bluuebunny/crossref_metadata_2025_split huggingface dataset:
8 The Cluniac Processional of Solesmes
Authors: Huglo Michel 
Published: May 2008

Abstract
The processional is a portable book in small format containing the chants for processions, as well as processional chant for Sundays and feast days. It is not an official book but a practical book and is of comparatively recent origin. Over 1,000 MS processionals falling into nine categories survive today, and these have been recently catalogued by Michel Huglo. F-SO MS Réserve 28, is an 11th-century processional from a small monastery in southern France affiliated with the Benedictine monastery of Cluny. A historical sketch of the MS processional in general introduces a description and inventory of this source.
10 Office Compositions from St. Gall
Authors: Möller Hartmut 
Published: May 2008

Abstract
Some of the earliest chant MSS from St. Gall include the Offices for the two primary saints of the region, Gallus and Othmar. These sources are D-W MS Guelf. 17.5. Aug. 4o (890-920), and GB-Lbl MS Add. 21170 (c.920). The Offices of both saints were also copied around the year 1000 in the Antiphoner of Hartker. Sources such as these allow us to glimpse at first hand how music and texts for new Offices were created in the 10th and 11th centuries in St. Gall., adapting older materials to new circumstances. Discussion of these two Offices incorporates different emphases, depending upon the nature of the materials.
CHAPTER 1. SCHUMANN AND SCHUBERT'S “IMMORTAL” PIANO TRIO IN E FLAT, D. 929
Authors: Daverio John 
Published: May 2008

Abstract
This chapter argues that Schumann's Piano Quartet in E flat is situated at a crossroads. On the one hand, it offers the listener a compelling — and strikingly original — synthesis of earlier models and practices. While its structural underpinnings hearken to Schubert, its intense motivicism and rhythmic urgency suggest a Beethovenian source. The contrapuntal tour de force of its closing pages points back even further still, to the fugues of J. S. Bach. On the other hand, the work looks well into the future: the chains of cascading thirds that run through its final paragraphs would become a staple of Brahms's musical vocabulary.
CHAPTER 5 THE FOLDED FAN
Authors: Daverio John 
Published: May 2008

Abstract
The practice of cryptography as a viable medium for Schumann's and Brahms' aural embodiments of Clara has been ruled out. Thus, how they attempted to capture the image of Clara in tone remains unknown. The fan is presented as a symbol of the bittersweet mixture of imagination and remembrance implicit in the erotic experience. The photograph — a gateway to the “optical unconscious” is also identified as a symbol of revelation. And since the photograph and the fan alike are receptacles for deeply buried memories, this family of motifs embraces the totality of relations between the lover and the object of his or her affections. What we hear in the opening movement of Schumann's Fantasie (Op. 17) and the Adagio of Brahms's D-minor Piano Concerto — to name only two of the better-known “Clara” pieces — is an attempt to imbue the musical surface with the quality of a consciousness gripped by a deep preoccupation with a beloved object, an endeavor that lends to so many of the works of Schumann and Brahms the texture of a folded and unfolding fan. This chapter furthers explores the significance of this metaphor and its attendant motifs for an understanding of Schumann's and Brahms's embodiment of Clara in tone.
4 SINGING PRAISES TO THE LORD
Authors: Glixon Jonathan E. 
Published: May 2008

AbstractThis chapter examines the issue of paid singers of polyphony. First used in the middle of the 15th century, these men were also brothers of the scuole grandi for which they sang. They were paid relatively small fees for services at funerals and in processions, where laude were sung (these two tasks were sometimes assigned to different groups). These singers were not especially reliable, and discipline problems were common. In the 1490s, some scuole began to employ, on an occasional basis, professional singers from the chapel of San Marco. The question of repertory and the employment of wind and string instrument players and organists are also addressed.
5 THE BEST IN THE CITY
Authors: Glixon Jonathan E. 
Published: May 2008

