bluuebunny/crossref_metadata_2025_split huggingface dataset:
Planned
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
According to his annotations in his copy of Chateaubriand’s tale, Jan ácek read it between 16 Aug 1884 and 23 Jan 1885. His scenario provides a division of the material into three acts, subdivided into events and some numbers, together with a cast list with voice types.
The music of the middle years, 1876-82
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Brahms had waited a long time to fulfil Schumann’s prophecy that he would become the age’s leading symphonist. With the D minor Piano Concerto, growing out of his earliest symphonic attempt, and even more with the Requiem, he might have been considered to have established his credentials as a master of major orchestral and choral forms. Yet the Symphony itself had long seemed beyond his reach. He well knew that anything he produced would immediately be judged by the highest standards, and found wanting on the slightest excuse. This was, after all, the Classical form par excellence, invested with proud tradition and enormous authority by Haydn, Mozart, Schubert, Schumann himself and, above all, Beethoven. Brahms could not avoid the feeling that here more than anywhere he was forced to challenge Beethoven on his own ground.
A Music of the Future
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
We can see from our vantage-point of 1966 that Schumann was wrong: Brahms was not to be the prophet of a new age. He is no founder of a new dynasty, not even an intermediate name in a long continuous line, but the very last of the classical Caesars ... Schoenberg, who was beginning to compose in the nineties, owes in his early works much to Wagner, something perhaps to Schubert, nothing to Brahms.
One day during the last summer of Brahms’s life, he took a walk along the shore of the Traunsee near lschl with Gustav Mahler, who was trying to enlist Brahms’s support for his candidacy as conductor of the Vienna Hofoper. It is not certain how much of Mahler’s music Brahms knew,1 but he admired him as a conductor, declaring a performance of Don Giovanni Mahler had given in Budapest in 1890 the best he had ever heard.
Musical language: technique and transformation
Authors: Watson Derek 
Published: November 2023

Abstract
Liszt’s absorption of musical styles in his youth and early maturity is as wide as the map of his travels. The list of composers from whom he made transcriptions is long, and includes some who shaped his own musical language. He had a thorough grounding in Bach and the Viennese classics. His teacher Czerny, the revered Beethoven and, later, Schubert were primary influences.
The Preparation of Copy
Authors: Caldwell John 
Published: November 2023

Abstract
It is possible to take the greatest care over editorial methods and principles, and yet to neglect those aspects of presentation which can improve the chances of acceptance by a publisher and greatly speed the process of publication thereafter.
It goes without saying that a clear script is a desideratum. ‘Good scribes use thick nibs and black ink’, ran this book’s predecessor, a recipe whose validity is amply_ confirmed by the late Thurston Dart’s bold and characterful hand. The blacker the ink-and the whiter the paper-the clearer will be the result, and the better the photocopy you make of your manuscript. It is essential to keep an exact copy: your precious manuscript may have travelled half-way round the world before you see it returned with a first proof. Copies should also be kept of all proof stages-this writer speaks from bitter experience. Nothing can completely insulate one against loss in the post or in some other way, but the keeping of copies can greatly minimize the inconvenience thus caused and also enables queries to be dealt with quickly by telephone.
The Melodic Art of the Trouvères: Orality and the Question of Melodic Variants
Authors: O’neill Mary 
Published: November 2023

Abstract
One of the most controversial and elusive aspects of trouvère scholarship remains the question of the role of orality, a rather vague term but one which embraces aspects of the generative process, of performance, and of transmission. In musicological scholarship the concept of orality has principally been invoked in relation to the transmission of the early repertoire, where it is seen to account for the lack of written sources in the considerable gap between the ‘composition’ of the early repertoire and the date of the earliest surviving written source, in many cases a period of some ﬁfty or more years. The danger of relying on negative evidence, that is the lack of written sources, as proof of oral transmission in the ﬁrst half of the thirteenth century is obvious, particularly since a study of the surviving written sources attests the existence of earlier, but now lost, written exemplars.
The Later Trouvère Tradition: Continuation and Innovation
Authors: O’neill Mary 
Published: November 2023

Abstract
Tradition is not a thing of the past but a living and dynamic process that began in the past, ﬂourishes in the present, and looks forward into the future as well. While it does not seek novelty for its own sake, it does not avoid the new in the life around it. While the repertory of trouvère song can in one sense be regarded as a continuation of the twelfth-century lyric art of the troubadours of Occitania, it evolved into a quite distinctive and markedly more diversiﬁed repertoire during the thirteenth century, particularly in the second and third quarters of that century. The unique course of its development and expansion was a direct product, not merely of the geographical relocation, but also of the immediate circumstances of its new social, historical, and cultural context.
The Interaction of Oral, Written, and Literate Processes
Authors: O’neill Mary 
Published: November 2023

