, da Henrico Aertssens, Stampatore di Musica, all'Insegna del Monte Parnasso, 1692 Con Privilegio. The Cembalo part, with the figured Bass, is missing.
Duets for Two Pianos (Four Hands) (Original Works.)
Authors: Henderson A. M.
Published: January 2007

It has always been a matter of wonder to me that the literature of music for two pianos (one player at each instrument), so rich, so attractive, and so high in quality, should be so little played by artists and teachers. This is the more remarkable, as this form of chamber music is both delightful to play and enjoyable to hear, and is as refreshing and exhilarating in the studio of the teacher as it can be effective in the concert room.
The Ideal Scale: Its Ætiology, Lysis and Sequelæ
Authors: Swinburne James
Published: January 2007

Just intonation an arithmetical abstraction. Impossibility of using it when there is modulation. Flexible scale. Mean tone tuning. Question of the minor mode. Modern keyboard, and notation. Key Character. “Theory” of Harmony.

When the Mathematician told the Historian that he had better let bygones be bygones, he meant that History was of no value; and it is of no value unless it can guide us in the present or future. There may be some guidance for us to gain from a retrospect of the old scales, though in one sense there is nothing new to be said. Most musicians have never heard even a single justly tuned chord, and have quite vague ideas as to what the ideal scale is, or sounds like. There is a loose general idea that quartet players, and unaccompanied singers drop into just intonation, as Wegg dropped into poetry, and that the result is very beautiful.
Bach's Motet: “Singet Dem Herrn”
Authors: Newman S. T. M.
Published: January 2007

If the submission of yet another study of this monumental work should stand in need of some apology, I must plead the encouragement offered by a remark entered against a famous name in the visitors' book of those who have been before me. “There is something from which one may take a lesson.” I shall hope to show in this paper that that was far truer than Mozart can have dreamed.
The Criticism of Music
Authors: Fox Strangways A. H.
Published: January 2007

“Criticism,” said a friend casually one day to me, “is the salt of life.” I think that is true: as long as man has experiences, he will persist in discussing them. Music is an experience, and about that I will put a preliminary question: — When was the criticism of music born ?—and will offer an answer for your possible acceptance. It was when the Lord answered Job out of the whirlwind, and said, “Where wast thou when I laid the foundations of the earth, when the morning stars sang together, and all the sons of God. shouted for joy?” The inscrutable wonder of creation was then in performance, it was sung to the tune of the music of the spheres, and a selection of mankind—those whose antecedents made it likely that they would have the requisite knowledge— were filled with the love that precedes understanding, and affirmed the glory of that wonder.
The Development of the Traditional Hand-Made Pipe
Authors: James Margaret
Published: January 2007

Because of a Sound, the fortunes of The Pipers’ Guild began.

It seems appropriate, therefore, that I should open this account by introducing you to that sound, then lead you, if I can, down the widening stream of our experiment. For the pipe which we made nineteen years ago, has increased in musical capacity; but never has it lost the voice with which it began—a character traditional to mountain shepherds all over the world. This is my pipe, and the tune I will play is Purcell's Fairest Isle.
A Study in Handelian Thought
Authors: Young Percy
Published: January 2007

This paper has its origin in the affection of the author for his subject on the one hand: on the other in a conviction that the philosophy of Handel has current significance. In our part of the country music is synonymous with Handel. Since Elijah declined in popular favour Messiah has been left as virtually the sole musical experience in which thousands of our neighbours in the Black Country may, once or twice a year, participate. Therefore our consideration, which must in any case be limited, will be principally with the oratorios. In our particular environment musical scholarship must develop—if at all—purposefully and with practical intention. We may analyse but we also attempt to synthesise. In so doing we observe the principal tenets of Handelian thought. Handel viewed his contemporaries critically, but sympathetically, and incorporated his findings within his music which, in turn, not infrequently took the form of more or less direct personal communication. In an indeterminate way art is often referred to as a reflection of society. That branch of art with which we are immediately concerned is more definite. It is not a remove from reality: it is, in a Platonic sense, reality. The ideas from which it is formed are the ideas which are otherwise shaped into personalities. The people with whom Handel had contact still live. If this is so the moral for interpretation is clear. The music must, by sensitive handling, be brought to life. This is only possible with a realisation of its original function and a regard for the immutable character of human emotions.
Film Music
Authors: Irving K. Ernest
Published: January 2007

About four years ago I was honoured by an invitation from the Royal Musical Association to talk to them about music in films. At that time the music directors of the British film studios were engaged in a campaign to lift the standard of music employed in motion pictures, and to replace, where possible, the tricks employed at Hollywood with something more worthy the attention of serious musicians. I therefore considered the time not quite ripe for such a talk and chose instead a paper of Opinions and Prognostications based upon prophecies found in the Proceedings of this Association.
Seven Problems of the Fitzwilliam Virginal Book
Authors: Cole Elizabeth
Published: January 2007

