bluuebunny/crossref_metadata_2025_split huggingface dataset:
Church Music
Authors: Holman Peter 
Published: November 2023

Abstract
WHEN Charles II returned to claim his kingdom in 1660 there had been little but simple psalm singing in England’s churches for eighteen years. In 1642 Parliament had ordered such part of the Common Prayer and service as is performed by singing men, choristers, and organs’ to be wholly forborn and omitted’; services were to be done in a reverent, humble and decent manner with out singing or using the organs’, and in 1644 an ordinance was issued for the speedy demolishing of all organs, images and all matters of superstitious monuments in all Cathedralls, and Collegiate or Parish-Churches and Chapels, throughout the Kingdom of England and the Dominion of Wales’. Most organs were destroyed or dismantled, and church musicians were forced to fend for themselves. A generation grew up in the 1640s and 1650s that knew nothing of the great repertory of cathedral music. Samuel Pepys (b. 1633) wrote on 8 July 1660 that he had heard very good Musique’ at Whitehall, the first time that I remember ever to have heard the Organs and singing-men in Surplices in my life’; on 4 November he wrote after a visit to Westminster Abbey that it was the first time that I ever heard the organs in a Cathedrall’.
Theatre Music
Authors: Holman Peter 
Published: November 2023

Abstract
ONE of Charles H’s first acts on his return to London was to authorize the reopening of the theatres, closed since the beginning of the Civil War in 1642. On 21 August 1660 Thomas Killigrew and Sir William Davenant, the leading survivors of the pre-war London theatre, were granted a patent allowing them to form two companies under the patronage of the king and the Duke of York. This was something new. There had been companies under court patronage in Elizabethan and Jacobean times, and Charles I granted Davenant a patent to build a theatre in 1639, a project never realized. But from 1660 the two companies enjoyed a monopoly of theatrical activity in London (it persisted until the nineteenth century, despite many vicissitudes and attempts to circumvent it), and they were supported by the king, who took an interest in their affairs, and regularly patronized them in person. His father, by contrast, had never set foot in a commercial play house.
The Chamber Music: II
Authors: Stevens Halsey 
Published: November 2023

Abstract
The remainder of Badók’s chamber music is in several categories, but with the exception of two late works it is entirely for string instruments with or without piano. While he was still a student at Pozsony he had written a piano quartet which was played there in 1898, to celebrate the name day of the director of the Gym-nasium; the following year in Budapest he was working on a quintet, but it is not clear whether this was ever completed, Koessler advising him to abandon it because of its inadequacies. A sonata for violin and piano was played in Vienna by Rudolf Fitzner, having first been heard in a concert of student compositions in Budapest on 8 June 19C3, and the following year Bartók wrote a piano quintet, which he played in Vienna in November 1904, with the Prill Quartet.
The Orchestral Music
Authors: Stevens Halsey 
Published: November 2023

Abstract
BartÓK began his creative career full of high hope for the future. His symphonic poem Kossuth, written when he was but twenty-two years old, not only was greeted with acclaim in Budapest but also brought about his first visit to England when it was played by Hans Richter in Manchester early in 1904. The First Suite for large orchestra achieved success when Ferdinand Loewe conducted the first three movements in Vienna late the following year. With these performances behind him, it would be easy to imagine that Bartók was on his way to the production of a long list of orchestral scores, and that his fame would soon spread throughout Europe and the New World.
Apprentice
Authors: Kennedy Michael 
Published: November 2023

