bluuebunny/crossref_metadata_2025_split huggingface dataset:
‘Cette diablerie philosophique’: Faust Criticism in Paris c.1830
Authors: Hibberd Sarah 
Published: November 2023

Abstract
It was Mme de Stael who first introduced Goethe’s Faust (1808) to the French, in a chapter of her highly influential De l’Allemagne, a work that defined the German nation and its culture for a generation of Europeans, and presented the ideas of German Romanticism in a coherent way to the French for the first time. Although completed (in exile) in 1810, the book was banned by Napoleon as German propaganda and was not published in France until 1814. However, during the next few years it went through five editions and its reception benefited from the contact with other countries that France was beginning to enjoy after the end of the Empire.
Bodies at the Op éra: Art and the Hermaphrodite in the Dance Criticism of Th éophile Gautier
Authors: Clark Maribeth 
Published: November 2023

Abstract
When Théophile Gautier wrote reviews about dancers whose beauty he thought near perfection, he referred to classical figures in paintings, cameos, frescoes, and ancient Greek sculpture not so much to capture the unique image in prose, but to provide the reader with a sense of the indescribable ideality of the beauty.
The Musical Revolution of the Mid-Nineteenth Century: From ‘Repeat and Twiddle’ to ‘Precision and Snap’
Authors: Gammon Sheila 
Published: November 2023

Abstract
In 1928 Gustav Holst composed A Moorside Suite for brass band. This work was important as the first composition expressly written for brass band by a ‘major’ English composer, and it is significant that it was the test piece at the National Championship at Crystal Palace that year. Subsequently, the inter-war years saw brass band works by Elgar, Bantock, Howells, Bliss, and others. At last art-music composers were taking the brass band seriously.
Instruments and Instrumentation of British Brass Bands
Authors: Myers Arnold 
Published: November 2023

Abstract
The first all-brass bands of the r 83os departed from the centuries-old band tradition of accompanying melody played on woodwind with harmony played on brass. The common wind band instrumentation of clarinets with horns and other brass instruments was varied to produce the brass band: cornets as principal melody instruments, accompanied by a variety of brass instruments of middle and low tessituras. The widespread adoption of the new instrumentation would seem to have been a matter of taste: a preference for the sound of concerted brass instruments made possible by the inventions of the early years of the nineteenth century. The price lists of D’ Almaine and Jordan (Appendix r) show that the expense of equipping a band with cornets would have been slightly more than for providing the same number of clarinets.
Time
Authors: Herissone Rebecca 
Published: November 2023

Abstract
THE stylistic changes which defined the boundary between Renaissance and Baroque music were probably the major cause of the decline of mensural notation and the rise of the modern ‘orthochronic’ system in which each note value is an independent, discrete unit.1 As melodically conceived, interweaving imitative textures began to be replaced by more harmonically orientated melody-plus-bass styles, so a musical notation which relied on the use of part-books in performance had to be superseded by one which would allow score form. Because in mensural notation values were sometimes changed by the presence of neighbouring notes, it was very difficult to compare different parts against one another vertically.
Italy: The Creation of the Repertory
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The last quarter of the sixteenth century saw the invention of alfabeto notation that was used in conjunction with vocal music—both the light, three-voice forms (villanelle and canzonette) and the late sixteenth-century monodies with Italian and Spanish texts. By the end of the sixteenth century alfabeto was well established, and by the early seventeenth could be found in one of the chief sources of classic monody, 1-FcMS C. F. 83, ‘Codex Barbera’.
The Guitar 1750-c.1800: Practical Information
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
As we have seen during the three previous chapters, the guitar evolved very differently in Spain, Italy, and France during this period, and performers whose primary interest is complete authenticity should ideally either concentrate on the music from one of those countries or else have three instruments at their disposal. Most surviving guitars from the eighteenth century are now in museums or private collections, and (although original examples in a playable condition are still occasionally offered for sale in auction houses) the majority of players will need to acquire modern reproductions. The following paragraphs summarize the main differences between typical Spanish, Italian, and French (especially Parisian) guitars of the late eighteenth century, give some measurements of typical instruments, and suggest detailed sources that can serve as a starting point for luthiers intending to build modern reproductions.
Selling Britten
Authors: Kildea Paul 
Published: November 2023

