bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Uniqueness of the Blues
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
To bring out the full confusion surrounding ‘the blues’, let us consider the progress of a hypothetical blues fan. To start with, he has read the dictionary definitions and the introductions to the subject in the jazz histories. From these he knows that the blues is melancholy, dejected, a song of lamentation, in a slow tempo; that it follows a certain harmonic pattern and a twelve-bar form, with plenty of ‘blue notes’; that it was invented by black Americans. It is true that, when he looks up the term ‘blue note’, he finds that some definitions describe it as a minor interval where a major one would be expected, and others as an interval between major and minor in pitch.
African Origins of the Blues
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
The African antecedents of the blues are just as mixed as common sense would suggest them to be. There are many parallels to individual features, but nowhere-to the best of my knowledge, but who knows what research may turn up tomorrow?-is there anything like the blues mode in its complete form. The notes may sometimes look the same, but when one examines them carefully the unique logic of blues modality is lacking. All the components of the blues mode are to be found somewhere in West Africa, but separately, awaiting assembly on American soil.
Blues Accompaniment
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
There are two African accompaniment techniques of special importance to Afro-American music. One is the familiar ostinato, in which a short phrase is repeated over and over again, with or without slight variation. The other, though less well known, seems to have been even more important in the development of the early blues. This is the ‘dialogue’ form of accompaniment, in which voice and instrument alternate, as in the African lament ‘Tukhong’ine tulauya’ (Ex. 37).
Parlour Harmony
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
The old libel about popular composers using the outworn cast-offs of their musical betters comes closest to the truth with harmony. In the nineteenth and early twentieth centuries, at any rate, popular harmony is usually an echo of what serious composers had been doing several decades before. The lush Romantic chromaticism of the years between 1830 and 1850 took half a century to reappear in the parlour ballads of the 80s and 90s, just as, in the next century, Impressionist harmonies turn up a few decades later in jazz.
The Early Years(1894-1911)
Authors: Smith Barry 
Published: November 2023

Abstract
In october 1894 the 75-year-old Queen Victoria had been on the throne for fifty-seven years and was no doubt still delighting in the fact that her bete noire Gladstone had been forced to resign as Prime Minister in March. She had once summed up her feelings about him in the famous remark: ‘He speaks to me as if I was a public meeting.’ Unadvised, the Queen and Empress had recently appointed Lord Rosebery as his successor and would, doubtless, not be amused to see his government collapse after only sixteen months. However, on the last Tuesday of October, the 30th, Her Majesty was temporarily unconcerned with matters of State. She had lunched with the Duke and Duchess of Fife during a late autumn visit to Balmoral and her thoughts were, no doubt, very much occupied with the condition of the dying Tsar of Russia, Alexander III.
Friendship With Delius (1911-1913)
Authors: Smith Barry 
Published: November 2023

Abstract
After the ecstasy of the Delius concert in June, his meeting with the composer, and their ensuing correspondence, Philip’s thoughts turned more and more towards a career in music. His mother was, however, determined that he should follow in the family footsteps and go to University to prepare either for a career on the Stock Exchange or in the Civil Service. Philip’s sojourn in Germany was therefore to be a kind of compromise: he would acquire the knowledge of another language, which would be useful in his future career, and at the same time he would be allowed to satisfy his urge to further his musical studies. So in October 1911 he set out for Cologne accompanied by his mother who, no doubt, wanted to see him happily settled in with his hosts, Professor and Frau Bussius. En route mother and son spent some time with Uncle Joe in Marlotte. Among Joseph Heseltine’s other visitors were the brother of Sir Leander Starr Jameson (of the famous 1895 raid in South Africa) and an American by the name of Thomas.
The Oxford Year (19I3-1914)
Authors: Smith Barry 
Published: November 2023

