bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Composer and Pacificism
Authors: Bowen Meirio 
Published: November 2023

Abstract
People come to pacifism for many reasons. My own conviction is based on the incompatibility of the acts of modern war with the concept I hold of what a man is at all. That good men do these acts, I am well aware. But I hold their actions to spring from an inability or unwillingness to face the fact that modem wars debase our moral coinage to a greater degree than could be counterbalanced by political gains; so that the necessity to find other means of political struggle is absolute. That was certainly my conviction during the Second World War. My refusal to take part was thus for me inescapable, and my punishment with a relatively light term of imprisonment logical.
Too Many Choices
Authors: Bowen Meirio 
Published: November 2023

Abstract
The precise beginning for the essay, the moment when my mind became aware of a seemingly new way in, was a half-sentence by the painter Kokoschka. Kokoschka wrote a kind of manifesto at the end of the last war, which he entitled ‘A Petition from a Foreign Artist to the Righteous People of Gt Britain for a Secure and Present Peace’. It is a considerable petition, and quite early on appears the half-sentence, printed in bold type: ‘⃛ a fallacy is blurring the clear distinction between what is in and what is out of the mind.’ I am puzzled by the word ‘fallacy’, but on enquiry&gt; Kokoschka sent me a message that it is what he meant; there is no question of mistranslation, for he wrote his petition in English. If we discard the word ‘fallacy’ and think again of those names in the last chapter, Einstein and Freud, we can sense that whether we turn our eye into space or into the psyche, we are con fronted with ambiguity and relativity.
Patterns of Influence
Authors: Meconi Honey 
Published: November 2023

Abstract
This final chapter explores certain patterns of influence during La Rue’s lifetime and after his death, taking as subjects two composers whose example affected the way his music sounded, the paths by which his music became known in the sixteenth century, the writers who cited him and his music from the late fifteenth into the seventeenth century, and the renewal of awareness first prompted by the stirrings of musicology at the end of the seventeenth century and continuing up to our time.
J. S. Bach
Authors: Williams Peter 
Published: November 2023

Abstract
Few composers show a more sustained interest in the chromatic fourth than]. S. Bach, and as is the case with Mozart, examples taken from his work represent the most developed and varied forms of their period. In the second example the composer altered what he had first written, presumably to reflect the words (see Marshall 1970: 209-10). In the third example, a set of variations includes a lamento-bass amongst the many changes it rings, as well it might, being an early work full of old-fashioned motifs. (A nice detail is that the chromatic line springs from the hymn-tune’s opening semitone.)
Lev Ivanov’s Life
Authors: Wiley Roland John 
Published: November 2023

Abstract
Lev Ivanov was 11 when he entered the theatre school on 8 April 1845.1 His professional life officially began when he turned 16, on 18 February 1850. To count the onset of service from a student’s sixteenth birthday was an administrative policy of the time; Ivanov did not graduate from the theatre school until 20 March 1852, the last event recorded in his service record for the next six years.2
The Tulip of Haarlem
Authors: Wiley Roland John 
Published: November 2023

Abstract
That The Enchanted Forest was incidental to Ivanov’s duties as second balletmaster is implied by his work on another project whose origins were earlier, production later, and preparation concurrent with it. It was a grand ballet, and speaks yet again of the importance the direction attached to Ivanov within a year of his appointment as second balletmaster.
Operatic Interludes
Authors: Wiley Roland John 
Published: November 2023

Abstract
Over two years separate Cupid’s Pranks at the Maryinsky Theatre from Ivanov’s next ballet there, The Nutcracker on 6 December 1892. It was not a rich period in his life or art. Hisfinances were bleak, causing him to ask for advances on salary three times since the management’s refusal of his request in 1890. Petipa, officially at the helm, was suffering health problems again, and found himself on the sick list three times between December 1891 and August 1892; in the autumn of 1892 the elder balletmaster submitted to exhaustive medical examination, whence a diagnosis of the debilitating skin lesions that would plague him to the end. Petipa’s woes increased with the death of his daughter Evgenia on 26 August 1892.
Boris Godunov: Composition and Production
Authors: Brown David 
Published: November 2023

