bluuebunny/crossref_metadata_2025_split huggingface dataset:
Going Publie
Authors: Bayton Mavis 
Published: November 2023

Abstract
As the first gig marks the band’s ‘coming out’, band members will be seen and judged as musicians, whether they apply that label to themselves or not, which makes it a crucial learning experience in which factual information, norms, values, attitudes, and expectations will be absorbed. There will be more than one ‘audience’ at this first gig. Strangers, lovers, friends, relatives, the promoter, the sound crew, and local musicians form discrete audiences, about whom the band may feel very differently. The first gig, therefore, is chosen with care. If it is perceived as a disaster it could be the last. There is often a fear of other musicians being in the audience since novices may not wish to be ‘judged’ by their ‘peers’ at this stage. However, when a new band launches itself onto the local scene, members of other bands are usually present out of curiosity, particularly if it is a women’s band. Feminist bands have often chosen to emerge at an all-women gig, where they will not be exposed to male scrutiny and criticism.
Going Professional
Authors: Bayton Mavis 
Published: November 2023

Abstract
‘Going professional’ is commonly held to mean making a living from music, giving up other, non-musical, careers or jobs in order to devote oneself solely to performing. Becoming a professional involves making a substantial commitment to music and it typically necessitates making considerable sacrifices in other areas of life. The most immediate one is often financial. For Shareen (ofMs45), it was law school. A woman may leave a secure non-musical career in the certain knowledge that it would be difficult, or impossible, to return should her musical venture fail. Judy Parsons (of the Belle Stars) relinquished a ‘marvellous career’ in civil engineering. ‘I decided that that’s what I wanted to do with my life ... So I’ve lost lots of money by being in a band ... I think it’s wrong if you think, “I want to be a millionaire. I’ll play in a rock band”. It’s not the same. You think, “I don’t care if I’m starving. I’m gonna play in a rock and roll band”.’ Making a living from music is quite an achievement, for it is the unrealized goal of innu¬ merable local bands. Judy was lucky in that her job had given her the means to purchase high-quality musical equipment. The irony here is that it is often only by having a well-paid non-musical career that a woman can get the necessary equipment in order to launch herself.
Conclusion
Authors: Bayton Mavis 
Published: November 2023

Abstract
THIS book began by examining the positioning of women within the world of popular music: consuming, decorative, and supportive roles. Whilst there is a clear role for women as vocalists in bands, there is a marked absence of women playing instruments. Although there has been an increase in the numbers of female instrumentalists since the watershed of punk, they are still hugely outnumbered by men. The first important question I addressed, then, was how can one explain the lack of female players. Biological explanations do not persuade because, as women are as capable of making music as men, all are potential musicians. This positioning of women in popular music can be explained only by social factors which I conceptualized as ‘constraints’ facing the potential female musician. They can be divided into ‘material’ and ‘ideological’. However, this dichotomy is merely an analytical distinction and the dimensions are inevitably interrelated.
Dresden 1719–1732: Catholic Music and Liturgy
Authors: Stockigt Janice B 
Published: November 2023