Abstract
The ‘Paris’ quadrilles of 1880 were a souvenir of Elgar’s first visit abroad, when he went to the French capital with Charlie Pipe, who was to marry Lucy Elgar the following year. They heard Saint-Saens play the organ at the Madeleine and saw Moliere’s Le Malade Imaginaire. Edward evidently had another brief preoccupation for in 1933, when Elgar visited Delius in France, after he left Grez-sur-Loing the scent of the countryside ‘recalled a romance of 1880 … I decided to go to Barbizon, but when I passed the cross-roads the longing had passed away. That belonged to the romance of 1880, now dead.’1 He returned to Worcester, to his teaching and his work at the asylum; he took the Royal Academy of Music’s local examination in violin and ‘general musical knowledge’, passing with honours in company with the blind musician William Wolstenholme, then aged fifteen; and he was promoted to the first violins at the Worcester Festival, where the orchestration of Mackenzie’s cantata The Bride impressed him. This led in the following year to his engagement to play in the first violins of W. C. Stockley’s orchestra in Birmingham. Stockley’s Popular Concerts were a well-established Midland event and he was also chorus-master for the Birmingham Triennial Festival.
Retreat from London
Authors: Kennedy Michael 
Published: November 2023

Abstract
The years 1889 to 1899 are the most important in Elgar’s life. In this decade he went from obscurity to fame, by way of cruel discouragement. These are the years which explain how the composer of Salut d’ .·-1mour turned into the composer of the Enigma Variations. He did not, as has often been implied, become a great composer overnight in one work. No artist in any art in the history of mankind has done that. The seeds and roots of greatness grow obscurely sometimes, but their progress is traceable and recognizable.
‘Gerontius’: Disaster and Triumph
Authors: Kennedy Michael 
Published: November 2023

Abstract
Elgar was asked in November 1898 for a work for the 1900 Birmingham Triennial Festival. He wrote to Littleton of Novella’s: ‘Now I have to consider the subject, which must be sacred: can you suggest anything? and will your firm want the work? I want to make this my chief work ⃛’ Littleton did not trouble himself to reply. At first, Elgar considered St Augustine as a subject. He told Joseph Bennett, the critic of The Dairy Telegraph, in January 1899 that this idea had been rejected as ‘too controversial: this is as I feared’ .1 (The controversy can only have related to Augustine’s relations with women, not to his theology.) Elgar said he was considering ‘a purely scriptural thing, but have not fully decided’. Dorabella says2 that she heard ‘a good deal’ of the piano score of The Dream of Gerontius while on visits to Craeg Lea and Birchwood in May, June and July 1899, but her dates are wrong and she meant 1900. On one visit she heard the Introduction to Part II and ‘Praise to the Holiest’ in nearly complete form. When Elgar asked her what she thought of the latter she replied: ‘It gives me the impression of great doors opening and shutting.’ ‘Does it?’ Elgar said. ‘That’s exactly what I mean.’
Friends and Relations
Authors: Kennedy Michael 
Published: November 2023

Abstract
After the second Düsseldorf Dream of Gerontius, Alice Elgar wrote an account of the performance and of Strauss’s tribute for her mother-in-law, who had barely three months more to live. No reply survives, but one written in 1899 still applied. From the music-shop home in Worcester High Street, Ann Elgar had said: ‘What can I say to him the dear one—I feel that he is some great historic person—I cannot claim a little bit of him now he belongs to the big world.’
In these moving words are an ironic tribute, for though he was an historic person belonging to the big world, the dichotomy of his life in the years to follow was the conflict and contrast of Elgar the Historic Person with Elgar of Worcester. The London Elgar and the Country Elgar were very nearly two different people except that the personality at the heart of both was complex, so that parts of one mixed with the other, not always to happy effect. The results show plainly in his music.
Full Orchestra
Authors: Kennedy Michael 
Published: November 2023

Abstract
Elgar’s mature orchestral output after the Variations, its origins, and its varying reception by the public, is best looked at as a whole. But, in returning to the year after the failure of Gerontius at Birmingham, it is salutary to recall that not everybody reacted to his music as recalcitrantly as the majority of that festival audience. Bernard Shaw, in his famous Music and Letters essay in 1920, remembered his own scepticism ‘when the excitement about Gerontius began ⃛ But when I heard the Variations (which had not attracted me to the concert) I sat up and said “Whew!”. I knew we had got it at last.’ Arnold Bax, in his teens, became an admirer on the strength of the vocal scores of King Olaf and Caractacus. ‘Two years later to this admiration was added reverence, for The Dream of Gerontius took utter possession of what religious sense I have.’
Submission
Authors: Kennedy Michael 
Published: November 2023

