bluuebunny/crossref_metadata_2025_split huggingface dataset:
CHAPTER 3 SCHUMANN: CRYPTOGRAPHER OR PICTOGRAPHER?
Authors: Daverio John 
Published: May 2008

Abstract
Robert and Clara Schumann were one of the most remarkable artist couples in the history of Western music. Their emotional lives affected their artistry, and this process was especially decisive for Robert Schumann, whose letters eloquently confirm his desire to inscribe his beloved into the very fabric of his music. Clara also served as a muse to Johannes Brahms. This chapter examines the hypothesis that several of Schumann's and Brahms's works contain cryptic references to Clara's name, musical ciphers for “Clara” that act as sonorous emblems for a beloved image.
CHAPTER 4. BRAHMS'S MUSICAL CIPHERS: ACTS OF HOMAGE AND GESTURES OF EFFACEMENT
Authors: Daverio John 
Published: May 2008

Abstract
This chapter examines Brahm's cipher technique. It considers a handful of cases for which Brahms's employment of ciphers is more or less assured. These fall into three categories, which depend on the strength of the evidence: certain or nearly certain; probable; and one case where a composition stands in an indirect relation to a musical cipher. These ciphers include Des jungen Kreislers Schatzk ästlein, nos. 225, 226, 228, 320; “F.A.E.” Sonata for Violin and Piano, Scherzo (movement 3), WoO2; Piano Sonata No. 3 in F minor, Finale, Allegro moderato ma rubato (movement 5); and Fugue in A-flat minor for Organ, WoO8.
CHAPTER 6. TRANSCENDENTAL CHESS GAMES
Authors: Daverio John 
Published: May 2008

Abstract
This chapter focuses on the relationship between Brahms and Schumann. It suggests that what Brahms learned from Schumann arose from the interplay of strategy and affect, of technique and expression. It argues that for Brahms, the essence of the Requiem idea lay not in maudlin lamentation but in the situation of death in a cycle of dissolution and renewal. Nowhere is this outlook more apparent than in his musical eulogies for Schumann, both texted and untexted, of which the most profound perhaps occurs at the conclusion of his Third Symphony.
CHAPTER 7. BRAHMS, THE SCHUMANN CIRCLE, AND THE STYLE HONGROIS: CONTEXTS FOR THE “DOUBLE” CONCERTO, OP. 102
Authors: Daverio John 
Published: May 2008

Abstract
This chapter focuses on Brahms' Concerto in A minor for Violin, Cello, and Orchestra, Op. 102. It sketches a musical family tree for the “Double” Concerto — a network of models in which Robert Schumann and the members of his extended creative family play a crucial role. The sketch will focus on two levels of the concerto's genealogy. On the one hand, it will address the extent to which the work was bound up with Schumann's aesthetic of the concerto in general and with his late works for soloists and orchestra in particular. On the other hand, it will attempt to reveal Brahms' debt to an idiom — transmitted to him principally through Joachim — about which most critics of the concerto have said little of substance: the style hongrois that is, the musical language employed by Western composers to evoke the performing manner of the Hungarian gypsies.
Honoring God and the City
Authors: Glixon Jonathan 
Published: May 2008

AbstractThis book presents a history of musical activities at Venetian lay confraternities — institutions that were crucial to the cultural and ceremonial life of Venice. It traces musical practices from the origins of the earliest confraternities in the mid-13th century to their suppression under the French and Austrian governments in the early 19th century. It first discusses the scuole grandi, the largest and most important of the Venetian confraternities. The scuole grandi hosted some of the most elaborate musical events in the Venetian calendar, including lavish annual festivities for each scuola's patron saint and often enlisting such high-profile musicians as Giovanni Gabrieli and Claudio Monteverdi. They also employed singers, instrumentalists, and organists on a salaried basis for processions and regular religious services. The book places detailed descriptions of these events in the context of the scuole grandi's long histories, as the roles of musicians evolved over the centuries. The book's second part is concerned with the scuole piccole, the numerous smaller confraternities born in churches throughout Venice. These local organizations usually did not employ salaried musicians, but hired singers and players as needed for their annual festivities and other occasions. Detailed appendixes include a calendar of musical events at all Venetian confraternities in the early 18th century and a complete listing of musicians for an important 17th century festival. The book demonstrates the vital role of confraternities in the musical and ceremonial life of Venice.
3 SINGING FOR THE SOULS OF OUR BROTHERS
Authors: Glixon Jonathan E. 
Published: May 2008

AbstractThis chapter treats the beginnings of musical practice at the scuole grandi. It begins with a discussion of the use of chant, in particular a 1365 collection of mass propers and ordinaries for the Scuola di Santa Maria della Carità. Also discussed are organs and organists, and the use of brothers of the confraternities to sing laude and at funerals. Finally, the evidence for occasional use of instruments, both winds and strings, in processions is examined.
6 SO SUPER‐EXCELLENT
Authors: Glixon Jonathan E. 
Published: May 2008