Abstract
The Saxon Jesuits described 2 September 1719, the date of the entry of the newly-wed Electoral Prince and Princess into Dresden, as ‘an absolutely golden day for us Catholics here, indeed for the whole world’.1 The relatively discreet Jesuit mission to Saxony, with its small, devout, but mainly ‘plebeian’ congregation, was suddenly overwhelmed by the influence and presence not only of the new Habsburg Electoral Princess and her court, but also of the predominantly Catholic court of the Electoral Prince.2 From that year the ceremonial splendour of the court church increased.
B
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Babcock, Alpheus (b Dorchester, MA, 11 Sept. 1785—d Boston, 3 Apr. 1842). One of the most distinguished American piano makers of the early 19th century, Babcock was active in both Boston and Philadelphia. In 1810, at the beginning of his career, Alpheus and his brother Lewis (b [Dorchester], 13 Feb. 1779-dMilton, MA, 14 Jan. 1814), were partners at 49½ Newbury Street in Boston. (Kuronen/ Early) About 1812 they took the organ builder Thomas Appleton (1785—1872) into the firm, now called Babcock, Appleton&Babcock, at 18 Winter Street.
E
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Earl,J. P., & Co. (fl. 1855—57). London manufacturer of pianos at High Street, Clapham. (Parkinson/VICT, 88)
EARLEY, John H. Piano maker in Philadelphia; he worked during the period 1820—1840 but was not a member of the Society of Journeymen Cabinetmakers. However, John Earley, who was listed as a cabinet maker, was a member of the Society. They may be identical or merely related. (Catalano/Cabinet, 164)
G
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Gabler, Emil (b Glogau, Silesia, ?—d New York, after 1883;fl. before 1858—after 1883?). New York piano maker. He was the partner of Thomas H. Chambers in the firm of Chambers & Gabler from 1863 until 1866 and also the partner of his brother Ernest from about 1883. (Grove/NY, 28 f., 56) Gabler, Ernest (b Glogau, Silesia, ?—d New York, 27 Feb. 1883;.fl. from 1851). Piano maker in New York. He arrived in New York in 1851 and opened his own business there about 1854; in 1858-59 became the partner of George Manner in the firm of Manner & Gabler. He worked independently after that year, but just before his death became the partner of his brother Emil in the firm Gabler&Brother.
T
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Talbot, Henry fl. 1838—42). Piano maker in London. Talbot’s address was 49 Castle Street East, Oxford Street. (Harding/PIANO, 423) His address was given as Oxford Market [sic] in 1840. (Rob 40) Talbot, W.R. (d 1884). Piano maker in Albany, NY, and later in Baltimore, MD. After 1853 Newman Brothers & Company took Talbot as a partner. (Spillane/HIST, 134 f.) Talbot was also a partner in the Albany firm of Hazelton, Talbot & Lyon in the 1840s.
Viennese Keyboard-Instrument Makers
Authors: Maunder Richard 
Published: November 2023

Abstract
In Vienna, instrument making, like other crafts, was dominated by the guild system until well after 1800. A knowledge of how the system worked is therefore essential for an understanding of makers’ working conditions, or a search for master-pupil relationships. Much information about the guilds is contained in the political and economic histories of Vienna by Seliger and Ucakar (Wien: Politische Geschichte, 1740–1934) and Chaloupek, Eigner, and Wagner (Wien: Wirtschafts-Geschichte, 1740–1938), from which the following summary is drawn.
Fortepianos
Authors: Maunder Richard 
Published: November 2023

Abstract
This chapter is again concerned almost exclusively with instruments made in Vienna. However, since there are many surviving Viennese fortepianos from the 1780s and 1790s, no attempt has been made to describe all of them here, and only a representative selection is included; others are listed in Appendix B under their makers’ names. As in Chapter 4, some of the measurements (which are all in millimetres) come from published data and should be regarded as approximate.
The Music and its Revisions
Authors: Cooper John Michael 
Published: November 2023

Abstract
Surprisingly little concentrated analysis has been devoted to the ‘Italian’ Symphony. Aside from the brief descriptive analyses presented in various Konzertführer, the only noteworthy nineteenth-century discussion was G. A. Macfarren’s review of the first edition of the arrangement for piano duet (1852). Mintz explored the piece in greater analytical detail in his discussion of Mendelssohn’s compositional process (albeit with MN 27 and MN 28 in reversed chronological order); and the insights provided in Konold’s1984 paper and 1987 monograph on the 1833 version were expanded upon in his 1992 study of the symphonies. To these we may now add thoughtful commentaries by R. Larry Todd and Thomas Grey in the context of surveys of Mendelssohn’s orchestral music.
An ‘Italian’ Symphony?
Authors: Cooper John Michael 
Published: November 2023

Abstract
Is the A major Symphony ‘Italian’? On the face of it, the answer would seem to be ‘no’. None of the music can be positively linked with any music Mendelssohn referred to in the surviving letters from his Italian sojourn. Aside from two letters which predate the surviving manuscripts by two years Mendelssohn never alluded to any of his symphonies as ‘Italian’. All of the extant autographs were demonstrably written in Berlin and Düsseldorf. The title-page of MN 27 refers to the work only as ‘Sinfonia üfr ganzes Orchester’.
The Binchois Game: Style and Tonal Coherence in Some Songs from the Mid-Fifteenth Century
Authors: Slavin Dennis 
Published: November 2023