Abstract
A new chapter now opened in Philip’s life as he began the Michaelmas Term at Christ Church. During his year at Oxford he was assigned to room 4 (staircase 7) of the mid-Victorian Meadow Buildings, situated in an out-of-the-way comer off the main quad. His accommodation consisted of a large and well-furnished sittingroom, with plain, dark red wallpaper, a padded window seat, and a large ‘stoney-kind’ of fireplace, surmounted by a shelf and a large mirror, as well as a bedroom which he found ‘dark but roomy’. As these rooms were on the top floor and reached by a steep, stone spiral staircase, Philip was assured of a certain degree of privacy. Although the Morris motor works had opened the previous year in nearby Cowley, the peacefulness of pre-war Oxford had not yet been shattered, and from his window he would have had a rustic view towards the river across Christ Church meadow where cattle were and still continue to be grazed.
Introduction to the Compact Disc
Authors: Pohlmann Ken C 
Published: November 2023

Abstract
Let‘s try a conceptual experiment. From your conceptual seat in your conceptual concert hall, you lean forward in anticipation as the conceptual orchestra begins its conceptual performance of Beethoven‘s Tenth Symphony. (No, I‘m not conceptualizing; he really did start a tenth.) Your job is to write down all the information you hear. Ready? Begin! Whew! After only a few bars, you give up. Even writing down the score in musical notation is overwhelming, much less recording all the timbres, aesthetic considerations, hall acoustics, and so forth. We have to conclude that music is a surprisingly complex phenomenon; it is filled with information. To store it, we require a system which can deal with incredible amounts of information. It is not surprising that historically the latest and highest technology has always been utilized to make recordings, because only the best technology satisfies our current expectations of what a good recording should sound like. As higher technology was devised and pressed into service, our expectations were redefined. All of which brings us to the topic at hand: digital audio and the compact disc.
Practical Concerns
Authors: Pohlmann Ken C 
Published: November 2023

Abstract
All CD discs and players offer considerable advantages over other audio media. The specifications are great: flat response, low noise, low distortion over the entire audio frequency band, and absolute speed stability and accuracy. The operational features are great: small size, long playing time, timing and contents information, indexing, and programmability. The longevity is great: Discs are completely immune to damage from repeated playing and relatively impervious to handling damage. Still, as with any other product in the marketplace, there are good players and not so-good players, good discs, and not-so-good discs. Remember-a smart consumer is a retailer’s worst enemy.
1907-1914
Authors: Kennedy Michael 
Published: November 2023

Abstract
With the completion of work on the English Hymnal and the resumption of composition, Vaughan Williams search- ingly re-examined his musical self. He found it difficult to study and ‘learnt almost entirely what I have learnt by trying it the dog’. One exercise of the kind Holst advocated he did employ: ‘One summer [1904] I retired for a month to a Yorkshire farmhouse with several classical scores and the themes of my own “compositions”. These themes I proceeded to treat and develop according to my classical models, choosing, of course, themes which more or less corresponded in structure. I found this a wonderful discipline, and I have passed it on to my pupils (I believe .Charles Wood used much the same method).…
The Sociological Response
Authors: Frith Simon 
Published: November 2023

Abstract
In Contingencies of Value, her book about high cultural evaluation, Barbara Herrnstein Smith suggests that “what we are doing in making an explicit judgment of a literary work is (a) articulating an estimate of how well that work will serve certain implicitly defined functions (b) for a specific implicitly defined audience (c) who are conceived of as experiencing the work under certain implicitly defined conditions.” This could equally well describe what’s going on in the judgment of pop songs or TV shows, shopping centers or newscasters, and it suggests a sociology of aesthetic discrimination:
Where Do Sounds Come From?
Authors: Frith Simon 
Published: November 2023