AbstractThis chapter focuses on the salaried musicians of the six scuole grandi during their most active period, 1500-1650. The singers, usually four or five in each ensemble for processions, were increasingly drawn from the ducal chapel and important monastic choirs, and were paid an annual salary. Financial considerations and government restrictions sometimes reduced the number and prestige of singers. The scuole also paid lower salaries to groups of lower status singers to sing at funerals. Some scuole briefly employed wind bands for processions, but much more common were ensembles of stringed instruments, at first a mixed ensemble of lute, harp, and lira, and then, from 1530, a homogeneous ensemble of bowed instruments, a violin band, with four to six members. Some of the scuole also built and maintained organs and hired organists, while several employed choirs of priests for liturgical functions.
8 PROCESSION, VESPERS, SONGS, AND ORGAN
Authors: Glixon Jonathan E. 
Published: May 2008

AbstractThis chapter discusses the earliest musical activities at the hundreds of smaller confraternities known as scuole piccole. It provides an overview of the variety of scuole piccole and their histories. As early as the 14th century, piffari appeared in the records of the scuole, and beginning in the 16th century, some began to spend considerable sums for singers and instrumentalists for their annual feast day, and occasionally for Holy Week. Some scuole, particularly the parish-based Holy Sacrament confraternities, built organs and employed organists. The confraternity of the Florentine community in Venice, unlike the other scuole, practiced communal singing of laude.
The Propertarian Counter‐Argument
Authors: Netanel Neil Weinstock 
Published: May 2008

Abstract
Some scholars and policy makers claim that an expansive, proprietary copyright not only imposes merely trivial speech burdens but, indeed, represents the best means for resolving the tension between copyright and free speech. As Paul Goldstein forcefully puts it: to extend copyright “into every corner where consumers derive value from literary and artistic works” is the “best prescription for connecting authors to their audiences.”A broad, proprietary copyright, Goldstein argues, would thus “promote political as well as cultural diversity, ensuring a plenitude of voices, all with the chance to be heard.” This chapter takes on that “propertarian” counter‐argument. It demonstrates that broad copyrights do not, in fact, facilitate expressive diversity. It does so on the basis of copyright economics and by distinguishing between product differentiation and expressive diversity.
CHAPTER THREE CONCEPTUAL MODELS AND THEORIES
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This chapter focuses on conceptual models and theories. Jeanne Bamberger's research on children's representations of musical structure are analyzed, in particular her study of one specific eight-year-old boy. The part played by categorization and cross-domain mapping in the conceptual models involving this this boy used to come to terms with a musical environment is shown. How these models are combined to form a theory of music and how this theory changes in response to changes in the task at hand are also discussed. This close-up glimpse of the structure and role of conceptual models and theories leads to a more generalized characterization of these knowledge structures, which is linked to work on similar structures in artificial intelligence, cognitive anthropology, ethnomusicology, and developmental psychology. The chapter then returns to music theory and explores the role of conceptual models and theories (that is, theories framed relative to a cognitive perspective) in analyses by Jean-Philippe Rameau and Heinrich Schenker, two of the best-known music theorists of the last three hundred years.
CHAPTER 1 The Lion Stalks America
Authors: Lott R. Allen 
Published: May 2008

AbstractAmerica's first encounter with a bona fide piano virtuoso was provided by the colorful Austrian pianist Leopold de Meyer (1816-83), who had just achieved fame in Paris and other western European capitals. Unknown in America, De Meyer resorted to outlandish publicity to gain attention, a technique rampant at the time and frequently denounced as humbug. De Meyer made his American debut at New York's Park Theatre on 20 October 1845, and appeared there for two weeks on theatrical bills before giving his own grand concerts in New York's Tabernacle and later in Boston. De Meyer performed his own music, including opera fantasias typical of the time as well as pieces inspired by his exotic travels: the Marche marocaine, which emphasized a dense chordal texture and bravura passages, became his signature work.
CHAPTER 11 Wieniawski
Authors: Lott R. Allen 
Published: May 2008