Abstract
At the end of the nineteenth century Britain was a country without an opera culture, and in the concert halls the Austro-Germanic symphonic repertory reigned supreme. In the following fifty years the art-music culture changed dramatically. Radio, the gramophone and the recording industry, government arts subsidies, Covent Garden, and a post-war resurgence in national and civic pride which contributed to the spread of music festivals, were the agents of change. Born in 1913, Benjamin Britten was well placed to take advantage of these market forces, which he did consistently and skilfully from the 1930s onwards. His relationships with Boosey Hawkes, Decca, Covent Garden, the Aldeburgh Festival, the English Opera Group, and the Arts Council, had a huge influence on the music he wrote. This book explores the effect of these commercial and national institutions on the music of one of the foremost British composers of the twentieth century.
Introduction
Authors: Kildea Paul 
Published: November 2023

Abstract
Underneath the ceaseless speechifying about new starts, the dominant dream is of a Venetian twilight: a golden-grey steady state where staid arts and moderate politics join to preserve the tenor of things English. The true impulse is not really to ‘catch up ’ with the greater, evolving world outside, but to hold one ‘s own somehow, anyhow, and defend the tribe ‘s customs and weathered monuments. The story is about a recording engineer who is a frustrated composer. A woman comes to make a recording (with her manager), he falls in love with her and is inspired to write a masterpiece. There are several complications but the story does not have a happy ending--composer does not get woman.Before the 1950s or so classical or art musicians in Britain were notorious Luddites. Each technical advance or innovation was quickly derided, each threat to the status quo vilified. Part of this was snobbery: many musicians ‘ vision of English culture was incompatible with growing industrialization. A pasture was the minimum constituent of a pastoral symphony-and not one cluttered with tractors. Larks did ascend, but certainly not in inner cities. Music critics were complicit in the promotion of this vision: in 1945 H. C. Colles wrote that ‘English musicians must be glad to see their art enshrined in company with “Shakespeare “, “The English Public School “, “Cricket “, and other matters which are part and parcel of our national inheritance ‘-a list that doesn ‘t mention by name, but surely invokes in spirit, spinsters cycling to church, warm English ale, and the Henley Regatta.
The Arts Council ’s Pursuit of ‘Grand Opera ’
Authors: Kildea Paul 
Published: November 2023

Abstract
It will be the first task of Fascism in the cultural plane to elevate the public taste by releasing the national culture from the tyranny of commercial standards. Gone is the old aristocracy, which in the 18th century-to their honour! patronised such men as Dryden, Pope, and Samuel Johnson. Fascism must take over this duty of patronage, and with as generous a hand. Poor old English opera. For so long the play-ground of amateurs and dabblers. By drawing heavily on an article in the Fascist Week in support of his call for a British Ministry of Fine Arts, Henry Welsh added an unexpected voice to a then familiar argument. Where successive governments had ignored the value of British arts, Fascism could offer Sir Oswald Mosley, founder of the British Union of Fascists, with his assured cultural pedigree. Where Viscount Snowden ( ‘with whom we have little in common ’) had failed in his attempt to fund grand opera in England in the early 1930s, the ‘Fascist scorpion will be more grievous than the Snowden whip, and the Philistines will be belaboured into building for us one of the finest opera houses in the world ’. The year 1934-in which talk of Fascism infiltrated the bucolic pages of the Musical Times-was in fact Fascism ‘s ‘Indian Summer ’ in Britain; events in Spain only two years later were to turn public opinion against the Fascist cause, its doctrine largely discredited. Significantly, the extreme right ’s advocacy of a British Ministry of Fine Arts, balanced on the left by Communism ’s ‘Art for the People ’, helped to keep the argument for state patronage beyond the pale of mainstream politics.
Mendelssohn’s Two Infelice Arias: Problems of Sources and Musical Identity
Authors: Cooper John Michael 
Published: November 2023