Abstract
The night before the opening session of the Binchois Conference, David Fallows led a colloquium in which he handed out copies of a song with its ending omitted and challenged his audience to guess the pitch of the final. The piece was by Binchois, and the task proved difficult. Thus was born the Binchois Game, which was referred to several times at the conference because its difficulty seemed directly relevant to aspects of the composer’s style that have intrigued people interested in music of the fifteenth century. Correctly predicting the finals of chansons from this period can often be an uncertain game, but perhaps especially so for those by Binchois. If his works are indeed distinctive in this way, what are the implications for understanding his style and tonal procedures? The present chapter is a preliminary attempt to determine to what degree Binchois’s songs differ from those of his contemporaries from precisely this point of view—predicting the pitch of the final—and to draw together some ideas about broader implications.
The Use of Cut Signatures in Sacred Music by Binchois
Authors: Bent Margaret 
Published: November 2023

Abstract
At the Binchois conference, I suggested that some early uses of ϕ might be better accounted for not as signs of acceleration but, rather, in certain recurrent and specific contexts, as general-purpose signs with a range of possible significations, some of them only minimally prescriptive. The observation arose from examining a repertory plagued by one particular problem of reconciling available theoretical testimony with musical sense: the music by Binchois to sacred texts includes several categories where, according to received views of the meaning ofϕ, the same or similar music, or music of similar harmonic rhythm, is prescribed to be sung faster than passages in O.
Broadening the Canvas (1945-50)
Authors: Mccabe John 
Published: November 2023

Abstract
ROBIN HULL’s comment that the First Piano Concerto ‘brings out ... the justice of suggesting that this composer, though less spectacularly gifted than Britten, may yet stand in evident range of equality with him’ indicates just how high expectations were at the end of the war.Rawsthorne’s works began to receive wider international performance once again. Corteges was played at the ISCM Festival in London in 1946 and received its American premiere in 1948 at Carnegie Hall, with the National Orchestral Association conducted by Leon Barzin.
Renewal (1958-63)
Authors: Mccabe John 
Published: November 2023

Abstract
IN his 1962 radio interview with Malcolm Rayment, Rawsthorne said: I think that the music of Walton is of very great importance ... I cannot see the com plaint of critics that he continues to write the same sort of things that he has written before because I can’t see why he shouldn’t. I cannot imagine, for example, Haydn sitting down to write his hundredth symphony and saying, now I really must look out that I haven’t written this sort of thing in my ninety-ninth. It seems to me rather an impoverished sort of critical view.
Introduction. Mozart and the concerto
Authors: Hutchings Arthur 
Published: November 2023

Abstract
Having discovered the spellings ‘Mozerth’ and ‘Mozer’ in parish registers around Salzburg, anti-Semitic authorities order the destruction of all Mozart’s work except a few representative scores to be deposited in the Museum of Degenerate Art. What shall we spare? Of course the operas, and then-the symphonies or the concertos ? If Worcester or St. Faul’s must be destroyed, for which shall we plead? We may like gothic and dislike Wren, whose dome is a funnel, whose ornament domestic; St. Paul’s may be an amazing hybrid, bu.t we shall spare the only St. Paul’s and we shall retain the Mozart concertos. They, too, are amazing hybrids and their artist something of an engineer.
Concerto In F, K. 459
Authors: Hutchings Arthur 
Published: November 2023

Abstract
The F major Concerto is a joyous and popular work; moodiness does not cloud one of its movements, yet there is no superficial writing. There are one or two concertos in which a happy but simpering rondo, or a languid, shallow, slow movement, falls short of the excellence of its preceding movement. The F major Concerto gives us first-rate Mozart through each of its radiant movements; its smile is quite unsentimental, and implies no complementary tears. It is a work which, since it combines vigour and grace, may well be called athletic.
Au Revoir to the U.S.A. (1942)
Authors: Kildea Paul 
Published: November 2023