Abstract
Ithout Nikolay Karamzin Russian Literature Might have evolved very differently. In the dying years of the eighteenth century the young Karamzin sought self-consciously to transform the Russian written language, giving it a Gallic elegance, converting French words and phrases into Russian, banishing increasingly archaic Slavonic words, lightening the syntax, and bringing a French sensibility to bear upon his subjects. Poor Liza, his sentimental story of a girl seduced, then abandoned, who finally drowns herself, became a cult bestseller. In verse, too, he refined the Russian language and began probing man’s inner emotional world; as D. S. Mirsky put it, his reforms ‘facilitated the coming of an age of classical poetry: the ultimate justification of Karamzins language is that it became the language of Pushkin’.
Life alongside Boris II: KhovanshchinaBegun
Authors: Brown David 
Published: November 2023

Abstract
Utwardly Musorgsky ’S Existence for the Remainder of 1872 was uneventful. A modest promotion at work was cheering, and during the summer he often spent the weekend very pleasantly with Stasov and the history professor Platon Pavlov at Pargolovo, and the round of musical soirees continued. In July Rimsky-Korsakov’s wedding to Nadezhda Purgold took place, Musorgsky acting as best man.
Sorochintsy Fair
Authors: Brown David 
Published: November 2023

Abstract
Or Most Outsiders Nikolay Gogol Is The Most Russian of Russian writers. Born in 1809 at Sorochintsy, near Poltava, in 1831-2 he published a collection of eight tales, Evenings on a Farm near Dikanka, which brought him instant fame. Rooted in Ukrainian folklore (and with a leaven from German romance), with language that could be colourful, teeming with vivid imagery, and brimful with atmosphere, the stories told of communities peopled by simple souls (or sup er naturals) caught up in situations or events that might be comic, pathetic, touchingly human, fantastic, creepy—but almost all, in their own ways, fun.
Final Years
Authors: Brown David 
Published: November 2023

Abstract
He Faltering, Then Failing, History Of Sorochintsy Fair is paralleled in the everyday course of Musorgsky’s own last years, his life now unfolding fitfully, mostly chaotically; there is, for us, a final terrible sense of what might have been that is as total and dispiriting as with the opera itself His creative course during this last period (the composition of Khovanshchina, Sorochintsy Fair, and the last songs) has been charted in preceding chapters, though there were to be a few minor additions. On 14 July 1877 he signed the vocal score of a choral-orchestral piece, variously known in English as Joshua or Jesus (or Hsus) Navin, based on a text that Musorgsky himself devised from the Old Testament on Joshua’s defeat of the Amorites; the first part was a call to action from Joshua, the second the women of Canaan’s lament (first from a soloist, then the chorus), finally a shout of praise to Joshua, then Jehovah.
Early Vocal and Choral Music
Authors: Evans Peter 
Published: November 2023

Abstract
If the last few instrumental scores before Britten emerged as an opera composer betrayed the effect of his recent experience of word-setting in their unequivocal re-creation of definable emotional states, his earliest large-scale work for voices was evidently fashioned according to structural and textural procedures commonly thought proper to ‘absolute’ instrumental composition. How consciously the nineteen-year-old Britten conceived the choral variations as a tour de force is already to be seen in the theme (see Ex. 1).
The Five Canticles
Authors: Evans Peter 
Published: November 2023

Abstract
Apart from the few early songs without opus number that have been published, most of Britten’s activity as a song writer was channelled into the composition of the cycles discussed above. Though these are never of the linked narrative type familiar in Schubert and Schumann, we have seen that they may approach a single subject from a variety of angles suggested by an anthology of different poets’ works (the Serenade, A Charm of Lullabies and the Nocturne could even be regarded as pursuing aspects of one subject through three works) or they may consider many subjects through the words of a single poet.
Plainchant in the English Catholic Church, 1748—1799
Authors: Zon Bennett 
Published: November 2023