Everyone who has ever done research will know how easy it is to go on from year to year, without ever considering the alarming possibility of being called to account. As the Chairman has said, this paper has been bespoken while the work is still in progress, so it must therefore take the form of an interim report. The Fitzwilliam Virginal Book may be regarded as the most important collection of English keyboard music.
Instrumental Polyphonic Folk Music in Asia Minor
Authors: Picken Laurence
Published: January 2007

The polyphonic fiddling of the Black Sea coast of Asia Minor is remarkable enough as a type of folk music; but it is the more remarkable to find such polyphony within the territory of the Islamic musical world, the territory of the purely homophonic (or at most mildly heterophonic) classical Perso-Arabo-Turkic tradition. From passages in the surviving treatises of Al-Kindī (ninth century) and Ibn Sīnā (eleventh century) it is known that these authors were familiar with fourths, fifths and octaves and their use; and in the Mūriṣtus MSS quoted by Farmer, triads are mentioned and their affective properties described. But these are the only traces of such knowledge in the history of a tradition which as it reaches us today is homophonic. The nature of this tradition has often been misunderstood, as is shown by such a statement as: the Arabs never got beyond the stage of homophony. This implies that homophony as practised in the Islamic world is primitive, or if not primitive is yet a stage in the evolution of harmony. Either view is false; false to that which can be observed all over the world at the present time, and historically false as well. The music of Islam is a music of high sophistication, and its sophistication was well established by the ninth century.
Music in France in the Post-War Decade
Authors: Myers Rollo H.
Published: January 2007

In a survey of this kind, which must of necessity be condensed, it seems essential to limit the period under review, as otherwise the field becomes too large and the subject-matter unwieldy. I am going to try to avoid this by deliberately restricting this paper to a review of what seem to me to be the most significant and the most interesting trends in post-war music in France, and I therefore propose to deal only with a small number of composers whose contribution seems to be outstanding for one reason or another. Those with whom I am more particularly concerned are, of course, the younger or post-war generation. But before coming to them I cannot avoid saying a few words about one or two of their elders who were already established before the war but who are still important contemporary figures. Among these are some who made their début during or immediately after World War One, but who today have reached maturity and are still in the front rank of French musicians. Prominent among these are, of course, such well-known figures as, for example, Milhaud, Honegger, Auric and Poulenc who are still fully creative, but whose work, even in its latest aspects, is too familiar to you for me to dwell on here.
Handel and the Aria
Authors: Lewis Anthony
Published: January 2007

One of the aspects of Handel's many-sided genius to which particular tribute should be paid this bicentenary year is his extraordinary lyrical power. There can be few of those to whom serious music makes any appeal that do not know at least one aria by Handel, even if it be simply the noble Larghetto from Serse dressed up in one of a thousand guises. Yet this great composer, who wrote more arias in his operas alone than Schubert did songs of all types, is rarely thought of primarily as a melodist. But the splendid richness of his choral style, the brilliance of his purely orchestral works and the urbane virtuosity of his solo concertos should not distract one from the central source of his creative strength, a seemingly inexhaustible gift for melodic invention. Viewed from the musical background of today it may not always be easy to appreciate the nature of Handel's melodic writing; music has been mainly concerned during the last two centuries with different lines of development. Instead of Handel's long melodic line, constantly renewing and extending from resources within itself, composers have been increasingly interested in the organic growth of relatively short melodic themes, associated and integrated with harmonic, rhythmic and textural ideas. Musical thought has tended to move away from purity of line towards the co-ordination of varied elements on different planes into a significant pattern. Separated as we are from the eighteenth century aria by the achievement of the great symphonists and the steady drift towards declamation in the opera house, it requires a certain mental adjustment to be fully responsive to Handel's melodic process.
Puccini's Orchestration
Authors: Vaughan Denis
Published: January 2007

In order to say anything new about Puccini's orchestration, it is necessary to subject his manuscripts to a detailed scrutiny and it soon becomes apparent that many pages of his writing have not yet been microscopically examined. In fact the early copyists, probably working under the difficult pressure of a late arrival of the manuscript from the composer and an imminent theatrical rehearsal, appear to have approached his compositions with a certain creative flair of their own. Of the two operas which I have been able to copy out almost completely from the manuscripts, La Bohème and Tosca, only three or four pages towards the end of Act I of Tosca could be said to have been accurately copied, as though the work of copying might have fallen into different hands for those pages. Elsewhere throughout both scores, apart from the obvious changes which Puccini brought to his composition subsequently, there is a general wash of ‘editing’ which has introduced an average of from 40 to 50 small changes on each and every page of the score.
Die Zauberflöte: some textual and interpretative problems
Authors: Branscombe Peter
Published: January 2007