Abstract
The last fourteen years of Elgar’s life are a long and slow diminuendo. Towards the end, the old energy tried to reassert itself but it was too late: by then, not only the mind but the body was tired. He did not retreat from the world and shut himself away after Alice’s death, but her departure from the scene had deprived him of a prime motivation. As he wrote to Boulton 5 August from Brinkwells: ‘I am lonely now & do not see music in the old way & cannot believe I shall complete any new work—sketches I still make but there is no inducement to finish anything;—ambition I have none …’ When he returned to ‘cold and empty’ Severn House he found interest and amusement in his microscopes and in games of billiards with his old friend and benefactor, Hugh Blair, whom he had never deserted in the hard times which had come upon him. Elgar’s life from now onwards could almost take as its motto the passage from Antony and Cleopatra: ‘“The music, ho!” “Let it alone; let’s to billiards”.’
1914–1922 ‘My Adorable, Adoredest Mum’
Authors: Gillies Malcolm , Pear David 
Published: November 2023

Abstract
On 4 August 1914 Britain declared war on Germany. Within barely a fort night Grainger and his mother had moved out of their London home, stored many of their possessions, and postponed the coming months’ engagements. Early in September they left ‘for a short trip to America, to give mother a change’, as Grainger wrote to his Uncle Frank. The Graingers, however, would never return to reside in Britain. Within months of his arrival in the United States Grainger had established himself in the first tier of New York’s concert life, advancing considerably on his London status.
1940–1949 ‘The All-Round Man’
Authors: Gillies Malcolm , Pear David 
Published: November 2023

Abstract
The Graingers visited England and Scandinavia during the summer of 1939, returning home in August, just before war broke out in Europe. Although the United States had not yet entered the war Grainger feared invasion. He hurriedly set about copying and dispatching to several different locations the more important musical and personal items in his possession at White Plains.
Digital theory
Authors: Mornington-West Allen 
Published: November 2023

Abstract
The sounds which we hear come to the ear as a continuously changing variation in the ambient atmospheric pressure. These small changes are the very ones which we aim to pick up using a microphone. The output of the microphone is an electrical signal (voltage) which is related to the pressure changes which move the microphone diaphragm. This signal is thus an analogue of the originating pressure changes, and hence it is referred to as an analogue (sometimes spelt analog) signal. The principal characteristic of an analogue signal is that it is continuous in time and that there are thus no discontinuities. Indeed, if we use a conventional oscilloscope to trace out the shape of the signal’s size or amplitude with respect to time then we might see something such as Figure 3.1. This trace we would refer to as its wave shape. We can contrast this shape with the mathematically much simpler one of a sine wave, as in Figure 3.2.
Sound processing
Authors: Elen Richard 
Published: November 2023

Abstract
‘Sound Processing’ is an excellent catch-all phrase. Once the signal has entered the recording chain, and before it reaches the final medium—the Compact Disc, record, cassette, or whatever—virtually everything that happens to it can be described as ‘sound processing’. Even level control is a form of processing. But, fundamentally, we are concerned here with techniques of altering the sound’s character. This can be done in a number of ways, and the primary techniques to consider are those involving the frequency spectrum, dynamics and time and spatial localization.
Loudspeakers and monitoring
Authors: Veale Edward 
Published: November 2023

Abstract
Studio monitoring is very subjective and emotive. What we hear is the result of the process of hearing, and this is based upon our individual learning and experiences of different sounds and sound patterns. Because no two people are likely to have had precisely the same experiences, we all tend to interpret sound in different ways. For these reasons, it is difficult to gauge what another person is hearing or interpreting from a pattern of sound. Also, the response, texture, and quality of the sound reproduced by a loudspeaker is affected by the construction of the drive units, the enclosure within which the units are mounted, and the room or space within which the reproduction is heard. With so many personal and physical variations, it is little wonder that recorded sounds are given different interpretations by different people and, furthermore, that they actually sound different from one room to another. In fact, one may marvel that any similarity is achieved at all.
Digital Recorders
Authors: Spencer-Allen Keith 
Published: November 2023