Abstract
One of the central issues that has emerged in the resurgence of Mendelssohn scholarship since the Second World War is the need for critical editions of the composer’s complete works. The decades immediately following Mendelssohn’s death witnessed not only new editions of works that had been published during his lifetime, but also first editions of many previously unpublished compositions; all were ultimately included, along with still more works not previously released, in the series of Mendelssohns Werke published by Breitkopf & Härtel between 1874 and 1877 under the general editorship of the composer’s friend Julius Rietz.
Kindred Spirits: Mendelssohn and Goethe, Die erste Walpurgisnacht
Authors: Prandi Julie D 
Published: November 2023

Abstract
In discussing Felix Mendelssohn’s setting of Goethe’s ‘Die erste Walpurgisnacht’, we have ample opportunity for illustrating the composer’s willed affinity with the poet as well as the natural similarity in artistic temperament. There is a remarkable convergence of aesthetic sensibility in the way both artists encompass classical and romantic forms, which can be observed in the close correspondence of Goethe’s thought and feeling as expressed in the poem and Mendelssohn’s rendering of it in musical terms. But equally if not more important is that Mendelssohn’s ethical views correspond so well to Goethe’s.
Ethnomusicology and Music Sociology
Authors: Bohlman Philip V 
Published: November 2023

Abstract
Ethnomusicology and music sociology should be obvious sister disciplines, but they are not. Ethnomusicologists and sociologists of music should be joined in conversation, but they rarely talk with each other. Because both have embraced ‘text and context’, ethnomusicology and music sociology might well have forged common methodologies for determining the interrelationships between musical and social practices, but they have rarely done so. As ethnomusicology has in recent decades concerned itself increasingly with modernity and music in urban contexts, it might well have drawn on sociology’s historical concern for the structure and institutions of the city. Again, it did so only exceptionally. As music sociology increasingly sought to broaden its understanding of what music really could be by intensifying its concern for popular musics, it might well have drawn on ethnomusicology for the broadest possible ontology of music. Instead, it persists in defining ‘popular music’ in much narrower terms than ethnomusicology.
Study Session 20 Semiotics, Structural Semantics, Rhetoric: Musical Language Sciences In Contemporary Musicology
Authors: Grabó;cz Marta 
Published: November 2023

Abstract
Bernard Vecchione (F) pointed out in his abstract for this Study Session that one of the most characteristic features of late twentieth-century musicology is its interest in the aptitude of the musical phenomenon as a language.1 Following on from investigations in philosophy and linguistics, the sciences of semiotics, semantics, narratology, and rhetoric are now being brought to bear on the question of musical language.
Interpreting Performance: Chopin-Playing In Perspective
Authors: Rink John 
Published: November 2023

Abstract
Performance studies has established its lf in recent years as a subdiscipline of musicology incorporating research into historical performance practices, analysis and performance, and performance psychology. This session’ s six speakers fused these areas by focusing on Chopin performance while undertaking both exposition of performance-related theory and practical application thereof, in a progression from historical through analytical to psychological topics. It was an exceptionally far-ranging but well-grounded session.
Study Session 44race And Culture In The Aesthetics Of William Grant Still (1895-1978)
Authors: Smith Catherine Parsons 
Published: November 2023

Abstract
In his commitment to promote racial progress through his art, William Grant Still (1895-1978) was very much a part of the Harlem Renaissance/New Negro movement. Indeed, he lived in New York City between 1919 and 1934, the years of the Renaissance, and in that period orchestrated both black and white musical theatre and early radio shows in addition to his study with Varese. He sought to represent his position as an African American to elite (largely white) audiences by composing music that blurred the barriers between concert music and opera on one hand and commercial, popular, and folk music, with which he was also deeply involved, on the other. Still supplemented his own experience of African-American music by seeking materials on African music in public libraries, at the same time accumulating his own collection of such sources. Rather than use these in his own compositions, however, he quite consistently devised new themes that reflected the styles he sought both to convey and to transform.
Fascism And Music
Authors: Brinkmann Reinhold 
Published: November 2023