AbstractThe most important musical event for a scuola grande was the annual celebration of the feast day of its patron saint. In the 16th and early 17th centuries, the scuole each hired some of the best musicians in the city. In 1553, singers of St. Mark's formed a company to regulate their participation in these and similar feasts. In the first half of the 17th century, the annual celebration at the Scuola di San Rocco became one of the most spectacular musical events in the city. The scuola hired the best choirs, soloists, instrumental ensembles, and virtuoso players, as well as multiple organists, with the participation of such masters as Giovanni Gabrieli, Giovanni Croce, Claudio Monteverdi, and Alessandro Grandi.
7 ONLY A FEW APPEAR, AND OFTEN NONE
Authors: Glixon Jonathan E. 
Published: May 2008

AbstractThis chapter is concerned with the final 150 years in the histories of the scuole grandi, from 1650 to 1807. During this period, for financial and political reasons, the confraternities limited their expenditures on music. They salaried fewer musicians, or less prestigious ones, or even none at all. Many eliminated ensembles of secular singers entirely, although several continued to employ ensembles of the violin family for processions. Supplying the music for masses and other events were now choirs of priests, in some cases, hired as needed, and in others — notably for the scuole of San Giovanni Evangelista and San Rocco — employed on a salaried basis (as were organists). One new occasion for music during this period was the Exposition of the Holy Sacrament; for which scuole, at times, hired musicians. Within a few years of the conquest of Venice by Napoleon, the scuole grandi were suppressed and their musical histories ended.
9 AN HONORABLE AND NECESSARY WORK
Authors: Glixon Jonathan E. 
Published: May 2008

AbstractThis chapter treats musical activities at the scuole piccole in the 17th century. Their patronal feasts remained important occasions for music, but other events also become significant. The Scuola dello Spirito Santo sponsored elaborate music for Pentecost, employing, among others, Francesco Cavalli and Antonio Lotti. Other scuole employed musicians for weekly compline services, monthly processions, and regular expositions of the Holy Sacrament. Services at the Fraterna Grande di Sant'Antonino included laude performed by the brothers. Many scuole, especially the parish-based Holy Sacrament confraternities, continued to build and maintain organs and employ organists. The Sovvegno di Santa Cecilia, founded by the singers of the city, organized an annual festivity that was one of the most elaborate in the city, with the participation of the entire chapel of San Marco and many others.
10 WITH JUBILANT VOICES
Authors: Glixon Jonathan E. 
Published: May 2008

AbstractThis chapter is concerned with the final century of music at the scuole piccole, ending with their suppression in 1807 after the Napoleonic conquest of Venice. Many scuole during this period hired well-known maestri di cappella, including Baldassare Galuppi, Ferdinando Bertoni, and Antonio Polarolo, to coordinate music for their annual festivals. Some also sponsored music for the Christmas novena, for tridui in February and August, and for Lent (when some performed passions). Several employed salaried choirs of priests for monthly or weekly events or for Lenten processions. Another group paid for musicians to accompany them to Rome for jubilees in 1700 and 1725. Also, as in previous centuries, the parish-based Holy Sacrament Confraternities built and maintained organs and employed organists.
Introduction
Authors: Netanel Neil Weinstock 
Published: May 2008

Abstract
The United States Supreme Court has famously labeled copyright “the engine of free expression.” Copyright, indeed, both spurs creative production and underwrites a community of authors and publishers who are not beholden to government officials for financial support. But copyright has strayed from its traditional, speech‐enhancing core, so much so that copyright now imposes an unacceptable burden on the values that underlie First Amendment guarantees of free speech. Copyright has come increasingly to resemble and be thought of as a full‐fledged property right rather than a limited federal grant designed to further a particular public purpose. The copyright‐free speech conflict cuts across traditional and digital media alike. Yet digital technology adds a vast new dimension, pitting entertainment media bent on stamping out massive “digital piracy” against individuals who increasingly perceive copyright as an undue and unworthy impingement on their liberty and expressive autonomy.
From Mein Kampf to Google
Authors: Netanel Neil Weinstock 
Published: May 2008

Abstract
For some, copyright's speech burdens are painfully obvious. But many others do not perceive that copyright poses any serious conflict with freedom of speech.
This Chapter presents some illustrative examples that ought to at least give doubters some pause. They range from speech that is overtly political to purely artistic, from fantasy to documentary, from discrete cases to entire expressive genres, from religious tracts to counterculture comics, from analog to digital, from out‐and‐out copying to highly creative recasting, from new creation to Google search tool, and from copyright holders' calculated suppression of unwanted expression to speakers' inability to pay the copyright license fee that was offered. They demonstrate that copyright may indeed prevent us from effectively conveying a message, pursuing deeply held beliefs, expressing artistic inspiration, participating in a cultural tradition, or, for that matter, promoting “the progress of science.”
What Is Freedom of Speech?
Authors: Netanel Neil Weinstock 
Published: May 2008