AbstractThe violinist Henryk Wieniawski, though at first in Rubinstein's shadow, soon developed his own following appreciative of his pure tone and phenomenal technique. Rubinstein's other assisting artists, the soprano Louise Liebhart and the contralto Louise Ormeny, were not as well received. Besides concerto appearances with orchestra, Rubinstein also performed in a series of chamber music concerts in New York and at a concert of the New York Philharmonic. Rubinstein's association with the Steinway firm was both musically and socially beneficial.
CHAPTER 12 Rubinstein's “Magnificent Faultiness”
Authors: Lott R. Allen 
Published: May 2008

AbstractAlthough Anton Rubinstein's performances were generally praised, there were occasional comments that he had technical flaws and memory lapses, partly attributable to his greater commitment to composing than performing. His tempestuousness as a performer caused him to lose physical control, but it was his passion that helped his performances transcend their technical inadequacies. Although at first critics thought Rubinstein's performances were faithful to the composer's intent, as the season wore on they were more likely to take exception to his highly individualistic and mannered performances. His own works for piano were conservative and often neoclassical. Rubinstein's concerts reflect the sacralization of music, which was no longer just entertainment but art that needed to be carefully studied and listened to respectfully. Performers demanded reverence in the concert hall and fulfilled the function of priests who interpreted to the laity the ineffable mysteries of the great works of art.
The Golden Rule
Authors: Gerhardt Michael J. 
Published: May 2008

Abstract
This chapter examines the multiple factors (ignored by most social scientists and legal scholars) limiting the path dependency of precedent—or the extent to which precedent forecloses or mandates outcomes—in constitutional law. These factors help to explain an essential dynamic in constitutional law, the golden rule of precedent: justices and other constitutional actors must demonstrate respect for the precedent of others or risk having others not respect theirs. The golden rule of precedent explains why precedent generally may matter in constitutional law but particular precedents may not constrain constitutional decision making very much.
Nonjudicial Precedent
Authors: Gerhardt Michael J. 
Published: May 2008

Abstract
This chapter suggests that precedent is often discounted as a source in constitutional decision making because it is usually understood narrowly as judicial decisions. But it shows that a broader definition of precedent encompasses nonjudicial precedent (any of the past constitutional judgments of nonjudicial actors which judicial or other authorities seek to invest with normative power). It shows how nonjudicial precedent is important not only to courts, but to nonjudicial actors.
8 The Sense of the Ending inLa clemenza di Tito
Authors: Waldoff Jessica 
Published: May 2008

AbstractLa clemenza di Tito, a political allegory, dramatizes clemency as a central tenet of enlightened governance. The events of the plot allow dark tendencies in human nature to threaten enlightenment values (and Rome itself), but ultimately suggest the futility of rebellion against a virtuous and benevolent ruler. The restoration of these values depends on recognition scenes in which the three central protagonists overcome their baser instincts: Vitellia her jealousy and ambition, Sesto his abandonment of reason for passion, and Tito his angry renunciation of his merciful policies. These recognition scenes are shown to be central to the opera's dramatization of enlightenment themes. At the dénouement, Tito pardons the conspirators, reaffirms his policy of clemency, and exclaims, “Let it be known in Rome that I am myself” — a moment of self-recognition vital to the sense of the ending.
African American Religious Music from a Theomusicological Perspective
Authors: Spencer Jon Michael 
Published: May 2008

AbstractThis chapter lays out a complex framework for a theomusicology of African American sacred music. Sacred practices provide common denominators for styles and practices from black preaching to spirituals to the blues to gospel songs. Drawing upon critical theory in African American studies from the 1980s and 1990s, the chapter makes a case for a much deeper level of religious experience in the historical and modern styles of African American music. As a discipline theomusicology is expansive and inclusive, and it serves to connect the diverse elements of black religious experience. The theology of William C. Turner Jr joins that of James Cone, laying the groundwork for new approaches to music from the varied theological premises of African and African American religion.
Nusach and Identity
Authors: Summit Jeffrey A. 
Published: May 2008