Abstract
With regard to the role of music in National Socialist Germany, Bernd Sponheuer discussed the importance-unprecedented in modern history-of art in the political legitimation of the state. The ability of art to divert from everyday life made it a powerful means of effecting consent and subordination. Both the historical conditions that allowed for this aestheticization of politics and the disturbed process of modernization in Germany stemmed from nationalism and cultural religion. Already in the nineteenth century music, as the most ‘absolute’ and ‘German’ of the arts, gained the authority to solve problems and impart meaning-from which developed the hope of redemption from alienation and misery. With the First World War and its consequences, the dire extremes of order or chaos became the sole possibilities, politically as well as musically. The strategy of the National Socialists involved an interplay of terror (through enforced conformity and purging) and aestheticization (with the aim of building consent and community). With the former, the principle of total control, including concessions like jazz, was more important than total indoctrination. The aestheticization also depended on a form of control: by virtue of its observance of ‘eternal laws’, art brings about subordination and obedience in much the same ways as do the Fiihrer, Volk, and Reich. Music in rituals and rallies was effective in elevating reality to the level of the solemn and the mythical, giving an illusion of the building of community.
Session 35: Music and Literature: Twentieth Century
Authors: Sciucca Marco della 
Published: November 2023

Abstract
Si intende indagare un topos mai sufficientemente spiegato in term1111 analitico-interpretativi: la musicalita de! verso come elemento strutturante de! Poema paradisiaco di D’ Annunzio (fondamentale e la lettura orale della poesia). La magnifica orchestrazione ritmico-contrappuntistica de! Poema paradisiaco puo essere Jetta partendo dai valori metrico-accentuativi e versali dell’opera fino a considerarne l’organizzazione sonora e timbrica minima de! singolo fonema. Ma non basta un’indagine formalista: un’analisi anche contenutistica evidenzia come l’elemento musicale de! verso si traduca spesso in semantema. Secondo un procedimento inverso a quello della semantizzazione dell’elemento musicale e quindi della sua realizzazione verbale, D’ Annunzio opera la sonorizzazione e tematizzazione &lt;lei semantemi tipici dell’estetica simbolista e decadente del Paradisiaco. La meta-musicalita (musicalita nei contenuti) si rende ancor piu presente con le immagini musicali vere e proprie, che hanno funzione estetica specifica di coronamento ideale di quella simbiosi verso-musica di cui qui si tratta.
Staging Verdi’s Operas: The Single, ‘Correct’ Performance
Authors: Hepokoski James 
Published: November 2023

Abstract
Thirty years ago, the following would have been an astonishing claim: should we wish to do so, we could reconstruct the original costumes, sets, and staging of Verdi’s operas from 1855 (Les Vêpres siciliennes) to 1887 (Otello). This is especially true of the later works, whose original stage images we could re-create with remarkable accuracy: what everyone wore, where everyone was to stand, what their stage motions were, even (in cases such as Otello) their arm and hand gestures and facial expressions.
On Staging that Matters
Authors: Rosen David 
Published: November 2023

Abstract
James Hepokoski argues that the Ricardi disposizioni sceniche (production books) should be studied by scholars and performers alike-after all, they sometimes ‘provide plot information left unspecified in the libretto’-and he is sympathetic to the notion that, in the wide range of stagings we see today; the ‘original staging, with its unique concerns and special authority; might throw its hat into the ring from time to time’. He warns us, however, that we should not expect to recapture ‘the long-forgotten aesthetic heart of the work’ by doing so.
Commonplace Learning
Authors: Hotson Howard 
Published: November 2023

Abstract
Ramism was the most controversial pedagogical movement to sweep through the Protestant world in the latter sixteenth century. While its origins in France, its impact in colonial America, and its influence in England, Scotland, and Ireland have been studied in detail, its uniquely warm reception in central Europe – where the great majority of posthumous reprintings of Ramus’s work appeared – has never been synoptically studied. This book, the first contextualized study of this rich tradition, therefore has wide-ranging implications for the intellectual, cultural, and social histories not only of the Holy Roman Empire but also of the entire Protestant world in the crucial decades immediately preceding the advent of the ‘new philosophy’ in the mid-seventeenth century.
Aubrey Beardsley and British Wagnerism in the 1890s
Authors: Sutton Emma 
Published: November 2023