Abstract
When does someone's inability to copy, distribute, or build upon a copyrighted work rise to the level of a burden on free speech? When, in contrast, should we readily countenance the restraints that copyright imposes? To answer, this chapter begins with more fundamental questions: What counts as “speech” for purpose of “freedom of speech”? And what free speech principles apply to copyright? This chapter demonstrates that copyright law is an integral part of media and communications policy. It also argues that the important First Amendment value of “expressive diversity” requires a dispersal of communicative power and ample opportunity for speech that directly challenges mainstream culture and popular works. Creative appropriation, the ability to convey one's message and artistic vision by incorporating and building upon mass media sounds and images, thus lies at the heart, not the margins, of freedom of speech. But peer‐to‐peer file sharing is not “speech.”
Copyright's Free Speech Burdens
Authors: Netanel Neil Weinstock 
Published: May 2008

Abstract
This chapter examines more precisely when and how copyright does—and does not—burden speech. We can divide copyright's speech burdens into three distinct, yet interrelated categories. First, copyright imposes a “censorial” speech burden. Because of copyright, speakers are often unable to convey their message effectively and audiences unable to obtain access to certain expressive works. Second, copyright imposes a “prohibitive cost” speech burden. Even a copyright owner who is willing to license sometimes insists on a license fee a particular speaker can ill afford. Third, copyright results in a “distributive” speech burden. The copyright regime as a whole imposes differential burdens on different types of speakers. Highly concentrated copyright industries controlling vast inventories of copyrighted works enjoy the preponderance of copyright's benefits. And copyright's free speech burdens fall most heavily on individuals and independent speakers. While some aspects of copyright's speech burdens are quite straightforward, others are surprisingly complex.
Conceptualizing Music
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes: categorization, cross-domain mapping, and the use of conceptual models, and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy.
CHAPTER ONE CATEGORIZATION
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This chapter begins with an overview of research in cognitive science, focusing on processes of categorization. For centuries, writers in the West regarded categories as fixed and immutable, and any variation in categorization was taken as evidence of the failure of the human intellect to deal with the structure of the real world. However, the pioneering work of Eleanor Rosch and others in the 1970s showed that category structure was not as simple as first believed. In particular, some levels of categorization are preferred over others, and some members of a category are regarded as better representing the category than others (a phenomenon known as graded membership).
CHAPTER TWO CROSS‐DOMAIN MAPPING
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This chapter examines the process of cross-domain mapping, beginning with the work of cognitive linguists who, in the 1980s, proposed that metaphor was a basic structure of understanding. This proposal gained added weight when it was shown that metaphorical projection (which is one way to accomplish cross-domain mappings) was a general process not restricted to linguistic expressions but grounded in embodied experience. One example of cross-domain mapping that involves music in a rather immediate way is the technique of text painting, a compositional device that aims to represent in music specific images summoned by the text of a vocal work. Text painting provides a point of departure for the exploration of how cross-domain mapping is manifested in our understanding of music, as it leads to an extension of cross-domain mapping called conceptual blending. In a conceptual blend, elements from two correlated domains are projected into a third, giving rise to a rich set of possibilities for the imagination. It is shown that text painting can lead to such blends, as can program music.
CHAPTER FOUR CATEGORIZATION, COMPOSITIONAL STRATEGY, AND MUSICAL SYNTAX
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This chapter examines how musical materials are organized within a work — more properly, the problem of musical syntax and, by extension, musical semiotics. Although semioticians are usually quick to grant that music has a syntax, they are more doubtful about whether its semantic level has any depth. By taking a close look at how composers make use of categories of musical events — in this case, the way Mozart and Beethoven use motives in the opening movements of three string quartets — the chapter provides insight into how musical materials are organized in the service of musical discourse, as well as how features of this organization contribute to meaning construction as a whole.
CHAPTER FIVE CULTURAL KNOWLEDGE AND MUSICAL ONTOLOGY
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This chapter addresses the problem of what counts as a work of music. This problem, usually called the problem of musical ontology, is viewed as one of cultural knowledge. It is shown that as opposed to being hopelessly recondite, the problem is of immediate importance for understanding music. By approaching the entire work of music as a category — a category that includes all the scores, performances, representations, and such that are said to be “of” the piece — a model is developed for the cultural knowledge upon which judgments about musical ontology are made. Determinations of what counts as an instance of a particular musical work are thus one of the ways members of a musical community construct and negotiate their identity. Two songs taken from the traditions of popular music and jazz are used as examples: “I Got Rhythm” and “Bye Bye Blackbird”.
CHAPTER SIX WORDS, MUSIC, AND SONG: THE NINETEENTH‐CENTURY LIED
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This chapter explores further the nature of song and also the process of conceptual blending. As noted in Chapter 2, conceptual blending is a pervasive and often transparent process in which elements from two correlated mental spaces combine in a third. The mental spaces basic to conceptual blends can be set up by music as well as by language. This idea is discussed based on the assumption that music can set up complete discourse structures, which can be correlated with the discourse structure of a text to give rise to a unique domain for the imagination.
CHAPTER SEVEN COMPETING MODELS OF MUSIC: THEORIES OF MUSICAL FORM AND HIERARCHY
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This chapter begins by exploring static and dynamic models of musical form that emerged in the 18th century and the way these models were transformed by changes in ideology and music education that took place beginning late in that century. It then considers two models of musical hierarchy that were initially developed to apply to domains other than music. It was only in the early 19th century that they were applied to music, and then to two rather different aspects of musical organization. The first model views hierarchy as a matter of control: each level in a hierarchy (with the exception of those at the extremes) controls the next-lower level and is itself controlled by the next-higher level. This model stretches back at least to the Middle Ages and is most often used to account for tonal organization. The second model of hierarchy relies on a more componential approach: the elements of level A of the hierarchy combine to make up individual elements at the next-higher level (level B of the hierarchy); the elements of level B then combine to make up individual elements at the next higher level (level C of the hierarchy), and so on, until the account of structure is exhausted. This model emerged during the 17th century and is most often used to explain music's metrical structure.
CHAPTER 3 The Lion Tamed
Authors: Lott R. Allen 
Published: May 2008

