bluuebunny/crossref_metadata_2025_split huggingface dataset:
Pralltriller
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
As we have seen, especially in Chapter 12, a stepwise descending succession of notes is the classic instance of where a Pralltriller occurs; and here it almost always has to begin on the main note. Here even confirmed devotees of the ‘auxiliary’ admit the main-note execution, though with the wrong proviso that there must be a slur.
Free Embellishments in Bach’s Keyboard Works
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
One of the most noticeable differences between the music of the Baroque era and that of the Classical period is the fact that in the former richly decorated melodic lines predominated, particularly in slow movements, whereas towards the end of the eighteenth century there gradually arose a predilection for cantilenas and long sustained singing notes. Of course these melodic forms have always existed side by side, yet it is possible to state in general terms that in slow baroque pieces straightforward sustained lines were the exception, whereas in the Classical and Romantic epochs they tended to be the rule.
Haydn and Shaftesbury Music and Morality
Authors: Schroeder David P 
Published: November 2023

Abstract
Haydn had been an active composer for three decades by the 1780s, and had thoroughly established his mastery in all facets of composition. The new level of sophistication and challenge apparent in his works at this time, therefore, appears to have implications beyond matters of craft. To suggest that these implications concern the Enlightenment, however, raises immediate problems and questions. One normally associates the Enlightenment with fields such as philosophy, politics, and literature. If music is to be added to the list-and instrumental music in particular-it becomes necessary to proceed with a critical framework which greatly expands what one normally thinks of as the province of a type of composition such as the symphony. One must also be clear in defining what the Enlightenment may have meant to a late eighteenth-century Austrian composer since this phenomenon was international and in some countries had lost much of its impetus by the time Haydn appears to have developed an interest in it. In order to attempt to answer some of these questions and lay the groundwork for responding to others, it is necessary to define as clearly as possible the nature of enlightened thinking which Haydn is likely to have encountered, and establish the sources of his familiarity with this body of thought.
String Quartets, Op. 33 ‘A New and Special Way’
Authors: Schroeder David P 
Published: November 2023

Abstract
In issuing the notice of his String Quartets, Op. 33, Haydn announced to potential subscribers that this set was written in ‘a new and special way’. Connoisseurs who knew the Op. 20 set may have found this to be a somewhat inflated claim, possibly suspecting that it was made for commercial rather than musical reasons. Numerous scholars since Adolf Sand berger at the end of the nineteenth century have been prepared to take sides on this issue, some claiming that these quartets represent the beginning of mature classicism in music and others dismissing the remark as mere sales promotion.
Theory versus Practice Aesthetics and Instrumental Music
Authors: Schroeder David P 
Published: November 2023

Abstract
An intriguing separation inevitably appears to exist between theory and practice, between the thinking of eighteenth-century music theorists or aestheticians and the compositional approaches of a practising musician such as Haydn. Aesthetics, as a branch of philosophical inquiry, has its own principles and procedures, and need not be disturbed by the approaches to art emerging at the same time. Modern aesthetic historians, such as Rene Wellek, make no apologies for the independence of their discipline and its detachment from the practice of writing.1 Concerning music aesthetics, Carl Dahlhaus simply states that it is shaped by philosophical or literary considerations.2 From the historian’s point of view, then, the importance of the activity is in no way diminished by a lack of correspondence with practice. It is on this premise that John Neubauer proceeds in his recent study entitled The Emancipation of Music from Language.3 Similarly for the theorists of the eighteenth century, there was not always a necessary link between theory and practice, as their agendas were often determined by prior theoretical discourse or other aesthetic principles.
Haydn and the English Audience
Authors: Schroeder David P 
Published: November 2023