Abstract
Since I am about to leave America and cannot expect to return for some time, let me set down briefly some of the impressions I shall take away with me, after a visit of nearly three years. One of the first was perhaps an obvious one, but it was strong and it persists. The abundance of musical activities in this country cannot surely have been equalled within the memory of any European musician. Although it is unfair to compare conditions here with those of Europe in recent years, I am sure there never was so much music-making even in Imperial Vienna as there is here now. The number of concerts and concert-goers in this country is prodigious. (I am not now considering the value of these activities, about which opinions may differ.)Apart from the rather conservative treatment of opera, there is no field neglected. Programs are usually pretty catholic in make-up, and they also show general signs of improvement. For my taste, there is still too great an insistence on the nineteenth century in the orchestral repertory, but that is to be expected and will probably continue, since people who go to hear a symphony orchestra usually like to hear everyone playing all the time, and most music before Beethoven was written for fewer players.
How a Musical Work Originates (1942)
Authors: Kildea Paul 
Published: November 2023

Abstract
The actual origin is usually very difficult to define. Personally, I always have a number of ideas floating around: ideas of either a tune or a rhythm or a particular timbre (what the Americans call ‘sonority’), or most usually ideas of the form of a work. The incentive which makes one develop or extend these ideas may originate from many different sources. It can come quite simply from a conductor or performer saying that he can use a certain kind of work, in which case one would hunt around in one’s idea box to see what would be suitable. Or a great personal experience can set one going, or even sometimes one may feel the need of celebrating either a private or a public event. I do not say for a moment that some external reason is essential, that the ideas may not develop into a complete work of their own accord; but in my experience it is usually some such incentive as those I have mentioned that is necessary. Here I must make one little observation. For me to produce my best music it is always essential for the purely musical idea or germ to precede the external stimulus. In the case of the Sinfonia da Requiem this external stimulus was the death of my mother a few years ago.1 It had an especially powerful emotional effect on me and set me, in self-defence, analysing my feelings in regard to suffering and death. To this personal tragedy were soon added the more general world tragedies of the Spanish and the present wars.
Frank Bridge and English Chamber Music (1947)
Authors: Kildea Paul 
Published: November 2023

Abstract
A highly intelligent & open-minded conductor made an interesting remark to me the other day.1 It was after a concert in London when the Divertimenti for Wind Instruments of Bridge were played-’Why,’ he said to me, ‘I had no idea that Bridge was an ‘interesting’ composer.2 I had always connected his name with salon music.’ And so would have 90% of other highly intelligent and open-minded musicians & music lovers in this country, if they connected his name with anything at all---so neglected has his music become recently. In these few moments before the concert tonight I should like to try and do two things: one; to correct the impression that Frank Bridge only wrote Salon music; two; to try and defend him, from those who are prejudiced against Salon music, for having written it at all. When Frank Bridge matured at the turn of the century-the school of chamber music was really in the doldrums. The headmaster was Brahms, chief assistant masters, Schumann and Mendelssohn; the dancing-master, Dvorak, and of course above all, the Chairman of the GovernorsBeethoven.3 Not much notice was taken of those rather dull, superannuated professors Haydn and Mozart-and though the occasional visits of the Art master Schubert gave pleasure, his character was highly suspect. Not as suspect, however, as the masters of that dreadful neighbouring coeducation list school, Debussy and Faure.
A New Centre for Music (1949)
Authors: Kildea Paul 
Published: November 2023

Abstract
For a long time London has suffered from the over-centralisation of her art and entertainment. The destruction of Queen’s Hall by the enemy during the war certainly hastened a most welcome spreading of musical activities throughout the capital, and there is no reason why this diversity should cease when London has at last a new central concert hall. In this movement Chelsea has played a most notable part. For long a centre of art, it was only perhaps to be expected that music would establish itself sometime. What has in fact happened is both significant and encouraging. The admirable series of concerts under the auspices of Boyd Neel have maintained the high standard set by his own orchestra over the years and have introduced many unfamiliar works to Chelsea, as well as providing superb performances of music in the standard repertory. I was happy to conduct the Boyd Neel Orchestra at the Town Hall recently. Again, when Norman del Mar formed his orchestra of students and amateurs for the performance of symphonic music outside the normal curriculum of study he chose to play in Chelsea, where he has revived much neglected music and given a number of important first performances. It was to Chelsea that the reconstituted Philharmonic String Quartet came, as have many other distinguished consorts, while only recently that fine artist Flora Nielsen gave the first public entertainment in the newly opened Chenil Galleries.
UNESCO (1949)
Authors: Kildea Paul 
Published: November 2023