AbstractDuring his second season in America, Leopold de Meyer came under attack for his manipulation of the press, the staging of ovations by claques, and the filling of concert halls with deadheads as well as being uncooperative with fellow musicians. Highlights of his concerts in New York and Philadelphia were performances of his Marche marocaine and Marche d'Isly as orchestrated by Hector Berlioz, the latter in its world premiere. The arrival of the French pianist Henri Herz sent De Meyer on his inland tour early, during which he forged a successful partnership with the Irish-born violinist Joseph Burke (1817-1902). During his two-season tour of the United States and Canada, De Meyer performed at least eighty-five concerts in twenty-six cities, with his original compositions captivating the musical world surfeited with fashionable operatic fantasias and his flamboyant performance style exciting a public with little experience in hearing exceptional piano playing.
CHAPTER 6 French Pianos, Italian Opera, and California Gold
Authors: Lott R. Allen 
Published: May 2008

AbstractWhile in the United States, Henri Herz actively established agents to sell his own pianos and explored the possibilities of building a factory, concert hall, and conservatory, none of which came to fruition. Herz's claim that Americans covered the legs of their pianos because of their prudishness is not true; it was a means to protect them. During the 1848-9 season, Herz toured with the Dutch violinist Frans Coenen (1826-1904) and an Italian opera troupe. After appearances in Mexico, Herz gave concerts in San Francisco and Sacramento, California, in 1850 during the height of the gold rush. Herz's American tour reflected a more businesslike approach to musical management under Bernard Ullman, and included almost two hundred concerts in at least fifty-eight cities. His simple but elegant stage manners and his graceful music charmed the American public.
CHAPTER 10 “ The Shaggy Maestro”
Authors: Lott R. Allen 
Published: May 2008

AbstractThe pianist whose American visit was by far the most spectacular was Anton Rubinstein (1829-94), whose tour in 1872-3, in conjunction with the Polish violinist Henryk Wieniawski (1835-80), was sponsored by the Steinway piano firm. Rubinstein offered a wide-ranging historical repertoire, focusing on the music of Beethoven, Mendelssohn, Chopin, and Schumann; he also presented a healthy dose of his own compositions. His performances were frequently technically flawed but filled with passion and never failed to excite his audiences.
CHAPTER 13 Joint Venture with Theodore Thomas
Authors: Lott R. Allen 
Published: May 2008

AbstractAn artistic highlight of Anton Rubinstein's American tour was a series of more than forty appearances with Theodore Thomas and his orchestra. Rubinstein and Thomas had a successful musical rapport, which inspired some of the pianist's best performances. Rubinstein conducted six performances of his Ocean Symphony in its then complete, six-movement version, four with Thomas's orchestra, one with the Harvard Musical Association, and one with the New York Philharmonic. Rubinstein's series of seven farewell recitals in New York (and three in Boston) that surveyed the history of keyboard literature is deservedly famous. Each recital was substantial and generally well performed, but Rubinstein's occasional memory lapses and technical slips were evident. By primarily performing the music of other composers, Rubinstein played a strategic role in the canonization of the standard piano repertoire, and his impassioned performances of these works made them palatable for the first time to the general public.