Abstract
For writers of the eighteenth century, a necessary balance existed between approbation and a higher purpose in art. This balance, according to Shaftesbury, concerned orators, leaders, and practitioners of all the arts: ‘where chief men and leaders had the strongest interest to persuade, there was the highest endeavour to please’ (Char. i. 237). The artist could neither disdain his audience nor ingratiate himself with the public. His task was to ‘polish the age’ or refine the public so that his efforts would have consequences for the present as well as the future. While giving pleasure and providing moral instruction were seen to be inexorably linked, they nevertheless can be examined as separate phenomena, since each needed to be cultivated and nurtured on its own terms. In the case of Haydn, one can see him at times pursuing these separately in his own works, taking steps which have specific effects on either gaining audience approval or providing intellectual challenge. On the one hand, there is no doubt about his sense of business acumen, while on the other, he shared the values of the society which made up his audience and built these values into his works. Putting these into practice required the assistance and opinions of others, and in England these were readily forthcoming.
Melodic Sources and Musical Images
Authors: Schroeder David P 
Published: November 2023

Abstract
The interaction of opposing forces near the beginning of first move¬ ments is fundamental to Haydn’s symphonic language in the late symphonies, and a primary facet of this interaction is to be found in the relationship of the slow introduction and the initial ‘allegro’ theme. The importance of the introduction to Haydn’s late symphonic language is evident not only in its frequent use but also in that there is a thematic relationship of this material to the first theme in the fast tempo (or some other part of the first movement). The fact that this material is both contrasted and thematically related seems to suggest the possibility that the relationship may be of critical dramatic importance, and in numerous examples this relationship is indeed crucial to the dramatic unfolding of the movement. In works such as Nos. 97 and 103, in which the introductory material appears at some other point or points in the movement, one cannot doubt that this is of the greatest dramatic significance. In others as well the affective contrast and thematic similarity may also have a strong bearing on subsequent events of the first movement.
Symphonies and the Salomon Concerts
Authors: Schroeder David P 
Published: November 2023

Abstract
Haydn’s decision to spend a few years in England has been a source of satisfaction to most English observers, in the twentieth as well as the eighteenth century. Among some writers in the present century, in fact, this feeling has been extended to include a view of mutual advantage, a sense that rubbing shoulders with the English released in Haydn ‘the still untapped spring of creative life within him’. Some non-English Haydn scholars have taken exception to this ascendant view of his London works, and one in particular has reflected that ‘in light of his total output their importance has been exaggerated’. The English works are in a sense special, but not, of course, because of some newly discovered inspiration which makes them superior to previously written works. The differences clearly are not qualitative. Indeed, in the case of the symphonies, one could argue that the works written for the first season of Salomon Concerts are no more advanced than most of the symphonies written for performance in Paris.
Beethoven’s Artistic Aims
Authors: Cooper Barry 
Published: November 2023

Abstract
WHAT was the underlying motivation for Beethoven’s compositional activity? On one level he regarded composition as necessary for earning a living,’ but the prime motivation lay much deeper. It seems that from an early age he felt an urge to compose, and this urge remained with him throughout his life. He did in fact expressly mention it at a remarkably early date (14 October 178 3), in the dedicatory letter for one of his first compositions, the three ‘Kurfiirsten’ sonatas (WoO 47): ‘My Muse in hours of sacred inspiration has often whispered to me: “Make the attempt, just put down on paper the harmonies of your soul!” ⃛ My Muse insisted—I obeyed and I composed.” In later life he occasionally repeated similar ideas, referring to his talent commanding him, or more poetically to sacrificing himself to art or to the heavenly Muses. His desire to achieve greatness or even immortality through his compositions also played its part in stimulating his creative drive; andin addition he felt a certain sense of mission to be accomplished.
Recurring Ideas
Authors: Cooper Barry 
Published: November 2023