Abstract
Drawing upon fieldwork in five different Jewish communities or synagogues in the Boston area, this chapter examines nusach as an adaptive strategy. It uses an emic, or insider's, perspective to interpret nusach's complex dimensions, on one hand, traditional Jewish prayer modes and metrical songs, on the other; the metaphorical sense of being “torn away” from tradition, and the resulting mixing with local and individual practices of music and worship. Jewish sacred song opens outward to accommodate the religious experience of liberal and orthodox Jews in Boston, and it provides a context for their lives, allowing decisions that make Judaism in America inclusive and exclusive. Specific songs, such as “Arba'im shanah” (“Forty Years”) from the Sabbath eve service, provide case studies.
Aesthetics and Theology in Congregational Song
Authors: Saliers Don E. 
Published: May 2008

Abstract
This chapter examines the decision-making processes that lead congregations and denominations to choose new hymnals. In the historical longue durée of American religious experience hymnals have undergone continuous change, making it possible for them to reflect changing theological conditions and to absorb the different sounds and aesthetics of song itself. Looking primarily at the United Methodist Hymnal, this chapter compares individual responses to favorite hymns and the new materials and liturgical concepts emerging from denominational decisions. Hymn and hymnal choice, therefore, reflects both top-down and bottom-up aesthetic and theological decisions, thus giving the hymnal the power to mediate and create a religious experience in which differences are accommodated and given voice.
The String Quartets of Joseph Haydn
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractEncompassing sixty-eight works composed over a span of more than four decades, Haydn's quartet oeuvre contributed to the establishment, solidification, and refinement of late 18th-century chamber-music practices, notably by furnishing superlative models of idiomatic ensemble technique (involving textural diversity and continuous change in relationship among the instruments), style (highlighting the play of formal conventions and musical customs associated with folk music, popular dance, opera, concerto, and other genres), and compositional process (featuring motivic elaboration, harmonic novelty, and narrative intrigue). Conventions Haydn adapted for quartet use include those of sonata form, the minuet-trio complex, variation, rondo, and fugue. In addition, he established norms of his own for the sequence of movements in a quartet and for the design of the opus groups, each of which encompasses a particular constellation of variety and consistency in form, style, and ensemble technique. Examination of the opus groups reveals insights into the circumstances under which they were written, the musical resources on which they drew, their innovations, their points of connection with other opus groups, their manifestations of both change and continuity in outlook and style, and their reflections of Haydn's artistic personality — in particular his penchant for novelty in sonority, theme, metrical play, phraseology, and large-scale structure; his gift for musical irony in drawing connections between seemingly unrelated ideas; and his irrepressible musical wit and humor, typically involving strokes of surprise, thwarted expectation, and the whimsical juxtaposition of incongruous elements.
9 Op. 9 (ca. 1768–70) and Op. 17 (1771)
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractLike their predecessors, these quartets, Op. 9 and Op. 17, circulated in manuscript prior to publication in Paris and Amsterdam. While recalling many of the earlier quartets' traits, they engage in a reassessment of the genre's possibilities and an exploration of new directions. The five-movement cycle is abandoned in favor of a four-movement plan that would become standard; and the first violin now stands out as a commanding thematic presence and a vehicle for brilliant execution in the outer movements. The two sets betray a host of interopus connections, the latter set revisiting the former from various perspectives, including aspects of form and style in individual movements, matters of cyclic profile, and the design of the opus as a whole. Taken together, the two groups constitute a foundation for Haydn's subsequent endeavors in the medium.
11 Op. 33 (1781) and Op.42([?1784‐] 1785)
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractCelebrating the terms of a redrawn employment contract that now allowed him to sell his music directly to subscribers and publishers, Haydn boasted that the quartets of Op. 33 exemplified “a new, quite special way”. Recasting the genre with regard to character, tone, and technical difficulty, the set emphasizes sentiment, melodic simplicity, structural transparency, and general accessibility. Rhythmic animation and bantering ensemble play suggest opera buffa influence, and the spirit of carefree exuberance is especially pronounced in the finales. There are new insights into idiomatic string-quartet technique, notably in the accent on motivic process and thematic texture, especially in the first movements. Slow movements, like those of previous sets, focus on the first violin as soloist. Dance movements, now bearing the title “scherzo”, fulfill the promise of playful adventure to varying degrees. The lone Op. 42 quartet is notable for its small dimensions, symmetrical proportions, and serious demeanor.
Rule and Resistance
Authors: King Charles 
Published: May 2008