Abstract
Aubrey Beardsley and British Wagnerism in the 1890s is an interdisciplinary study of the influence of the operas, writing, and personality of Richard Wagner (1813-1883) on the work of Aubrey Beardsley (1872-1898). Examining Beardsley's drawings and prose of the 1890s the study considers the ways in which Wagner's works were appropriated by this seminal figure of the British decadent movement. Despite recent critical interest in Beardsley and the 'fin-de-siècle', and considerable research on Wagnerism, Aubrey Beardsley and British Wagernism in the 1890s is the first study in English to consider at length Wagner's presence in Beardsley's work. Beardsley combined allusions to the German composer with many of the touchstones of decadent art - the exotic, the morbid, the erotic, and the mannered. In exploring Beardsley's often iconoclastic versions - or perversions - of Wagner's work Aubrey Beardsley and British Wagernism in the 1890s aims to investigate the role of Wagnerism with 'fin-de-siècle' British culture, in particular the relations between Wagnerism and contemporary decadence.
Storm over Scotland
Authors: Woolrych Austin 
Published: November 2023

Abstract
When James VI (as he was styled in his native land) died he left his Scottish subjects nursing a number of discontents, but none so serious as to threaten to make them ungovernable. Rule by an absentee king imposed an inevitable strain, but James knew his people and understood the problems. When he first departed for England he promised to revisit Scotland every three years, but he did so only once, in 1617. During his first decade or so as James I of England he surrounded himself with Scots to an extent that aroused serious resentment among English courtiers, and for much longer he kept in touch by summoning his chief advisers in Scotland, one after another, to come and report on the state of affairs there and counsel him on his Scottish policy. He also added a powerful group of Scottish peers to the English privy council, thus giving it, quite informally, a British dimension.
The Overthrow of the Protectorate
Authors: Woolrych Austin 
Published: November 2023

Abstract
Richard Cromwell’s brief tenure of the Protector’s office began auspiciously. The privy council accepted without question that Oliver had nominated him to it, and Fleetwood and the senior army officers in and around London were as prompt to recognize his title. The Lord Mayor and aldermen of London were enthusiastically co-operative, and the proclamation of the new Protector, performed with due pomp, was greeted with warm applause at Whitehall, Westminster, Temple Bar, Cheapside, and the Royal Exchange. In most provincial towns too the proclamation was celebrated with bell-ringing, bonfires, parades, and cannon-fire. Only in royalist Oxford do we hear of students pelting the sheriff and his attendant troops with the tops of carrots and turnips, but that tells us more about the agelessness of student protest (probably directed there mainly against the military) than about the response of the public as a whole. Addresses of loyalty and congratulation poured in during the next three months from at least twenty-eight counties, twenty-four towns (besides London), and half-a-dozen groups of ministers covering a wide religious spectrum, as well as from the fleet and sundry garrisons and other outlying military units.
Neville against Percy, 1450-1455
Authors: Pollard A J 
Published: November 2023

Abstract
The political history of northern England in the 1450s and early 1460s is dominated by the great feud between the Nevilles of Middle ham and the Percies, which at times threw central Yorkshire into turmoil. The private war between the dominant families was described by one annalist as the beginning of the greatest sorrows in England-the start of the Wars of the Roses. And indeed it is plausible to suggest that what happened in Yorkshire in 1453 and 1454 led directly to the first battle of St Albans, Ludford, and all-out civil war. Not only were the subsequent battles, reaching a climax once more in Yorkshire at Tow ton, a continuation of the feud between Neville and Percy; but also, since the royal dukes of York and Somerset were dragged in as partisans, the struggle between Neville and Percy became inseparable from the struggle between York and Beaufort. The part played by the northern feud in the last years of the house of Lancaster has been clearly established and fully explored; its place in the history of the north-east is central. But, perhaps because the conflict between Neville and Percy has never been considered in its regional context, its genesis has been misunderstood.