bluuebunny/crossref_metadata_2025_split huggingface dataset:
Decentering Music
Authors: Korsyn Kevin 
Published: May 2008

Abstract
This book examines the struggle for the authority to speak about music at a time when the humanities are in crisis. By linking the institutions that support musical research, including professional associations and universities, to complex historical changes such as globalization and the commodification of knowledge, this book undertakes a critique of musical scholarship as an institutional discourse, while contributing to a general theory of disciplinary structures that goes beyond the limits of any single field. In asking a number of fundamental questions about the models through which disciplinary objects in music are constructed, the book suggests unexpected relationships between works of musical scholarship and the cultural networks in which they participate. Thus, David Lewin's theory of musical perceptions is compared to Richard Rorty's concept of the “liberal ironist”, Susan McClary's feminist narrative of music history is juxtaposed with T.S. Eliot's “dissociation of sensibility”, and Steven Feld's work in recording the music of the Kaluli people is compared to the treatment of ambient sound in contemporary cinema. Developing a framework for interpretation in dialogue with a number of poststructuralist writers, the book goes far beyond applying their thought to the analysis of music; by showing the cultural dilemmas to which their work responds, it suggests how musical research already participates in these ideas.
Fantasy Pieces
Authors: Krebs Harald 
Published: May 2008

AbstractThis book, written in the form of a series of dialogues between the Schumannian characters Florestan and Eusebius, proposes a theory of metrical conflict that rigorously develops the metaphorical application of the concepts of consonance and dissonance to metrical phenomena. An introductory chapter traces the history of this metaphor from its origins in the early 19th century through to the 20th century. In a series of theoretical chapters, the book then presents detailed descriptions of various types of metrical dissonances (particularly important types are grouping dissonance — based on the association of incongruent metrical layers, and displacement dissonance — based on the non-aligned presentation of congruent layers); a system of labels to characterize specific dissonances; explanations of musical processes that arise from the formation, manipulation, and resolution of these dissonances; and a discussion of the interaction of metrical dissonance with pitch structure, form, and extramusical elements. The emphasis throughout is on the description of the ever-changing metrical states within pieces of music, and on the characterization of the metrical progressions formed by these changing states. The theoretical chapters are interspersed with three intermezzi that adopt a historical or performance-related approach to the topic; these deal, respectively, with influences on Schumann's metrical style; with Schumann's compositional process as it relates to metrical dissonance; and with performance issues arising from metrically dissonant passages. Throughout the book, the theory is applied mainly in the analysis of Robert Schumann's music, but analyses of the music of 18th-century, other 19th-century, and early 20th-century composers are also included.
ONE Nineteenth‐ and Twentieth‐Century Theories of Metrical Conflict
Authors: Krebs Harald 
Published: May 2008

AbstractThis chapter begins by describing the 19th-century origins of some of the basic ideas that underlie the book's approach: the first metaphorical application of the terms “consonance” and “dissonance” to rhythmic structures (in the writings of Hector Berlioz); and early examples of the recognition of two basic categories of metrical conflict, based, respectively, on incongruent groupings, and on non-aligned presentation of congruent groupings (in writings of François-Joseph Fétis and Hugo Riemann). The second part of the chapter traces these ideas through the 20th century, referring to writings by Henry Cowell, Charles Seeger, Joseph Schillinger, Wallace Berry, Maury Yeston, and Carl Schachter, among others, and to various earlier discussions of the music of Robert Schumann.
TWO Metrical Consonance and Dissonance: Definitions and Taxonomy
Authors: Krebs Harald 
Published: May 2008