This paper is basically a study of some of the numerous textual divergencies which exist between the first printed edition of the libretto of Die Zauberflöte, and Mozart's autograph score. I begin, however, with some remarks about a peculiar forgery which purports to be a letter from Schikaneder to Mozart, bearing a date which has led scholars to believe that the composition of Die Zauberflöte was already far advanced by September 1790, over a year before the opera was first performed.
The Eighteenth-Century Organ: A Parting of the Ways
Authors: Williams Peter F.
Published: January 2007

When a member of the Association spoke to you last year on the French horn he was able to explain his points on his own instrument; but alas I cannot bring Haarlem, Weingarten or Freiberg here. It would also be unfair to enter too much into the exclusive language of organ-players, for I am reminded of Burney's remarks when writing up (as organists say) the instrument at Haarlem:

as technical terms will be unavoidable in this description, I advise my miscellaneous readers to pass it over, for it can interest none but organ-players, or persons not wholly unacquainted with the construction of that instrument.
The Australian Avant-Garde
Authors: Peart Donald
Published: January 2007

Never, perhaps, did a new country begin in circumstances so unpromising for its musical development as did Australia. To the normal difficulties attendant upon cultural activities in a young country must be added the state of creative music, and especially the attitude of society towards it, in the Motherland during the later eighteenth century and most of the nineteenth. Musical composition was drifting rapidly to a condition of unredeemed bathos; not until the end of the nineteenth century was music being written in England which could provide a point of departure, a basis of any kind for the building-up of a worthy indigenous tradition of composition.
The Lute Music of Antony Holborne
Authors: Jeffery Brian
Published: January 2007

This paper is particularly about only one part of the music of Antony Holborne: his lute music. I should like this evening to discuss this music, to state what exists, to describe it and some of the problems that arise in connexion with it, to play you some of it, and also to put it into its context both as one aspect of Holborne's varied output and as one part of the considerable repertory of English lute music of the Renaissance.
From Garrick to Gluck: The Reform of Theatre and Opera in the mid-Eighteenth Century
Authors: Heartz Daniel
Published: January 2007

Several attempts to renovate the stage took place towards the middle of the eighteenth century. Goldoni was substituting written comedies of character for the improvised and stereo-typed roles of theCommedia dell' Arte.Diderot and Lessing were introducing serious contemporary subjects which perforce affected acting, setting and costume. Cahusac, Noverre and Angiolini were working, by precept or example, to create a more dramatic ballet. On English stages Garrick was perfecting a style of acting that broke sharply with the stately declamation and movement of the past. All these and other ‘reforms’ came to a head in the decade after 1750. I propose to consider some of them with a view to the light they may shed on the celebrated reform of opera.
Berlioz and Virgil a Consideration of ‘Les Troyens’ as a Virgilian Opera
Authors: Cairns David
Published: January 2007

It has been said that by naming him Hector, Berlioz's father determined his fate, marked him out for glory and tragedy, heroic deeds and the bitterness of failure and mutilation. A fanciful idea, no doubt; but the more one considers Berlioz's life, the more it seems almost mystically inevitable that his crowning work should be an epic on the Trojan war and its aftermath, the wanderings of Aeneas and the myth of the founding of Rome, and the more one comes to see his discovery of Virgil during adolescence and his precocious response to the passion and tenderness of the Aeneid as the most important single event of his imaginative existence. As Gounod justly remarks, Berlioz, like his great namesake Hector, died beneath the walls of Troy; for the final blow in a lifetime of vain struggles against a hostile musical environment was its rejection of the very work which he knew to be his culminating achievement and artistic justification. When we read the letters written during the two years of its composition we cannot help sensing something special about them. In their mood of exhilaration and their sense of destiny fulfilled they recall the passage at the end of The Gathering Storm where Churchill describes his feelings on taking power in May 1940: ‘I felt … that all my past life had been but a preparation for this hour and for this trial’.
‘Doulce Mémoire’ A Study of the Parody Chanson
Authors: Dobbins Frank
Published: January 2007

The Renaissance attitude to art as craft is reflected in a veritable cult of competitive setting testing the composer's ingenuity and invention. Already in the fifteenth century one finds abundant evidence of this trend in rival versions, sacred and secular, by famous professional musicians of chansons like ‘De tous biens plaine’, ‘J'ay pris amours’ and ‘Fors seulement l'attente’. A similar situation is found in the poetry of the time: thus in the fifteenth century one finds numerous rondeaux with the same incipit but with different continuations, while the sixteenth century provides a parallel case with the résponse (or rebours) which borrows its form, ideas, images and even whole lines from the model. The entire neo-Petrarchist repertoire is emulative, and the vogue of the blason, instituted by Clément Marot in exile at Ferrara in 1535, was overtly competitive.
The Jewishness of Bloch: Subconscious or Conscious?
Authors: Knapp Alexander
Published: January 2007