Abstract
One of most dramatic developments to take place during the thirteenth century was the spread in learning and, in particular, the laicization of the book. There was a vast increase in the production of books and especially those in the vernacular. Bernhard Bischoff, Brian Stock, Simon Gaunt, and others have commented in different contexts about the emerging ‘centrality of writing in medieval French culture’ from the twelfth century onwards and the tendency ‘to privilege the written word over the spoken word’. Although by the time the production of the extant books containing the trouvère lyric repertoire was undertaken the tradition was in many regards in decline, literacy nonetheless had an inﬂuence not only in the transmission of this repertoire, but also, to a degree, on some facets of the development of the later repertoire.
Disney’s Dream: The Rite of Spring Sequence from ‘Fantasia’
Authors: Cook Nicholas 
Published: November 2023

Abstract
Stravinsky’s damning words capture the tone of academic commentary, in so far as there has been any such thing, on the film that Walt Disney believed ‘would signal a new dawn for the animated cartoon’. 3 Disney’s hopes were pinned not only on the technical innovations that ‘Fantasia’ exploited (including unprecedentedly intensive use of the studio’s multi-plane cameras, which allowed independent control of several layers of animation, and a multi-speaker sound system known as ‘Fantasound’), but also on the prospect of bringing works of the high art tradition to mass audiences. ‘Think of the numbers of people who will now be able to hear your music,’ he told Stravinsky.4
Dresden and Vienna
Authors: Stockigt Janice B 
Published: November 2023

Abstract
It is not known exactly when Zelenka arrived in Dresden. According to a petition dated 18 November 1733 and addressed to ‘Allerdurchlauchtigster Großlmächtigster König und Churfürst, Allergnädigster Herr’ (Friedrich August II), Zelenka claimed that ‘already for twenty-four years I have had the honour of serving Your Most High Royal House’. If this is an accurate statement, then he must have arrived in Dresden in late 1709 or 1710, a date supported by Fürstenau, who wrote ‘Im Jahre 1710 ward Johann Dismas Zelenka also Contrabassist mit 300 Thlr. Gehalt angestellt’. However, in a later petition to Friedrich August II, dated 11 February 1736, Zelenka stated that he ‘had the privilege to serve in the August Royal Household for twenty-five consecutive years’, an indication that he arrived during 1711.
Owners, Dealers, and Prices
Authors: Maunder Richard 
Published: November 2023

Abstract
ALTHOUGH many advertisers of instruments in the Wienerisches Diariuml Wiener Zeitung preferred to remain anonymous, and former owners of effects sold at auction were very rarely named, some of them can be identified with reasonable confidence because entries in the ‘deaths’ column show that the addresses given were theirs. Much can therefore be learnt about instruments belonging to both professional and amateur musicians, which supplements what is already known from other sources such as letters: see Appendix C for a full list of eighteenth-century Viennese owners and their instruments.
Glenn Gould
Authors: Bazzana Kevin 
Published: November 2023

Abstract
This book is a detailed study of the Canadian pianist, broadcaster, writer, and composer Glenn Gould (1932-82). While focussed primarily on his performances, it also situates his work and thought more broadly within relevant musical, cultural, intellectual, and historical contexts. It incorporates most of the existing primary and secondary literature on Gould, as well as many ideas, interpretations, and perspectives that have never before been offered. It also incorporates ideas from a wide range of literature, both musical and otherwise, and has benefitted from on-site research at The Glenn Gould Papers in the National Library of Canada. The book offers a more comprehensive, balanced, and thoroughly researched portrait of Gould as pianist and interpreter than any previous volume in the Gould literature. Following an introduction that summarizes Gould's career and the posthumous interest in him, the book divides into two parts. Part 1, `Premises', focuses on the intellectual and aesthetic ideas that informed Gould's performances, and draws on literature from many fields, including music history and aesthetics, cultural history, the history of performance practice, theatre, literary criticism, and music analysis. The three large chapters of Part 1 cover a wide range of topics: Gould's idealism, views on the musical work, musical tastes, and repertoire; his position on the role of the performer; the analytical, critical, and ethical discourses embodied in his performances; and his approach to performance in the contexts of Romanticism, modernism, neo-Classicism, post-structuralism, the historical performance movement, twentieth-century theatrical and literary practices, and cultural currents in the 1950s and 1960s. Part 2, `Practices', focuses in detail on Gould the pianist, illuminating important features of his style through prose description and critical analysis, and including graphic musical examples and plates. This second part focusses on specific aspects of Gould's performance practices: his relationship to the piano; his approach to counterpoint, rhythm, dynamics, articulation and phrasing, and ornamentation; and his uses of recording technology as a kind of performance practice. A conclusion serves in part as a summary of previous findings, but also discusses how, in light of these findings, Gould's work as a performer might ultimately be assessed.
Change and Constancy: The Essential Lutos ł awski
Authors: Stucky Steven 
Published: November 2023