Abstract
BEETHOVEN’S musical style was inevitably founded in the musical language of the time and shaped by the influences of a great variety of music from Bach and even Gregorian chant to works by such contemporaries as Clementi and Cherubini. But from these influences and within this language he created his own highly personal style, easily recognizable because many of his most original and characteristic musical ideas recur in several works. As he grew older and built up an increasingly large fund of original ideas that could be reused, his distinctive style became even more pronounced. The term ‘musical idea’ in this context is very broad, ranging from short motifs to overall structures; it can encompass harmonic progressions, individual chords, key relationships, methods of development, rhythms, textures, types of contrast, and combinations of these or other elements. The idea may be reused in a quite different way and in a different context, and it may be modified so much that it is almost unrecognizable, so that it is difficult to tell in borderline cases whether there is any real relationship or not. And some ideas are so basic and commonplace that their reuse is not confined mainly to Beethoven; here too there are borderline cases. With these few caveats in mind, let us examine the various ways in which ideas from his earlier works reappeared in later ones, and how far back in his output such ideas can be traced.
The Vertical Dimension and the Finishing Touches
Authors: Cooper Barry 
Published: November 2023

Abstract
THE sketches discussed so far concentrate on the horizontal dimensions of Beethoven’s music—the form, lengths, and proportions of different sections, tonal relationships, rhythm, and melodic outline. But Beethoven also had to work out the vertical dimension, including such matters as harmony, texture, orchestration, and dynamics; each of these was tackled in a slightly different way from the others and in a very different way from the horizontal elements. Little has been written about this aspect of his compositional process except incidentally during discussions of other aspects, but such elements obviously play a vital role in the finished work and so it is important to understand how they were approached.
A Creation in Three Phases: The Late Bagatelles
Authors: Cooper Barry 
Published: November 2023

Abstract
tHE two late sets of bagatelles—Op. I 19 (eleven pieces) and Op. 126 (six pieces) —raise a number of questions about Beethoven’s creative process. Why did he, during a period when he was working on the Missa solemnis and the Diabelli Variations and had other large-scale compositions in mind such as another Mass and an opera, bother with such relatively trivial pieces? How much trouble did he take in composing them? And how far is each set a unified whole rather than a collection of oddments? The answer to the first two questions is best provided by a detailed look at the origins of the pieces. The traditional answer to the third question is that Op. 119 is a heterogeneous collection while Op. 126 is a unified cycle, but this view is somewhat misleading, as will be seen. Before the two published sets of bagatelles are examined, however, it will be necessary to consider some other bagatelles that Beethoven did not publish, for it is clear from his correspondence and his sketches that the seventeen pieces were not the only bagatelles he considered publishing during the 1820s. In particular he seems at one time to have assembled a group of at least twelve bagatelles, most of which were not published until long after his death.
The Technical Basis of Movement and Expression
Authors: Hurford Peter 
Published: November 2023

Abstract
THE increasing sensitivity of modern mechanical-action organs presents a healthy challenge to the performer, for as well as conveying his musical intentions with greater fidelity, it can reveal his technical shortcomings in devastating detail. The performer is therefore encouraged to apply himself not only to interpretative study, but also to the means whereby his interpretation may best be projected to the listener. In matching his technique to the instrument’s potential, he is taking a vital step towards the ideal of the interpretative entity of performer and-instrument.
Some of the problems inherent in the organ as a musical instrument were outlined in Chapter I. The present chapter suggests a basic technical approach to the instrument which, bearing these limitations in mind, will permit convincing and effective music-making. It bears the same relationship to actual performance as does a recipe to good cooking-only with constant practice and a good nose might you tum out to be an Escoffier; only with a good ear and the intelligent application of technique can the suggestions in this chapter be fully utilized. The ear is the best organ an organist ever has, and often, alas, the least used; as with any other part of our sensory apparatus, its capabilities will improve with practice.
The French Classical School
Authors: Hurford Peter 
Published: November 2023