Abstract
Musical evaluation as I’ve discussed it so far seems inevitably to mean thinking backwards: first the experience, the music; then the judgment, the account of the music. Even everyday criticism frames the music discursively after the event, as it were. The question I want to ask now is this: what was the event? And the question concerns cognition as well as evaluation: we have to recognize something as something (noise as music; music as genre) before we know what to do with it, how to assess it. How does this cognitive process work? Even if we adopt Herrnstein Smith’s account of evaluation at its most functional—so that the question “is it good?” really means “is it good for something or somebody?”—there is still the question of what the “it” is.
Rhythm: Race, Sex, and the Body
Authors: Frith Simon 
Published: November 2023

Abstract
Everyone seems agreed, the music’s lovers and loathers alike, that rock and roll means sex; everyone assumes that this meaning comes with the beat. I don’t, and in this chapter I suggest that if rock does sometimes mean sex it is for sociological, not musicological reasons. (And besides, as the Red Hot Chili Peppers’ casual male chauvinism makes clear, in this context sex is an essentially sociological sort of thing, anyway.) Deliberately misreading the Chili’s point, then, I will start this chapter with the concept of fun.
The Meaning of Music
Authors: Frith Simon 
Published: November 2023

Abstract
My argument in this book rests on a simple enough premise. As a sociologist I’m happy to assume that “meaning” can only be defined institutionally: the term describes not simply discursive conventions—agreements to agree—but regulated forms of social behavior. Arthur Danto’s philosophical point—“To see something as art requires something the eye cannot decry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld”—is the guiding principle of the sociology of culture too.
The Origins to 1800
Authors: Smallman Basil 
Published: November 2023

Abstract
BY comparison with the steadfast course of development charted by Haydn and his contemporaries for the string quartet during the second half of the eighteenth century, the progress of chamber music with obbligato keyboard appears, from a present-day standpoint at least, to have been slow and irresolute. By the early 1770s the string quartet had already gained (notably with Haydn’s Op. 17 and Op. 20 sets) many of the features which were eventually to mark its maturity, including four-movement structures, closely-wrought sonata schemes, and a large degree of instrumental parity. The keyboard chamber music of the period, on the other hand, though wide in range and large in quantity, usually involved only two or three movements, and, with many problems of texture and scoring still to be resolved, was often limited both in style and structure.
The Early Romantics
Authors: Smallman Basil 
Published: November 2023

Abstract
PROMINENT among the first contributors to the new keyboard ensemble repertoire were the Czech pianist-composer, Jan Ladislav Dussek, and his royal patron and sometime pupil, Prince Louis Ferdinand of Prussia, a nephew of Frederick the Great. At the time of their first meeting, at Magdeburg in 1803, Dussek had already completed (probably in London in 1799) his Piano Quintet in F minor, a three-movement work comprising a sonata allegro, a slow movement in ternary form, and a rondo finale. The role of the strings—violin, viola, and cello, with an optional part for double bass—is largely accompanimental, though the violin is granted some melodic passages and there are a few short sections for the string ensemble alone, such as the simple opening idea of the slow movement. The piano, on the other hand, has a vivid concertante part, covering a range of nearly five and a half octaves, which was clearly designed to exploit the power and extended compass of the latest instruments of the period.
Mixed Ensembles
Authors: Smallman Basil 
Published: November 2023

Abstract
BEFORE the present century, compos1t1on for mixed chamber groups, with both wind and stringed instruments linked to the piano, was relatively little cultivated. Most fruitful of the available groupings was the trio—the one most precisely adapted to ‘three-sided’ scoring—which was preferred by leading composers to any of the larger ensembles. Its small, but eventually very impressive, repertoire includes the Trio for clarinet, viola, and piano, K. 498 of Mozart, and those in which a cello replaces the viola, by Beethoven (Op. u), and Brahms (Op. 114), together with the latter’s wonderfully effective Trio, Op. 40, for violin, horn, and piano. Combinations of greater size, usually quintets or septets, were more rarely employed, and then mainly by composers of the second rank, in works which display hybrid characteristics, often with chamber and concerto elements freely combined.
The programme chain
Authors: Borwick John 
Published: November 2023