AbstractThis chapter begins by discussing layers of motion and how they are formed (by accents, repeated patterns, etc.), then describes how the interaction of layers creates metrical consonance (alignment) or one of two basic types of dissonance (non-alignment) — grouping dissonance and displacement dissonance. Grouping dissonance arises from the association of incongruent layers, displacement dissonance from the non-aligned presentation of congruent layers. A system of succinct labels for grouping and displacement dissonances is developed. The concept of families of related grouping and displacement dissonances is discussed. Most of the chapter focuses, however, on finer distinctions between dissonances of both basic types: between those based on simultaneous and on adjacent presentation of layers (resulting in direct and indirect dissonances, respectively); between those arising from the actual articulation of conflicting layers (surface-level dissonances) and those arising from the conflict between locally consonant layers and layers only implied by the context (subliminal dissonances); between those that occur on micro-levels, on intermediate levels, and on hypermetric levels (low-, mid-, and high-level dissonances). Varying levels of intensity of dissonance and various possibilities for combinations of dissonances (compound dissonances) are also considered. All types of metrical dissonance are amply illustrated from the works of Robert Schumann.
FIVE Metrical Revisions
Authors: Krebs Harald 
Published: May 2008

AbstractThis chapter, based on research undertaken in numerous libraries and archives in Europe, gives examples of Schumann's intensive compositional work on metrical dissonance. There are occasions when Schumann rendered originally consonant passages dissonant, usually by adding conflicting voices or adjusting the alignment of existing voices. He also frequently intensified or deintensified dissonances that were already present in his early versions, often by adding or eliminating dynamic accents. The chapter concludes with an investigation of possible reasons for such revisions: to clarify the form by intensifying the contrast between sections or by highlighting sectional boundaries; to create relationships between passages; or to create particular metrical processes.
SIX Interactions of Metrical Dissonance with Titch Structure; Form, and Extramusical Elements
Authors: Krebs Harald 
Published: May 2008

AbstractThis chapter demonstrates that metrical dissonance frequently interacts with other musical aspects in Schumann's works. One such aspect is musical form. Changes in metrical state often coincide with large- or small-scale formal boundaries. Particular metrical dissonances may recur at successive formal boundaries, thereby functioning as markers of those boundaries. Different formal sections may be dominated by different metrical dissonances; these dissonances thus contribute to sectional contrast, and hence, to the clarification of the form. Interaction of metrical dissonance with pitch structure is common as well. Metrical dissonance may be coordinated with analogous states in the pitch domain (various types of instability — pitch dissonance, sequential structures, lack of closure, or tonal ambiguity, and conflict). Finally, metrical dissonance may interact with extramusical elements, particularly the texts of vocal works. Dissonances may have a pictorial function, mimicking sounds mentioned in the text. They may highlight especially significant points of a text. They may symbolize contradictory aspects of a character or a situation; certain negative emotional or spiritual states (for example, insanity); or various types of conflicts and tensions mentioned in a poem. By reaching an understanding of the meanings of metrical dissonance in Schumann's vocal works, we can, by extrapolation, make some hypotheses about their meanings in the instrumental works as well.
SEVEN Performing Metrical Dissonances
Authors: Krebs Harald 
Published: May 2008

AbstractThis chapter offers a number of suggestions to performers of metrically dissonant music. It is important for performers to be aware of the location and scope of metrical dissonances in the works they perform. Exercises such as the isolation and independent practicing of individual layers, and the creation of hypothetical consonant versions of given passages, will help performers to become familiar with the structure of such passages, and to negotiate them successfully. It is not usually necessary to accentuate layers that are out of alignment with the notated meter (since they will stand out without such “bringing out”). It may, on the other hand, be wise to apply subtle stresses to the layers that form the notated meter (in passages where those layers receive little or no accentuation by register, density, dynamics, etc.). In subliminally dissonant passages (where the notated meter receives absolutely no confirmation, and the music is locally consonant), the performer could communicate the underlying dissonance with various physical gestures. Performers must communicate the meaning of metrically dissonant passages. They must feel the waves of tension and relaxation created by metrical dissonances and their resolutions, and convey them to the audience. Imagining a narrative might be helpful to the performer in achieving convincing communication of the emotional content of metrically dissonant passages.
EIGHT Carnaval des analyses
Authors: Krebs Harald 
Published: May 2008