Abstract
Witold Lutos ławski’s professional life spanned sixty years, from the Piano Sonata in 1934 until his death in 1994. Now that new works have ceased to flow from his pen, Lutos ławski’s long artistic trajectory can be viewed in full. But what sort of arc does that trajectory describe? Can its beginning and end points be understood as stations on a single, unbroken journey, or do Lutos ławski’s periodic shifts in musical language, some of them seemingly extreme, suggest instead a series of separate, shorter trajectories? Does his reuvre represent one fundamental, unchangeable musical persona, or several?
Rites of Passage: Nove cantum melodie, the Burgundian Court, and Binchois’s Early Career
Authors: Weller Philip 
Published: November 2023

Abstract
Thewedding in 1430 of Philip the Good and Isabella of Portugal was one of the high points in a constellation of political and ceremonial events which together shaped the self-image of the Burgundian court under Philip the Good during a crucial phase of its development. While the rise of the duchy of Burgundy is an extraordinary political and cultural phenomenon in its own right, the concatenation of events leading up to and flowing from the time of the wedding represents a historical moment of special significance. Music played a crucial role in these events, not as mere ‘luxury’ and decoration, but in channelling and concentrating their significance as vital and formative elements in the life of the state. As the occasions attendant on the nuptials came and went, music was a prominent and often very public part of the proceedings. Furthermore, it played a supremely ‘functionar role-functional not in the prosaic modern sense of a merely pragmatic or cosmetic adjunct to events, but in the stronger sense that the events themselves were focused and amplified, and thereby made more powerful and significant, by the varied musical manifestations that accompanied them.
Binchois the Borrower
Authors: Kirkman Andrew 
Published: November 2023

Abstract
In his chanson Je me merveil/J’ay pluseurs fois, Jacob de Senleches issues a censure that strikes the modern listener as surprisingly familiar. Lamenting that many around him are attempting composition, he resolves to relinquish his craft, since, as he says, they are engaged in copying, or imitating, the work of others (‘se veult meller de contrefaire’). Senleches’s comment is clearly, and cleverly, ironic: he sets the word ‘contrefaire’ to a direct quotation, as Yolanda Plumley has revealed, of Philippus de Caserta’s En attendant souffrir; indeed, lest there be any doubt about it, Senleches quotes the song’s opening. Nor is this the only time that the latter draws on the farmer’s work: Senleches’s En attendant, Esperance contains its own musical reference to En attendant souffrir, one of a network of musical and textual interconnections which, as Plumley has traced, link his music with that of other composers working in the musical hothouse of the ars subtilior.
Soviet Opera at B.B.C.: Shostakowitch’s ‘Lady Macbeth’ (1936)
Authors: Kildea Paul 
Published: November 2023

Abstract
‘Oedipus Rex’ broadcast on February 12th, and ‘Lady Macbeth’ broadcast on March 18th with Albert Coates conducting, are the most important events of this season’s B.B.C. concert programmes. Shostakowitch belongs to the school of young Soviet composers. His latest opera Katrina Ismailowa is a love story which is treated very naturalistically. The opera had a tremendous success in Prague and other Western European countries.‘Oedipus Rex’ demonstrated Stravinsky’s remarkable sense of style in drawing inspiration from every age of music and in leaving the whole a perfect shape, satisfying every aesthetic and emotional demand. But since the established idea of’originality’ dies hard, it is easy to see why Stravinsky’s later works are regarded with disfavour. Another difficulty is his later method of dramatic composition. The set, stylised musical numbers, the Latin words, and the masks worn by most of the actors combine to give the impression of an impersonal comment on Sophocles’ drama rather than a re-enactment of it.A deep contrast to this method appears in ‘Lady Macbeth.’ Here the music is the terrible sadistic drama itself, and it is only in the remarkable entr’actes that Shostakowitch makes detached comments on the previous gruesome events on the stage.
‘As You Like It’ Walton’s Music (1936)
Authors: Kildea Paul 
Published: November 2023

Abstract
That the directors of 20th Century Fox Film Corporation should have invited one of the 20th century stars of British music to write for one of its biggest productions is very creditable indeed.1 But the invitation seems to have exhausted their enterprise. His name, perhaps symbolically, is absent from the programme, and the opportunities he has had for writing serious film music seem negligible. There is, of course, the Grand Introduction over the credit titles-pompous and heraldic in the traditional manner. There is a Grand Oratorio Finale with full orchestra, based on Elizabethan songs, in which a bunch of Albert Hall contralti is very prominent. Both these are written with great competence, andindeed Walton is incapable of any sort of inefficiency.But apart from suitable Waldweben2 noises at the beginning of each sequence, which tactfully fade out as the action starts, that is the whole of Walton’s contribution to As You Like It.Once [sic] cannot feel that the microphone has entered very deeply into Walton’s scoring soul.3 A large orchestra in which strings are very prominent has been used, and in the accompanying pastoral music one is conscious of the energetic ranks of the London Philharmonic sweating away behind the threeply trees.
Vienna (1945)
Authors: Kildea Paul 
Published: November 2023