Abstract
While in the Catholic countries of Europe plainchant evolved without hindrance, in England the situation was entirely different. As the Reformation progressed Catholic publishing became essentially an underground enterprise, and liturgical books were particularly affected. By the beginning of the seventeenth century the publication of all such books was concentrated in the presses of English monastic or collegiate institutions abroad, although a small stream of prayer-manuals, confraternity handbooks, and devotionals continued to be published surreptitiously in England. None of these or their Continental counterparts bare any relation to Sarum or other English sources, and it would seem from the evidence that exiled Catholics simply adopted local diocesan or locally influenced Roman sources. Beginning in the 1720s, with the gradual easing of their political and social circumstances, English Catholics returned to publishing liturgical books of their own. Books without plainchant were taken exclusively from Roman sources, and those with plain-chant, from local Continental sources.
Introduction
Authors: Zon Bennett 
Published: November 2023

Abstract
With the dawning of the nineteenth century, the position of Catholics in England improved. The second repeal of the penal laws in 1791 led to a feeling of distinct political optimism amongst Catholics, and this, in combination with a host of political and moral factors, led inexorably to issues of full Catholic emancipation. Catholic agitation for change was soon redoubled, and in 1805 a ‘claim to the elective franchise’ was put forward by Lord Grenville in the House of Lords regarding the ‘Catholic Question’. Over the next four teen years and after some thirty-two bills and motions had been laid before each House, a Roman Catholic Emancipation Act was ratified in 1829 in both Houses, ensuring Catholics the fullest entitlement of civil liberties then to date. This ultimately afforded Catholics the prospect of a re-established ecclesiastical hierarchy, which, after Roman consent, was effected in 1850.
English Catholic Plainchant: The Beginning of the Nineteenth Century to the 1850s
Authors: Zon Bennett 
Published: November 2023

Abstract
The history of plainchant in Europe in the nineteenth century is of course dominated by the various attempts at scholarly restoration. Up to the middle part of the century these efforts were centred almost exclusively in France, although similar demands for revival were being voiced by Italians such as Pietro Alfieri, in his Saggio Storico Teorico Pratico del Canto Gregoriano O Romano per istruzione degli ecclesiastici (Rome, 1835) and Prodromo sulla restaurazione de’ libri di canto ecclesiastico detto gregoriano (Rome, l 857). In Germany the plainchant revival is very much bound up with the Cecilian movement, founded by F. X. Witt (1834-88) in 1868, and promulgated through two music periodicals, Fliegende Blätter für katholische Kirchenmusik (from 1 866) and Musica sacra(1868—1937).
Nineteenth-Century Anglican Plainchant Sources
Authors: Zon Bennett 
Published: November 2023

Abstract
The history of the Anglican-Gregorian plainchant revival could be said to stretch as far back as Thomas Cranmer’s a Letanie with suffrages, to be said or songe in the tyme of the said processyons, included in a publication of I 544 by Thomas Berthelet. Although there were sources of perhaps earlier date, this appears to be the earliest work known by nineteenth-century Anglican plainchant enthusiasts to have been based on Gregorian music. Cranmer’s English processional had been intended to be designed along the lines of its Latin equivalent for use in ‘national processions during the war with France’, but the work seems to have progressed no further than the litany.
Introduction
Authors: Poznansky Alexander 
Published: November 2023

Abstract
The little that at first sight seems plausible about the suicide theory de rives from two premisses, which need to be examined and refuted: first, that late nineteenth-century Russia ,vas a sexually repressive society in which sexual conduct that did not conform to the established standards was sternly penalized; and second, that Tchaikovsky all his life, and more than anything else, feared the exposure of what he allegedly saw as his abnormal, as well as immoral, inclinations. As a result, it is argued, under the threat of punishment and disgrace, the highly neurotic composer would have been compelled to take his life.
Prince: Harmonic Analysis of ‘Anna Stesia’
Authors: Hawkins Stan 
Published: November 2023