Abstract
THE period which spans roughly the reign of Louis XIV witnessed the fust great flowering of the French organ and its music. The importance of .Bach and the north German school at the turn of the seventeenth and eighteenth centuries has tended to overshadow that of the grand siecle1 in terms of the development of the French organ and the music written for it. Modern musicology, particularly in America, has concentrated most of its efforts on the German culture of the period, and organ design has followed suit. Had there been, since the 1930s, at least as much interest in the classical French organ school as in the German, the qua1ity of musical interpretation upon the organ might well have been higher at the present time. The character of the French organ and its music demands a sensitivity to colour, line, and movement that can only be of immediate va1ue to an emerging musician, and the modern student’s curriculum should certainly include some study of this field.
Introduction
Authors: Berger Anna Maria Busse 
Published: November 2023

Abstract
The origin and interpretation of time signatures, the signs control ling the temporal relationships in the music of the Middle Ages and Renaissance, is one of the least understood and most controversial topics in music history. It is also a topic of central importance for anyone attempting to comprehend the evolution of music in the West. The signs made it possible for the first time to rationalize all temporal relationships in music, and thus constituted a crucial chapter in the process of rationalization that (according to the well known thesis of Max Weber1) characterizes the history of Western music.
Prelude1833-1852
Authors: Avins Styra , Eisinger Josef 
Published: November 2023

Abstract
When Johannes Brahms was born, on the seventh of May 1833, in Hamburg, there was never a doubt in the minds of his parents but that he would become a musician. He was named after his father, Johann Jakob (and mother Johanna and grandfather Johann!), and it was expected that, like him, he would learn to play as many instruments as necessary to earn a living performing in dance bands, theatre orchestras, military bands, and symphony orchestras.
In Vienna, Sometimes1863-1870
Authors: Avins Styra , Eisinger Josef 
Published: November 2023

Abstract
That Brahms stayed in Vienna through winter and spring is due to circumstance rather than plan. His family probably had some inkling of the hopes that had been dashed in Hamburg-his sister’s letters, in particular, sometimes allude to what life would have been like ‘if .. .’-but Brahms kept his hopes of an appointment to Grund’s old job a secret to all but a very few people. As far as his acquaintances knew, the decision not to come home was simply due to the success of his exploratory trip to Vienna, a rather striking success in fact, gained in remarkably short order in a city where music held a place of honour far greater than in his own.
Agazzari’s Treatises and Sacred Latin Works
Authors: Reardon Colleen 
Published: November 2023

Abstract
‘I have devoted myself more to practice than to theory,’ wrote Agazzari to Giovanbattista Doni in 1636, blissfully unaware of the ironic resonance the statement would carry over 350 years later. He spoke the truth: his two treatises are dwarfed by his 333 compositions.
The Art of Practising
Authors: Schuller Gunther 
Published: November 2023