Abstract
The Caucasus is sometimes portrayed as an Islamic wall blocking the expansion of Russia to the Near East. While the north Caucasus is home to many Muslim communities, Islam was not always a source of resistance to Russian imperialism. This chapter charts the varied forms of governance and rebellion in the Russian Caucasus from the 1820s to the 1860s, the period of intense warfare for control of the highlands. Themes include the resistance movement led by Shamil, the period in office of the reforming viceroy Mikhail Vorontsov, and the exile of Circassians at the end of the Caucasus wars.
Time of Troubles
Authors: King Charles 
Published: May 2008

Abstract
The 1970s and 1980s were characterized by the long tenure in office of important Communist Party secretaries in Armenia, Azerbaijan, and Georgia, including Heydar Aliyev and Eduard Shevardnadze. All were involved in building modern and stable Soviet republics after the disruptions of Stalinism, but each also spent a great deal of time battling corruption. Nationalism prompted the three south Caucasus republics to exit the Soviet Union, but it also created serious problems internally, given the secession of territories such as Abkhazia and Nagorno‐Karabakh. Russia's own secessionist struggle with Chechnya defined the north Caucasus in the 1990s.
Great Tradition, Grand Manner, Golden Age
Authors: Hamilton Kenneth 
Published: May 2008

AbstractThis chapter uncovers the roots of the myth of a pianistic golden age in the 19th- and early 20th-centuries, along with offering a preliminary discussion of national performance styles, and the influence of Beethoven, Czerny, Liszt, and Chopin. The vexed claim of a “continuous performance tradition” is analysed and shown to be erroneous.
A Suitable Prelude
Authors: Hamilton Kenneth 
Published: May 2008

AbstractThis chapter examines the virtually universal custom before the mid-decades of the 20th-century of pianists improvising preludes and transitions between pieces, with especial attention to Chopin, Czerny, Liszt, von Bülow, Busoni, and Grainger. Possible reasons for the origin and eventual demise of the custom are suggested.
1 Introduction
Authors: Niditch Susan 
Published: May 2008

Abstract
This chapter provides an overview of methodological approaches used in the book and briefly introduces the culture and history of ancient Israel. The methodology is both cross-cultural and interdisciplinary, and important to the study are verbal and nonverbal forms of cultural expression that feature portrayals of hair. Treatments of hair in African art provide an excellent model for the exploration of hair in ancient Near Eastern art, including works produced in Egypt, Assyria, Persia, and ancient Israel. The contributions of anthropologists, sociologists, art historians, and scholars of religion also frame the work, including Victor Turner’s observations about rites of passages, Gananath Obeyesekere’s emphasis on the emotional, personal, and psychological roots and dimensions of embodied symbols, and Nancy Scheper-Hughes and Margaret Lock’s examination of “the social body” and “the body politic.”
3 Samson
Authors: Niditch Susan 
Published: May 2008

Abstract
This chapter explores the nexus in Israelite culture between maleness, charisma, warrior status, and hair. Central to this chapter is a close reading of tales in Judges 13–16 about the superhero Samson, a Nazirite from birth. Themes of us versus them, Israelite versus Philistine, are in part created by images of hair. The chapter also includes a close philological analysis of Judges 5:2, an important line about warriors in an ancient poem, and a study of the long-haired, would-be hero Absalom, ambitious and rebellious son of King David, whose hair suggests charisma only to become a source and symbol of his undoing.