Abstract
Musically, it (Lovesexy ) is probably the most complex and unconventional body of work he (Prince) has ever produced. The dense undergrowth of twists and disjunctures to which even the most structured songs are subjected brings to mind once again the extended jam rehearsal technique Prince has always favoured. (Hill 1989: 210) ‘Anna Stesia’, off the album Lovesexy (1988), offers up a wealth of innovative and thought-provoking harmonic ideas for analysis. My purpose is to explore the harmonic thread running through the musical fabric of this song, with a view to exposing a number of techniques that govern and control it. Through a series of analytical procedures it is my intention to examine the intrinsic harmonic qualities of the song, and to assess the effects these have on its meaning.
Analysing Popular Music: Theory, Method, and Practice
Authors: Tagg Philip 
Published: November 2023

Abstract
One of the initial problems for any new field of study is the attitude of in-credulity it meets. The serious study of popular music is no exception to this rule. It is often confronted with an attitude of bemused suspicion implying that there is something weird about taking ‘fun’ seriously or finding ‘fun’ in ‘serious things’. Such attitudes are of considerable interest when discussing the aims and methods of popular music analysis and serve as an excellent introduction to this essay.
The Golden Age, Part II: I603-I625
Authors: Spring Matthew 
Published: November 2023

Abstract
True it is, I have lien long obscured from your sight, because I received a Kingly entertainment in a forraine climate … yet I must tell you, as I have beene a stranger; so have I againe found strange entertainment since my returne; especially by the opposition of two sorts of people that shroude themselves under the title of Musitians. The first are some simple Cantors, or vocall singers, who though they seeme excellent in their blinde Division-making, are meerely ignorant, even in the first elements of Musicke, and also in the true order of the mutation of the Hexachord in the Systeme, (which hath hen approved by all the learned and skilfull men of Christendome, this 800 yeeres,) yet doe these fellowes give their verdict of me behinde my backe, and say, what I doe is after the old manner: but I will speake openly to them, and would have them know that the proudest Cantor of them, dares not oppose himselfe face to face against me. The second are young-men, professors of the Lute, who vaunt themselves, to the disparagement of such as have beene before their time, (wherein I my selfe am a party) that there never was the like of them.
Postscript
Authors: Spring Matthew 
Published: November 2023

Abstract
This book was written in the last decade of the twentieth century, a century which witnessed a gradual revival of interest in and understanding of the lute, in contrast to its obsolescence in the century before. This took place in the context of a revival of early music in general. Since the r960s there has been a successful revival of the lute with centres of activity established across the globe. New technology has meant that the real costs of printing short-run editions in the form of new tablature or facsimile has plummeted such that even more obscure lute music can be made available to those who are interested. There are now significant organizations and even internet sites and e-mail discussion groups dedicated to the lute and its music, and it is fair to say that it has reclaimed an identity that was almost completely lost in the nineteenth century. Britain’s part in this renaissance has been consider able. The south of England in particular has as high a concentration of lute players and makers as anywhere in the world, and London is arguably the performance capital of the lute world. England can boast some two dozen fully professional lute makers, and there is now in place a younger generation of players who developed their skills on dedicated courses at London conservatories, many without ever having studied the classical guitar. Indeed if the guitar was their starting point, it is as likely to have been electric or folk guitar. British composers as diverse as Alan Ridout, James Erber, Stephen Dodgson, and Howard Skempton have also produced a number of new lute works, inspired or commissioned by today’s professional players. The break with the past is that these composers are not them selves lute players, as was the norm for lute composers of old.
Varnish and Varnishing
Authors: Beamnt Jams 
Published: November 2023

Abstract
Violin varnish has excited enormous interest and is associated with myths which are still promoted. This chapter may help to explain how some of the nonsense came about. Varnishing-putting a protective layer on a violin-would not be difficult but for the convention, established by classical makers, of making it look like furniture. Long before violins were made, fine furniture was finished by colouring wood and then protecting it with a clear varnish. Trying to imitate that causes a multitude of difficulties for one simple reason. Furniture on which it is worth producing a fine finish is made of hardwood. If colour is required, the wood can be stained before applying the varnish. There are dyes which, once attached to wood, are unlikely to fade under the conditions in which fine furniture is usually kept. Coloured wood can be enhanced by a clear varnish, the simplest of which is just boiled linseed oil. Because it is transparent, it need not even be uniformly thick.
The Early Piano II
Authors: Cole Michael 
Published: November 2023