AbstractThis chapter analyzes movements or works by Schumann and other composers, using the terminology and concepts developed in the preceding chapters. The works are: Berlioz, Symphonie fantastique (“Un bal”); Schumann, Intermezzi op. 4; Chopin, various works; R. Schumann, “Scherzo in F minor”; Clara Schumann, Piano Trio op. 17 (2nd mvmt.); R. Schumann, Faschingsschwank aus Wien op. 26 (1st mvmt.); Brahms, Piano Sonata in F minor op. 5 (1st mvmt.); R. Schumann, String Quartet op. 41 no. 2 (2nd mvmt.); Ives, “Two Little Flowers”; R. Schumann, Symphony no. 3 op. 97 (1st mvmt.); Schoenberg, Pierrot lunaire op. 21 (“Valse de Chopin”).
Epilogue: Morning Song
Authors: Krebs Harald 
Published: May 2008

AbstractThis epilogue analyzes one of Schumann's late piano works, the third of the Gesänge der Frühe (Morning Songs) op. 133. Although, as in most of Schumann's late works, there is much less metrical dissonance than in the works from the period before 1850, that device is a significant and pervasive feature of the movement.
23 CANTUS and Tonaries
Authors: Matthews Lora , Merkley Paul 
Published: May 2008

Abstract
One of the results of extensive research on Northern European tonaries was a database of this material. This database is similar to CANTUS, the large and growing on-line database for Gregorian chant that contains indexes of all the chants in selected MSS and early printed sources of the Divine Office. Using both databases, this chapter compares modal assignments of certain antiphons. The results of these comparisons have implications for the study of both tonaries and antiphoners, two very different kinds of documents that include common information concerning chant melodies. This pilot study suggests that further comparisons hold great promise.
Crossing Paths
Authors: Daverio John 
Published: May 2008

Abstract
This book explores the connections between art and life in the works of three giants of musical romanticism. Drawing on contemporary critical theory and a wide variety of 19th-century sources, it considers topics including Schubert and Schumann's uncanny ability to evoke memory in music, the supposed cryptographic practices of Schumann and Brahms, and the allure of the Hungarian Gypsy style for Brahms and others in the Schumann circle. The book offers a fresh perspective on the music of these composers, including a discussion of the 19th-century practice of cryptography, a debunking of the myth that Schumann and Brahms planted codes for “Clara Schumann’ throughout their works, and attention to the late works of Schumann not as evidence of the composer's descent into madness but as inspiration for his successors. The book portrays the three key players as musical storytellers, each in his own way simulating the structure of lived experience in works of art.
From Paris to Peoria
Authors: Lott R. Allen 
Published: May 2008

AbstractThe American tours of five visiting virtuoso pianists — Leopold de Meyer (1845-7), Henri Herz (1846-50), Sigismund Thalberg (1856-8), Anton Rubinstein (1872-3), and Hans von Bülow (1875-6) — are examined in this book in regard to their management, itinerary, repertoire, performance style, and reception. The transformation of audiences from boisterous to reverent, the gradual acceptance of the piano recital, the establishment of a canon of masterworks for the piano, and the evolution of concert-giving into a highly organized commercial enterprise are documented. Appendices include the itineraries of these five pianists, totaling almost one thousand concerts in more than one hundred cities, and the repertoire of Rubinstein and Bülow.
PRELUDE
Authors: Lott R. Allen 
Published: May 2008

AbstractSeveral developments coalesced in the mid-1840s that encouraged a new influx of European musical performers to tour America, who were usually of a higher rank than those previously heard. These factors included the healthy economy of the United States, the abundance of virtuosos in Europe, and vast improvements in transportation (Atlantic steam travel greatly shortened the trip and increased its reliability). Even though many Europeans had serious doubts about the artistic sensibility of Americans, visiting pianists generally found a welcoming audience. Through its versatility as a solo and accompanying instrument, its newfound recognition in the concert room, its suitability in the home, where a rising number of musical amateurs made music for their own enjoyment and that of their friends, and its usefulness as a tool in music education, the piano had become by far the most important instrument in America.
CHAPTER 4 A Refined Parisian Pianist
Authors: Lott R. Allen 
Published: May 2008

AbstractUnlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because of his well-known reputation, Herz was well received without having to resort to sensational publicity and attracted many amateur pianists and music lovers to his concerts. His piano music, noted for its brilliance and elegance, consisted primarily of variations and fantasias on opera themes. His performances of works for multiple pianos (e.g., Overture to Rossini's William Tell arranged for sixteen pianists on eight pianos) were popular with audiences if not critics. Bernard Ullman soon became Herz's manager and began resorting to more outrageous publicity. John Sullivan Dwight, Boston's most prominent music critic, was rhapsodic about Herz's performances.
CHAPTER 5 With Sivori and Knoop
Authors: Lott R. Allen 
Published: May 2008

AbstractFor his first inland tour managed efficiently by Bernard Ullman, Henri Herz teamed up with the Italian violinist Camillo Sivori (1815-94), with whom he performed virtuosic duets, and later the cellist George Knoop. Herz was particularly successful in New Orleans, where he felt at home because of the French culture. Herz's performances often included improvisations incorporating American popular music, including minstrel tunes, into his opera-based works. Among the pieces he composed while in America are sets of variations on national American airs (“Yankee Doodle” and “General Jackson's March”) and on “The Last Rose of Summer”, probably his most popular new work based on the Thomas Moore setting of an Irish melody.
INTERLUDE I
Authors: Lott R. Allen 
Published: May 2008

AbstractAlthough some writers took a cynical view of the influence of virtuosos touring the United States, most believed the visiting pianists were useful models for budding pianists and were responsible for awaking a general interest in music and improving the public's discrimination. Alfred Jaëll (1832-82) was the next world-famous pianist to visit America, making his debut in 1851 and touring with the Germania Musical Society orchestra. Two other important pianists who soon made debuts were the Americans Louis Moreau Gottschalk (1829-69) in 1853 and William Mason (1829-1908) in 1854, both returning from studying and performing abroad. Neither was as successful as the European performers, reflecting America's discrimination against native-born talent. Although there were frequent rumors that Franz Liszt (1811-86) would tour America, he never yielded to the numerous offers.
CHAPTER 7 A Rival or Liszt
Authors: Lott R. Allen 
Published: May 2008

AbstractSigismund Thalberg (1812-71) was the one pianist to rival Liszt in the 1830s. Bernard Ullman, with a decade of managerial experience, masterminded Thalberg's two-year American tour (1856-8) that included almost nightly concerts and totaled at least 340 concerts in seventy-eight cities. Thalberg found devoted audiences that returned over and over again to hear flawless performances of his celebrated virtuoso showpieces. While in the US, he also wrote variations on “The Last Rose of Summer” and “Home, Sweet Home”, the latter extremely successful. Ullman arranged a continuously changing roster of assisting artists that included singers and the American pianists Louis Moreau Gottschalk and William Mason. His performances of Beethoven concertos were a significant departure for a visiting virtuoso and were well received.
CHAPTER 8 At the Matinées
Authors: Lott R. Allen 
Published: May 2008

AbstractSigismund Thalberg's most satisfying appearances artistically comprised a series of more than fifteen solo matinees in New York and Boston, where he performed a wider repertoire, including works by Beethoven, Chopin, and Mendelssohn, before intimate audiences. Most of the audience members were women, since the daylight scheduling allowed them to attend without an escort, as was required at night. Thalberg also gave at least twenty concerts in ten cities for as many as forty or fifty thousand schoolchildren. Thalberg's first inland tour in 1857 was managed efficiently by Maurice Strakosch, who had begun his career as a piano virtuoso; at least fifty-nine concerts in thirty cities in the Midwest and Canada were given. The fashionable concertgoer, who attended more to be seen than to hear the music, was frequently attracted to the concerts of visiting celebrities. The new feature of providing reserved seats for an additional fee allowed the fashionable to arrive late and make a grand entrance while claiming their prize seats.
CHAPTER 9 Henry Vieuxtemps and a Troubled Season
Authors: Lott R. Allen 
Published: May 2008