Abstract
One of the accepted benefits of analogue recording has been the stability and universality of the recording formats and standards. It is possible to find compatible machines for the mainstream formats anywhere in the world. Further, those same formats have changed very little over the last twenty years in the case of multitrack recording and far longer in the case of stereo. Even if the format is not a precise match, there is every likelihood that, provided the tape width is the same, something audible can be extracted from the recorded information.
Popular music
Authors: Ross-Trevor Mike 
Published: November 2023

Abstract
This chapter describes the basic guidelines for recording live music in the recording studio. This falls into two main categories: (a) orchestral music with rhythm section as used for easy listening albums, musicals, TV background music, and commercials; (b) small ensemble rock and pop groups aimed at the popular music charts. These guidelines can in no way be described as definitive, as the methods and ideas of today’s producers and engineers vary considerably. We shall concentrate on the recording of live musical instruments as opposed to the computer and MIDI-based areas of recording. The approach can of course be modified to suit individual situations and requirements.
Post-production
Authors: Turner Ben 
Published: November 2023

Abstract
Before the advent of the compact disc in 1982, and indeed the introduction of digital recorders from a few years earlier, recording studios mixed down to analogue stereo masters, which would then be edited into the correct running order. This tape was then taken into a cutting-room, where level changes and equalization would usually be applied at the time of transfer to lacquer disc. A simultaneous tape copy, reflecting any changes made to the original programme, could also be made. This copy was used as a ‘production master’ from which further copies could be taken. The arrival of the compact disc along with the Sony digital 1610 U-matic format, and later the Fl Betamax format, meant that digital editing, digital EQ, and final PQ encoding of the CD master could take place only at specialized and relatively expensive facilities houses.
Compact disc processing
Authors: Reynolds Gerald , Halliday Jonathan 
Published: November 2023

Abstract
The technology of digital, optically read discs has given rise to a manufacturing process of a new order of complexity. The Compact Disc is a precision moulding carrying detail of truly microscopic size, yet at the same time it is a mass-produced product. Figure 24.1 indicates the main dimensions and features of the disc. As a further indication of the relative complexity of producing CDs rather than LPs, it may be mentioned that the CD tracks are a mere 1.6 µm wide, whereas LP grooves are about 125 µm (see Plate 39).
Radio broadcasting
Authors: Fisher Dave 
Published: November 2023

Abstract
In a short space it is very difficult to do justice to so wide a subject as broadcasting, which embraces many engineering and operational disciplines. Therefore I shall try to describe the main differences between broad casting and the rest of the sound recording industry.
The following differences are generally true throughout broadcasting:
Broadcasting can be live. This means that studios, equipment, and operational procedures need to be designed for the possibility of live transmission, even though many programmes are recorded.
The absolute technical quality of a programme may take second place to its production ‘feel’, particularly if it is live. For instance, audience noise (including applause) at a live concert may add more than it detracts from a live transmission.
Songs and Piano Music
Authors: Musgrave Michael 
Published: November 2023

Abstract
Just how Brahms’s creative life might have developed without the impact of the meeting with the Schumanns and the equally traumatic effect of Schumann’s attempted suicide and decline is a matter for conjecture. Even before Schumann’s death, however, Brahms was taking stock of his position and looking to the future. He had reached a point at which his ambitions towards extended chamber and orchestral composition lay beyond his immediate powers of realization, as the problems of medium and form in the Piano Quartet in C sharp minor and the Sonata/Symphony in D minor clearly demonstrate; even the Piano Trio in B was subsequently to be radically revised.
Choral Music
Authors: Musgrave Michael 
Published: November 2023