Abstract
Al Though The Earlyhistory outlined in the previous chapter may appear to be comprehensive and complete, it is in fact only half the story. Quite separate from what has been reported so far is another history running in parallel, yet to be described, without which it would be impossible to understand the later history of the piano either in its musical uses or in its technical development.Up to this point, all the instruments described can be said to be derived more or less directly from Cristofori’s pioneering work. Though we have noted some quite significant differences between the pianos made in Portugal and those made in Germany, the prototypes for both forms originated in Florence, and what unites them—the Cristofori action—was conscientiously preserved in both traditions with barely any deviation from the Florentine model. Each has the Cristofori escapement mechanism, the intermediate lever, the wire¬ mounted check, and even the same type of damper. There are also good reasons for saying that the pianos that were produced in Spain and England before 1760 can be traced to this same root. But this is emphatically not the whole picture. The pianoforte as we know it today, the manner in which it is played, and its history even before 1760 would have been very different had there not been a very productive hybridization, in which Cristofori’s invention was combined with another, quite distinct musical instrument whose history we now need to examine.
Pianoforte or Pantalon? The Origins of German Tafelklaviere
Authors: Cole Michael 
Published: November 2023

Abstract
WheReas The Adventof the English square piano can be dated with some precision, and its invention attributed to one man, the origins of similar instruments in Germany are exceedingly vague. There is a dearth of contemporary references to such instruments prior to 1770, leaving a silent void which has been filled only too often with highly speculative statements that, under closer scrutiny, are found to have no basis in fact. Compounding the problems, we find that surviving instruments are also frustratingly uninformative, due to the reticence of their makers, who often omitted to sign or date their work. So, an answer to the question ‘W’ho made the first square pianos in Germany?’ may never be forthcoming. In fact, when the constructional details of surviving instruments are compared and analysed, it becomes clear that a search for the origins of such instruments does not suggest any convergence towards a single source. Instead, we find ourselves following separate trails for several distinct types, suggesting that, in contrast to the English history, we may not be looking for ‘an inventor’, or even for a group of craftsmen working within a small geographical region, but for two, three, or more separate ‘inventors’, whose various concepts were developed and propagated in widely separated localities.
Cazzati’s annunciation cantata, Del Soυrano Regnante (1668)
Authors: Crowther Victor 
Published: November 2023

Abstract
This spiritual cantata, entitled ‘Per l’ Annontiatione della Beata Vergine’, was published as the last item (no. 18) in Cazzati’s Diporti o cantate spirituale a 1, 2, 3, e 4 υoci, opus 49 (Bologna, 1688). The collection was the seventh set of Italian chamber cantatas published by Cazzati in Bologna, and the second to treat texts of a spiritual nature. The composer dedicated the edition to Laura d’ Este, duchess of Modena. She was a devout Catholic, which may account for the ascetic tone of many of the titles affixed to the cantatas (e.g. no. 7, ‘The vanity of this world’, or no. 17, ‘The fragility of human life’).
The Perti Era, 1696-1730
Authors: Crowther Victor 
Published: November 2023

Abstract
The death of Colonna in November 1695 gave the Fabbriceria in San Petronio a breathing-space in which to review the organization of the cappella. Constrained by the urgent need to repair the roof of the basilica, the senators decided to disband the regular cappella and hire musicians on an occasional basis. The only salaried musicians employed from 1696 to 1700 were the organist, Domenico Scabazzi (at L20 per month), and the newly elected maestro, Giacomo Perti (at L50 per month). During these years of austerity Perti continued to hire as many as fifty musicians for the patronal festival, but he had to wait until 1701 for the reinstatement of a regular cappella. Twenty four musicians (i.e. fourteen singers and ten instrumentalists) were appointed or reappointed. Salaries were greatly reduced from those enjoyed by musicians under Colonna, cutting total monthly expenditure on the cappella from L458 (1695) to L200 (1701).