Abstract
The governments of the world have declared in the Charter of UNESCO: ‘Since wars begin in the minds of men, it is in the minds of men that the defenses of peace must be constructed.’1One of our leading English writers, the historian of art, Mr. Herbert Read,2 has pointed out what the scientists and the military also in effect declare, namely, that with the advent of atomic and biological weapons, war and armaments no longer provide any defense. Power in the military sense has become an illusion and it is indeed ‘worse than an illusion-it is an hallucination which invites suicide.’ Herbert Read says that under these circumstances young Englishmen who agree to be drafted ‘are engaging in a gigantic conspiracy which can only end in the obliteration of their island home’ and adds that ‘the case is not different for young Americans, young Frenchmen, young Russians-for the youth of any nation.’Not only is modern war completely irrational and suicidal; it is also completely immoral. Recently Rear Admiral Ralph A. Off stie, U.S.N., at a Congressional hearing, raised the question, in a denunciation of atomic and ‘obliteration’ bombing, what people mean by ‘survival.’ He declared: ‘If we mean the survival of the values, the principles and traditions of human civilization, we must insure that our military techniques do not strip us of our selfrespect.’
Verdi-A Symposium (1951)
Authors: Kildea Paul 
Published: November 2023

Abstract
Several years ago I had the occasion to hear a series of performances of those two old favourites, Traviata and Boheme.1 At the time my feelings towards Verdi and Puccini were about the same--both of them efficient, with routine and apt stage-craft, but not very interesting musically. So I was not surprised when after four or five performances I never wanted to hear Boheme again. In spite of its neatness, I became sickened by the cheapness and emptiness of the music. On the other hand, I was surprised to find myself looking forward with excitement to each successive performance of Traviata. In fact, after at least a dozen performances I felt I was only just beginning to know it, to appreciate its depths of emotion, and musical strength. That was the beginning of a devotion to the music of Verdi which grows greater as I grow older, as I get to know fresh works of his, and deepen my understanding of the ones I already know.To analyse a devotion to an art is beyond me, but here are a few observations, which I hope will explain a little why I love the music of Verdi so much. The variety and strength of his melodies. Verdi can, of course, write the obvious square tunes, which use many repetitions of the same little phrase and work to an effective climax. These abound in the earlier operas, and are immediately endearing: I think particularly of Parigi o cara in Traviata. But he can also write the long casual lines, a succession of apparently unrelated phrases, which repeated hearings discover to have an enormous tension deep below the surface. The wonderful ‘conversational’ duet at the end of Act I of Otello is a case in point.
Freeman of Lowestoft (r95r)
Authors: Kildea Paul 
Published: November 2023

Abstract
Your Worship, members of the Council, ladies and gentlemen: when I was first told that I was going to receive this great honour today, I was flattered, thrilled and touched-but also, I must confess-rather surprised. I am afraid that in my ignorance I had always imagined that Freedoms of Boroughs were given to people like politicians, statesmen and warriors-eminent and highly respectable people-and not at all such dubious creatures as artists or composers. But although I feel myself quite unworthy of the wonderful things you’ve heard said about me, or read about me, this afternoon, in one way I feel I must congratulate this Borough of Lowestoft for having chosen to honour a composer to-day rather than a statesman! If a composer made such a mess of his work as most politicians here and abroad make of theirs,-well ...But seriously, I should like to thank the Borough of Lowestoft for the great and rare compliment it pays to Art generally, by so honouring me, a humble composer, this afternoon. To be made Honorary Freeman of the Borough of Lowestoft is one of the loveliest things that could ever happen to me. It puts, as it were, an official seal on my connection with this little corner of England-where I was born, and where I have spent so many years of my life.