Abstract
There are two primary elements that can make practising a success: intelligence and perseverance. What one student may accomplish through hours of hard, physically tiring work, another may attain in half the time by applying logic and intelligent thinking. Many students never learn to think a problem through. Instead they stubbornly hammer out exercises which deal with the problem at hand only superficially or deal with an altogether different problem. While such practising is not completely useless, it is obvious that correct diagnosis of a problem will lead to more fruitful practising results.
G
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
GAAB, Hermann (fl. 1820-21). Piano maker in Vienna. (Ottner/WIEN, 53) GAIDON (est. 1820). Piano makers in Paris. (Haine/FACT) GAISER, Christian [fl. c.1800-25?]. Piano maker in Rastatt, Baden-Württemberg.
H
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
HABERACKER, John lfl. 1820]. Piano maker in Reading, Pennsylvania. SERIAL No. 104 DATE: c.1820 STYLE: Square COMPASS: 5 oct.: FF-f3 LENGTH: 159.8 WIDTH: 56.5 DEPTH: 22.7 TOTAL HEIGHT: 82.8 CASE: [Rosewood or cherry); rounded comers, inlaid wood stringing near the lower edge; six slim rounded tapered legs with brass collars and cuffs, casters INSCRIPTION: JOHN HABERACKER I READING on a dark ellipse ground with floral garlands STRINGS: Double-strung: FF-E. wound brass; F-e brass; £-f’ steel; some missing, some replaced SCALE: c•-26 (28.7) NATURALS: Ivory: 4.2 (head), 2.2 SHARPS: Ebony tops: 8.1, 0.8 ACTION:
I
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
IBACH. Firm of German piano makers founded in 1806 in Barmen, near Diisseldorf, by Johannes Adolph Ibach (b Lüttringhausen near Barmen, 17 Oct. 1766-dBarmen, 14 Sept. 1848). After Johannes Adolph had learned his craft, he opened his first independent organ and keyboard instrument work shop in Beyenburg (now Barmen), in 1794. By 1801 he also worked in Rittershausen and in 1806 in Wupperfeld. In 1816 he had again expanded by opening a large workshop in the AlleestraBe at Unterbarmen.
T
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
TANNENBERG (originally TANNEBERGER), David (b Berthelsdorf, Saxony, 21 Mar. 1728-d York, Pennsylvania, 19 May 1804). Maker oforgans and perhaps of clavichords and pianos. Tannenberg arrived in America in 1749 and settled in the Moravian community of Bethlehem, Pennsylvania. He and his wife lived for a time at Whitefield House in nearby Nazareth, where Tannenberg ap prenticed with Johann Gottlob Clemm (q.v.), who also was a resident of Whitefield House. Tannen berg is said to have built two pianos in 1795 and 1804; however, none of his pianos is extant. He taught the piano maker John Philip Bachmann (q.v.}, who was his son-in-law. (Bruner/THAT, 69-74; Libin; Mann/PIANO, 121-32)
Repeat Conventions and Embellishment
Authors: Harrison Bernard 
Published: November 2023

Abstract
The practice of omitting certain formal repeats in eighteenth-century music (in particular, the omission of the second repeat in a binary movement and the omission of both repeats in the da capo of minuets) has become so commonplace that it may be regarded as a modern convention. The reasons for the adoption of this practice are complex and to some extent actually have their origins in some late eighteenth-century music; extra-musical factors associated with modern performance are, however, probably equally responsible for the widespread present-day practice. Whatever the reasons, and the justifications, for the omission of certain repeats in modern performance may be, it seems to be clear that there is little eighteenth-century evidence to support modern convention. Studies by Macdonald, Broyles, and others have described repeat conventions in a large amount of eighteenth-century music in various genres. My purpose here is to study the repeat conventions operable in Haydn's keyboard music and to compare these with trends observable in the eighteenth century as a whole.
Arpeggio, Slide [Schleifer], and Anschlag
Authors: Harrison Bernard 
Published: November 2023

Abstract
The attention given to the arpeggio in eighteenth-century treatises is minimal by comparison with the detail in which other ornaments are discussed. The reason for this may not be, as Neumann believes, that theorists resorted to a few stereotyped comments and standard realizations because of the difficulty of describing and illustrating the actual performance of this ornament, but because the arpeggio in galant and Classical keyboard music is relatively unproblematic. The complex notational systems used in French keyboard music of the early part of the eighteenth century to distinguish between ascending and descending arpeggios and to indicate various types of arpeggios ornamented with passing notes are not relevant to Haydn's keyboard music, or, in general, to music and treatises on performance practice from the second half of the eighteenth century. Problems relating to the performance of passages written as a series of chords but marked ‘arpeggio’ (such as occur in J. S. Bach's Chromatic Fantasy in D minor, BWV.903, or in a number of C. P. E. Bach's freien Fantasien) are also irrelevant to a discussion of Haydn's keyboard music, since passages of this type do not occur: continuous arpeggios are, of course, found in Haydn's music but they are figurative and written with precise note values rather than being a function of improvisation. Arpeggios, as ornaments, in Haydn's music occur relatively infrequently, are almost always associated with the strongest beats in the bar, and, I would suggest, primarily serve the purpose of accentuation.