Abstract
The making and marketing of a successful sound recording is so much a matter of team work that it can almost be likened to a relay race. Each member of a relay team needs to have the right talents, training, and attitudes, and to be on top form on the day. He is solely responsible for his own part of the race but must work hand in hand (almost literally) with his fellow team-mates at the point of handing over the baton. In the same way, the chain of ‘runners’ who carry a sound recording on its way from the original conception and performance to the consumer must apply a fine balance of skills and experience whilst the recording is in their hands. But they will do a better job—particularly at the hand-over points—if they understand the role of their colleagues throughout the entire programme chain.
Microphones
Authors: Borwick John 
Published: November 2023

Abstract
The programme chain as described in Chapter 1 begins with one or more microphones and ends with one or more loudspeakers (the usual number is two, suitably spaced to produce the stereo effect of musicians arranged more or less naturally across an arc). Microphones and loudspeakers belong to the large family of ‘transducers’, that is devices whose job it is to convert energy from one form to another.
The microphone converts acoustical energy into electrical energy, whilst the loudspeaker, interestingly enough, does the same job in reverse, converting electrical energy (supplied as an electric current) back into acoustical energy (radiated as sound waves). Other examples of reciprocal transducing devices are to be found in the recording/reproducing chain. A tape recording head, for example, converts electrical energy into magnetic energy, whilst a tape playback head does the reverse. (Indeed, a single head is used on the majority of cheaper domestic type machines, simply switched according to which function is required at the time.) A disc cutter converts electrical energy into mechanical vibration of the stylus, and leaves a ‘record’ of the sound waves etched into a groove in the master disc surface; the gramophone pickup stylus retraces this waveform, and its vibrations are used to generate an electric current. Again, the laser source which ‘cuts’ a track of digital pits on the photo-resist surface of a Compact Disc master converts electrical energy into light energy, whilst the lightsensitive device in a CD player, which receives the reflected laser beam, reverses the transducing process and converts light energy into a usable electric current.
The spoken word
Authors: Taylor (revised by Peter Wisbey) Derek 
Published: November 2023

Abstract
At the outset it should be said that all microphone balancing is an art or a technique, not a science. It is impossible to lay down hard-and-fast rules. If you say something must always (or never) be done, the next day some combination of programme requirement/studio acoustic/equipment characteristic will prove that the only practical solution is the exact opposite. The only criterion is: will it sound right to the listener? The only way of being sure is to try something and listen. This may take time, and this chapter is designed to help to obtain the desired result more quickly by using well-tried methods and avoiding some of the pitfalls. In practice the method adopted will be controlled to a large extent by the facilities and time (that is to say money) available.
The role of the producer
Authors: Wainman Phil 
Published: November 2023

Abstract
For many years, when a problem has arisen in the studio, I have often wished I could refer to an imaginary ‘Producer’s Handbook’ which had the answers to everything from machine breakdowns to people with similar ailments. Thus I see my chapter in this book as being perhaps more along the lines of a ‘Dr Spock of Record Production’, something that reflects my own experiences through the years, rather than a tome on the dos and don’ts of recording, mixing and cutting.
Disc cutting
Authors: Davies Sean 
Published: November 2023

Abstract
A disc-recording machine consists of a turntable, a screw shaft (the lead screw), and a carriage to which may be attached an electromechanical transducer (the cutter head). The leadscrew drives the carriage along a radius of the turntable, and a chisel-shaped tool (the cutting stylus) cuts a groove in the surface of a blank disc placed on the turntable (Plate 27). The turntable normally rotates at a constant speed, and, if the same is true of the leadscrew, then a spiral of constant spacing or pitch will be cut. In practice the leadscrew speed is not constant but is altered to produce a variable-pitch groove, for reasons which will be apparent later.
Vinyl disc processing
Authors: Hughes (Revised by Robin Allen) Jim 
Published: November 2023