Abstract
The remarkable scope of historical reference achieved in the keyboard works of the second period would have represented adequate evidence of a vital new attitude to the past by itself, and one quite sufficient to enrich greatly an extensive output of chamber and orchestral music. Yet the relationship seems very immediate when compared with the much more distant world he evokes in his output of choral music. For here the link between historical exploration, performance and composition is at its clearest, especially in the works written between the beginning of his period of intense study, from 1855, and the appearance of his first mature chamber and piano works from 1862.
Choral Music
Authors: Musgrave Michael 
Published: November 2023

Abstract
By the third period, the technical and professional motives which had stimulated so much smaller-scale choral music in the second period had disappeared. With his retirement from the Gesellschaft concerts in 1875, Brahms undertook less choral conducting and the preoccupation with strict counterpoint was more for pleasure than necessity: ‘When I don’t feel like composing, I write some counterpoint,’ he is quoted as stating. Thus, Brahms wrote very much less choral music. The depth of his commitment to the medium is, however, abundantly clear from its quality and individuality
Stile brillante
Authors: Samson Jim 
Published: November 2023

Abstract
The concertos were not Chopin’s first attempts at writing for the orchestra. He had already made his mark outside Poland with his performance in Vienna of the ‘La ci darem’ Variations, the work which elicited Schumann’s famous ‘Hats off, gentlemen! A genius.’ He began the work in 1827 and by the following year he had completed not only the variations but two other works for piano and orchestra, the Krakowiak-Rondo Op.14 and the Fantasy on Polish Themes Op.13. The rondo was performed at the second of his 1829 Vienna concerts and both works were given at several concerts in Poland before his final departure.
Baroque reflections
Authors: Samson Jim 
Published: November 2023

Abstract
The Grande Polonaise was a coda in another sense. For Chopin the orchestra held little attraction other than as a conventional enhancement of solo virtuosity, and his creative involvement with it ended with this work. It was his last big ‘public’ display piece, but not quite his farewell to the stile brillante. Some of the music which he produced during his early years in Paris still belongs firmly to that world. He completed the Rondo Op.16 (begun in Warsaw) and composed a set of Variations Brillantes Op.12 on a theme of Hérold, his last essays in the genres so beloved of the benefit concert.
Salons
Authors: Samson Jim 
Published: November 2023

Abstract
Apart from the polonaise and the mazurka, the one dance piece which attracted Chopin repeatedly was the waltz. It is not surprising that his earliest attempts should have followed hard on the heels of the youthful polonaises, for the waltz craze swept across Europe at an astonishing rate in the early nineteenth century. The composers who laid its musical foundations, Josef Lanner and Johann Strauss the elder, became the idols in turn of Vienna, the Austrian Empire and the wider world, and very soon their waltzes were mimicked by other composers of functional dance music.
German dialogues
Authors: Samson Jim 
Published: November 2023

Abstract
The bulk of Chopin’s mature output admits no contradiction between the popular and the significant. His waltzes, designed for the salon, lose little in sophistication to the more ambitious ballades and scherzos, too profound for the salon, yet drawing much of their energy from the waltz. There are, however, works which stand a little way outside this integrated world, with its constant mediation between the cultivated and the vernacular. On the one hand we have works such as the Bolero, the Tarantella and the Op.12 Variations which meet the demands of the salon on its own fairly shallow terms. At the other end of the spectrum lie the sonatas, where popular materials play only a modest role, subordinated to the demands of the historical archetype. The sonatas are Chopin’s most direct response to the achievements of the German Classical tradition.
Ballades
Authors: Samson Jim 
Published: November 2023

Abstract
Broadly characterised, the scherzos, like the polonaises, build extended structures from simple designs, where the larger divisions are clear, sections are contrasting and closure is optimised. The ballades, on the other hand, favour through-composed, directional structures, where transformation and variation are seminal functions, integration and synthesis essential goals. Within the terms of this generalisation we might add that the Second Scherzo leans towards the condition of the ballades and the Second Ballade towards the condition of the scherzos.