Ernest Bloch is one of the enigmatic figures in twentieth-century music. He neither joined nor founded any school of composition (though a number of important composers in the United States today were his pupils); he was much acclaimed during periods of his life, especially in the 1920s and 30s; but since the last World War his popularity has suffered a steady decline, with but rare flashes of resuscitation. Though born in Switzerland in 1880, and spending much of his creative life (until his death in 1959) in the USA, it is as the ‘Jewish composer’ that he is most often acknowledged. This has in turn caused a reaction in the minds of those who feel that Bloch's appeal, so far from circumscribed, is universal. But universality depends upon quality rather than heredity; ‘Jewishness’ and universal appeal are in no way mutually exclusive.
The Church Music of Pelham Humfrey
Authors: Dennison Peter
Published: January 2007

Writing in the second half of the eighteenth century, William Boyce described Pelham Humfrey's church music as ‘peculiarly expressive and affecting, the evident Productions of a masterly Genius’. It was this emotional immediacy, the desire ‘to move the affections or excite passion’, as Roger North put it, that was fundamental to the spirit of the Baroque. This spirit represents an exaggeration of the Renaissance humanists' desire for directness of expression; there are ways in which it can be said to have literally vulgarised the aristocratic humanism of the Renaissance. The contrast is aptly illustrated by comparing Tallis's most familiar ‘Salvator mundi’, a setting of lofty beauty, with Blow's more immediately passionate setting of the same text. The English Baroque cannot really be said to come of age in music until the generation immediately after the Restoration in 1660, but from that time composition in the new style flourished in all mediums. Spanning the years 1663 to 1674 Humfrey's output represents, perhaps more influentially than that of any other member of his generation, the consolidation of a distinctively English Baroque style.
Individuals Writ Large: An Epilogue on the “Ecological Fallacy”
Authors: Erbring Lutz
Published: January 2007

For more than three decades, social scientists have struggled with the statistical consequences of aggregation. Ever since Robinson (1950) first shocked a whole generation of social scientists with his demonstration of the “ecological fallacy,” much has been written about alleged fallacies, biases, pitfalls, and hazards of one kind or another lurking behind aggregate data and about strategies for circumventing them (Goodman, 1953, 1959; Blalock 1964; Scheuch 1966; Alker 1969; Shively 1969, 1974; Hannan 1971; Hammond 1973; Meckstroth 1974; Hanushek, Jackson, and Kain 1974; Hannan and Burstein 1974; Irwin and Lichtman 1976; Smith 1977; Langbein and Lichtman 1978). Intrigued—or alarmed—by the recurrent observation that correlations and regressions based on aggregate data (group means) often differ dramatically from those based on individual data, researchers have sought to answer the traditional question of ecological analysis: under what conditions can inferences to individual-level (micro) relationships be made from group-level (macro) data?
Recognizing, in lateritic cover, detritus shed from the Archaean Gossan Hill Cu–Zn–Au volcanic-hosted massive sulphide deposit,Western Australia
Authors: Smith Raymond E. , Singh Balbir
Published: January 2007

Cenozoic cover about the Golden Grove Gossan Hill volcanic-hosted massive sulphide (VHMS) deposit consists of lateritic colluvium, remnants of lateritic duricrust, associated lateritic soils and lateritic gravels. Clasts in these materials were investigated for features diagnostic of the mineralized system. The pebble-sized clasts showed: (a) preservation of tuffaceous and other volcanic textures with relict cassiterite (an associate of the ore zone sulphides); (b) relict micrometre-scale Cu, Zn, As or Pb sulphide inclusions in quartz; (c) micrometre-scale gold grains; (d) interpreted ferruginous pseudomorphs after base metal sulphides; and (e) elevated trace amounts of Cu, As, Zn or, more rarely, Sb or Bi in the core matrix of clasts, and in cutans on some of the clasts. All samples studied from an area extending laterally
c.
600 m from the central strike of the VHMS ore system are positive, despite intensive weathering, to one or more of these diagnostic criteria. The background samples (2 km to 5 km from the ore system) are negative to all the criteria. A qualitative indication of proximity to the ore system can be derived by listing the occurrence of each of the diagnostic criteria within mineralized clasts in individual samples.

A more specialized case of general models for interface sampling is proposed for exploring areas of thick transported cover in deeply weathered terrain. The model focuses on recognizing the described diagnostic criteria in basal cover from samples provided by drill core or cuttings.