Abstract
So well established is the practice of disc record manufacture that this chapter nearly became called ‘Beyond the Melba Stone’. For the curious, the ‘Melba Stone’ was laid by Dame Nellie Melba in 1907 during the building of the old Gramophone Company’s factory at Hayes in Middlesex. The stone has since been moved and now stands in front of the modern automated vinyl disc and music cassette factory of EMI Music Services (UK), through whose courtesy the following account of vinyl disc processing took shape.
Television
Authors: Fisher Dave 
Published: November 2023

Abstract
The broadcast chain in television is in many ways similar to that in net work radio. Of course, pictures add an extra constraint, because in general the pictures and sound must match one another in perspective at least. This is not to say that the pictures or sound must be compromised, but rather that they should fit together harmoniously.
An image of the scene is focused on to a photo-sensitive pickup device in the camera. It is easy to imagine this as a mosaic-like set of elements (Figure 26.1). Originally cameras used vacuum pickup tubes, but modern cameras use CCD (Charge Coupled Device) sensors. In order to achieve 625-line quality, about 570 elements are needed for each line of the picture. The brightness of each element cannot, therefore, be sent to a monitor simultaneously without a very large number of wires, so they are sent sequentially, using a scanning system which produces a single signal whose voltage represents the brightness of the scene. The picture is scanned from left to right and top to bottom. Each row of elements produces one line of picture signal. When the elements from all lines have been sent, the process starts again at the top. To portray movement without jerkiness it is necessary to send 25 complete sets of elements per second; this is called a picture or frame.
Video
Authors: Webster Trevor 
Published: November 2023

Abstract
It might be supposed that sound for use with pictures is produced in much the same way as sound by itself, for radio or records. Although there are obvious parallels, and some of the same equipment is used, the differences are in fact very considerable. There are basically two ways of recording moving pictures, either of which can be used to originate programmes for subsequent TV broadcasting or videotape distribution. First, they can be recorded directly on to light-sensitive film inside a film camera. Second, they can be picked up by an electronic television camera (a video camera) and fed as an electrical waveform (the video signal) down wires to a videotape recorder. Sometimes these wires are only a few inches long as the recorder is mounted on the back of the camera to form a camcorder.
Legal rights and sound recordings
Authors: Rann Nick 
Published: November 2023

Abstract
There are a number of contributors involved in the creation of a sound recording, and each of those contributors may acquire a variety of legal rights. Anybody wishing to make, copy, or otherwise exploit sound recordings must ensure that all necessary rights have been obtained from these contributors. In order to explain more about those rights and those who enjoy them, let us look at the process of making a sound recording of pop music.
Four Songs (I958) George Newson (born I 932) [CT] Text by L. T. Smith
Authors: Manning Jane 
Published: November 2023

Abstract
There is much to admire in Newson’s gift for writing lyrically, even romantically, and yet simply for the voice, and in his special awareness of the subtle resonances that give bloom and radiance to specific vowels at certain pitches. The composer clearly has a sensitive ear as well as a natural feeling for the vocal mechanism. The result is an unerring judgment in the creation of lines which never cause strain. The strong alliterative element in the texts evokes an appropriate response with music of instant appeal.
Five Cabaret Songs (I985) Keith Humble (horn I927)
Authors: Manning Jane 
Published: November 2023

Abstract
These songs represent the lighter side of one of Australia’s most distinguished musicians, and they make an attractive recital item. They are immensely subtle and full of unexpected twists; they show an innate and effortless sensitivity, together with the exceptional musical polish and flair that would be expected from someone with such a broad knowledge and experience of the 20th century’s rich resources.
Dear Emily (I973) Alison Bauld (born I944) Text by William Blake and Alison Bauld
Authors: Manning Jane 
Published: November 2023

Abstract
Alison Bauld’s tremendous flair and feeling for the theatre, based on professional experience as an actress, is evident in all her works. The musical idiom is relatively straightforward, although many modern conventions of notation are used. In the passages without time signatures, seconds are indicated (these need not be timed with a stop watch), giving the performer extra freedom.