Abstract
To a musician, of all cities in the world, Vienna must surely be the best beloved. From the day when one’s childish fingers stumbled through the sonatas of Mozart, or the Moments Musicales of Schubert, to the exciting day not long before this war when one heard the Violin Concerto of Alban Berg for the 1st time, Viennese music has played a dominating part in one’s life. In that great and lovely city there has flourished a musical tradition which nothing has yet supplanted. For two hundred years every kind of music has flowered there. Masses, Operas, Symphonies, Concertos, all sorts of dance music, songs, chamber music and so on. For two hundred years, Vienna has been the spiritual home of the most extraordinary number of great composers. If they weren’t lucky enough to be born there, they emigrated there. Gluck, Haydn, Mozart, Beethoven, Schubert, Lanner, all the Strausses, Brahms, Bruckner, Mahler, Schonberg, Berg and Webern, and the rest of that glorious list. Sometimes they cursed Vienna for her laziness; despised her for her narrow-minded-ness: Figaro was a flop: Schubert never heard his C-major Symphony: Mahler had unending battles with the press: Berg was never officially recognised: but always her sweetness, and charm, her gaiety and her warmth, coaxed out of composers the best they had to give.
Peter Grimes (1945)
Authors: Kildea Paul 
Published: November 2023

Abstract
During the summer of 1941, while working in California, I came across a copy of The Listener containing an article about George Crabbe by E. M. Forster. I did not know any of the poems of Crabbe at that time, but reading about him gave me such a feeling of nostalgia for Suffolk, where I had always lived, that I searched for a copy of his works, and made a beginning with ‘The Borough.’ Mr. Forster’s article is reproduced in this book: it is easy to see how his excellent account of this ‘entirely English poet’ evoked a longing for the realities of that grim and exciting seacoast around Aldeburgh.1Earlier in the year, I had written the music of Paul Bunyan, an operetta to a text by W H. Auden, which was performed for a week at Columbia University, New York.2 The critics damned it unmercifully, but the public seemed to find something enjoyable in the performances. Despite the criticisms, I wanted to write more works for the stage. ‘The Borough’-and particularly the story of ‘Peter Grimes’-provided a subject and a background from which Peter Pears and I began trying to construct the scenario of an opera.
Piano works by Frederic Chopin and Gabriel Faure (1949)
Authors: Kildea Paul 
Published: November 2023

Abstract
A great virtuoso pianist of the nineteenth century did not, as today, only give recitals in mammoth concert-halls with delirious audiences of thousands; he also appeared in the exquisite drawing-rooms of elegant and discriminating patronesses. For these delicate occasions, very extended or strenuous compositions were out of place-being wearisome and rather embarrassing at such close quarters. So a kind of short, decorative and evocative music has come to be called Salon music. We have nocturnes, impromptus, fantasias, barcarolles, scherzos, and every sort of dance music-though never to be danced to. All the best ideas of Chopin were cast in this form, and with his superb melodic gift, and his vivid and original imagination for colours, many small masterpieces were created. Half-a-century later Faure was writing for the Paris Salons. At first his little pieces were closely modelled on Chopin, but soon he developed a highly original style of his own-most personal melodies, with daring and surprising harmonies, and always beautifully imaginative textures. One often feels that his audiences must have been bewildered by the strangeness and apparent vagueness of some of his later pieces, especially the great Nocturnes.
Boyd Neel: The Story of an Orchestra (1950)
Authors: Kildea Paul 
Published: November 2023

Abstract
It gives me great pleasure to introduce this account of the Boyd Neel Orchestra by its gifted and energetic founder and conductor. Such an account is welcome, for in its seventeen years of existence this orchestra has gained an important position in our musical life. The Boyd Neel Orchestra was the first in Great Britain and among the first in the world to establish on the musical scene the small self-contained orchestral ensemble. To their efforts largely is due the fact that the public nowadays will accept the distinction between Great music and Big music, will realize that importance is not achieved by a large, thick sound and that a band of hundred is not five times as good as a group of twenty. And what a repertoire the orchestra has made known to us-not only music foreign to the limited, nineteenth century-ridden orchestral programmes of to-day, but also much familiar music which yet needs the thin clear lines of a small ensemble to make really musical sense. Let us composers, too, remember what Boyd Neel has done for us. Not only has he asked for and used new music but-here’s the difference-he has used it many times.1 If Boyd Neel and his orchestra like and believe in new music, they play it over and over again until the audience get used to it and begin to like it too; not for it a first performance and then the dusty shelf.