AbstractBernard Ullman arranged for the Belgian violinist Henry Vieuxtemps (1820-81) to contribute some novelty to Sigismund Thalberg's second season in America, which was marred, however, by the financial panic of 1857. Audiences in the eastern cities who had already heard him multiple times were reluctant to spend money when finances were tight, and many concerts were canceled. Thalberg thus made two forays into the Midwest, where audiences who had yet to hear him were more eager to part with money. Like Leopold de Meyer before him, Thalberg brought his own Erard grand pianos, but he eventually had an understanding with the American piano firm of Chickering to supply pianos for his concerts. His last appearances in New York were at the orchestral concerts of the French conductor Alfred Musard (1828-81).
INTERLUDE II
Authors: Lott R. Allen 
Published: May 2008

AbstractPartly because of the Civil War, no outstanding European pianist visited the United States during the 1860s. Women pianists were now entering the profession with a vengeance and several came to America, perhaps seeking greater acceptance than possible on the continent. Several of a very high caliber toured extensively throughout the United States shortly before Rubinstein's arrival, including Alide Topp (in the US 1867-70), Anna Mehlig (1846-1928; in the US 1869-73), and Marie Krebs (1851-1900; in the US 1870-2). Three more significant women pianists appeared later in the decade of the 1870s: the American Julie Rivé (later Rivé-King; 1854-1937), Arabella Goddard (1836-1922), and Annette Essipoff (1851-1914). The proliferation of women performers helped consolidate a pivotal change in the repertoire of the virtuoso pianist, who now interpreted works in a variety of styles by an array of composers representing the past and present.
CHAPTER 14 Escape to the New World
Authors: Lott R. Allen 
Published: May 2008

AbstractThe American tour of Hans von Bülow, recently divorced from Cosima Wagner, was managed by Bernard Ullman; Bülow's letters to Ullman provide insight into his contract negotiations, which included the sponsorship of the Chickering piano firm. Bülow's performances were recognized for their unfailingly flawlessness and their faithful interpretation. His opening appearances in Boston included the world premiere of the Tchaikowsky first piano concerto. His opening New York appearances included the dedication of the new Chickering Hall.
CHAPTER 16 The Midwest and Back
Authors: Lott R. Allen 
Published: May 2008

AbstractHans von Bülow made two tours of the Midwest, where he essentially gave solo recitals with only a brief respite by the Canadian-American soprano Lizzie Cronyn (1852-1921). Letters that Bülow wrote while in America vividly record the rigors of constant traveling, which eventually wreaked havoc on his already depleted nervous system, forcing him to withdraw from his contract after fulfilling only 139 concerts out of 172. Bülow's performances, though possessing greater perfection than Rubinstein's, did not create the same sensation as Rubinstein's overtly emotional ones. However, Bülow's greater faithfulness to the intentions of the composers helped establish orthodox interpretations of the canonic piano repertoire for the next generation of serious performers and teachers.
POSTLUDE
Authors: Lott R. Allen 
Published: May 2008

AbstractBy the closing decades of the 19th century, the solo piano recital containing a survey of historical repertoire had won full acceptance, reflecting the increased view of music as edification rather than entertainment. Although some writers have contended that the visiting virtuosos were more harmful than beneficial, earlier testimony is clear that at the time most Americans believed they were a beneficent phenomenon, awakening musical interest among a wide range of audiences and providing excellent models for students and aspiring professional musicians.
The Patterns of Supreme Court Precedent
Authors: Gerhardt Michael J. 
Published: May 2008

Abstract
This chapter provides a detailed overview of the Supreme Court's handling of precedent from the Jay Court through the Rehnquist Court. It examines the principal patterns in the justices' approach to precedent, particularly the different tests they have used to reevaluate their precedents. Moreover, it discusses some basic data with respect to the Court's overruling of precedent, and concludes with an examination of the many ways in which the justices weaken precedents without explicitly overruling them.