bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Social Context
Authors: Wilson Blake 
Published: November 2023

Abstract
Throughout the history of republican Florence conflict has been both a debilitating and a generative force. The ceaseless clash of factions was a constant source of both private and public misery to Florentines, yet this strife could also be transformed in a society that drew vitality from the ebb and flow of a highly politicized environment.
One of the most generative conflicts of this society was, broadly speaking, that between sacred and secular forces, between a church shaped to the needs of a feudal, rural society, and a burgeoning mercantile, urban society that required a fundamental redefinition of religious practice and belief The inhabitants of Europe’s young cities, and above all the most numerous and characteristic of them, the guildsmen, proposed an entirely new ordo to late medieval society.
Lauda-Singing and the Laudesi Company in Florence
Authors: Wilson Blake 
Published: November 2023

Abstract
The early history of institutional lauda-singing in Florence belongs to the second half of the thirteenth century. Most of the laudesi companies (and there were at least twelve by the fourteenth century) were founded in the two decades between 1270 and 1290, and had either developed directly from, or were modelled upon, the older Marian congregations established by St Peter Martyr in 1244–5.
The manner in which lauda-singing developed during the years between 1244 and c.1270 is unclear. The Marian and anti-heretical nature of many early lauda texts suggests that the earliest confraternity laude were composed immediately in the wake of inquisition activity like that of St Peter Martyr, and then became an expanded and specialized devotion as heresy declined in the late thirteenth century (by c.1265 in Florence).
The Grand Tour (I): London (1764–1765)
Authors: Zaslaw Neal 
Published: November 2023

Abstract
Given the role of symphonies in Salzburg’s musical life, the infant Wolfgang undoubtedly heard them performed. Certainly he was not closeted away from public music-making, which would have been contrary to Leopold’s policy of educating his son by allowing him to hear a wide range of music. Evidence of Wolfgang’s early participation in events that included symphonies is found in the libretto of Eberlin’s oratorio Sigismundus Hungariae rex, performed in the Great Hall of Salzburg University on 1 and 3 September 1761, which lists the almost six year-old child among the performers.1 Wolfgang may also have heard symphonies during a brief visit to Munich early in 1762, although this is speculation. During a short stay in Vienna half a year later he not only heard symphonies but understood something about them, for a letter of 19 May 1763 from there reported, ‘We fall into utter amazement on seeing a boy aged six at the keyboard and hearing him … accompany at sight symphonies, arias, and recitatives at the great concerts.’2 Not long afterwards, during the Mozarts’ grand tour to Mannheim, Paris, London, and Holland, Wolfgang heard a wide variety of symphonies and became interested in composing them.
Mannheim and Paris: Frustration (1777–1778)
Authors: Zaslaw Neal 
Published: November 2023

Abstract
On 23 September 1777 Mozart and his mother left Salzburg for Mannheim, in the hope of finding him a position there or at some other court. Although he was twenty-one years old, his father did not trust his judgement sufficiently to permit him to undertake the journey on his own. As the Mozarts’ finances were strained, Leopold had to stay at home to continue his salary, and sent his wife. She proved unable to handle her impulsive, headstrong son, and the trip was a disaster, for Mozart not only failed to obtain a post, but he composed relatively little, ran his father into considerable debt, and his mother succumbed to illness.
Performance Practice
Authors: Zaslaw Neal 
Published: November 2023

Abstract
It has been argued that, as modern listeners can never hear with eighteenth-century cars, attempts at historical reconstruction (or so-called ‘authentic’ performance) are preordained to failure. This argument maintains that, even if we could fully re create eighteenth-century sounds, their effect on us would not be what it was on listeners two hundred years ago. Hence ‘authentic’ performance, if sought at all, ought to be concerned with modern sounds that have an effect on us analogous to the effect which the eighteenth-century sounds had upon eighteenth-century listeners. But even though this argument is based on a sound premiss, it reaches questionable conclusions. A brief discussion of this vexed topic may therefore usefully serve as preface to an examination of the orchestral practices of Mozart’s time.
Rousseau, the Countess, and the Female Domain
Authors: Hunter Mary 
Published: November 2023

Abstract
Towards the end of Rousseau’s La Nouvelle Héloåse the ardent but reformed lover Saint-Preux (the Abelard figure in Rousseau’s retelling of the story) wanders into the garden of Julie D’Étange, his former partner in a torrid affair, who is now the exemplary wife of an omniscient and model husband Monsieur de Wolmar.
The Mozarts’ Salzburg Music Library
Authors: Eisen Cliff 
Published: November 2023

Abstract
The reconstruction and description of music libraries, whether institutional, commercial, or private, has traditionally been a respected musicological endeavour, and for good reason: libraries apparently open otherwise closed doors onto the aesthetic and performance predispositions of different times, places, and societies. In the case of individual composers, they seem to offer unequivocal evidence for the musical taste, acquaintance, and education of their owners, or to establish putative influence. Mozart figured prominently in nineteenth-century libraries, for both musical and antiquarian interest. Daniel Gottlob Türk, for example, owned copies of the Requiem, the Da Ponte operas, Idomeneo, Die Zauberflöte, the quartets and quintets, several piano concertos, and many of the accompanied and unaccompanied sonatas. Beethoven not only had printed editions of the Requiem, operas, and late quartets, but he also copied out by hand selections from the quartets K. 387 and 464, the Symphony K. 550, the Fantasie K. 608, the Adagio and Fugue K. 426, and the Piano Trio K. 496, among others. Similarly, an 1844 inventory of Mendelssohn’s library lists all the operas of the 1780s, scores of the quartets, and a copy of the ‘Jupiter’ Symphony; he also owned the autograph of the fragmentary sonata movement K. 312. Brahms at one time owned the autographs of the G minor Symphony K 550 and two of the minuets and trios of K. 164.
Music and Culture in Late Renaissance Italy
Authors: Fenlon Iain 
Published: November 2023

Abstract
Dr Fenlon explores the role music played in the cultural, religious, and political upheavals of late Renaissance Italy, revealing how musical activity of all kinds was instrumentalized by those in power. Focusing on the second half of the sixteenth century - a period still often regarded as one of decline and degeneration after the achievements of the Quattrocento and before the calamità d'Italia - the author argues that Italian culture did not lose its vigour after 1530, but underwent a transformation, as both individuals and institutions reacted to new economic, political, and religious circumstances.
Music and Civic Piety in Counter-Reformation Milan
Authors: Fenlon Iain 
Published: November 2023

Abstract
The years immediately after the conclusion of the Council of Trent saw profound change in the structure of the Church, particularly at diocesan level. On the one hand old institutions were revitalized and renewed to enable them to discharge the functions for which they were originally designed, while on the other new bodies were created to further the aims of reform. Beyond this general pattern of response there was no uniformity of approach; reform initiatives in different parts of Italy took on a variety of styles in reflection of the temperaments and personalities of the different churchmen charged with instituting reform at a local level. Not even the most famous exemplum of ecclesiastical reorganization, that of Carlo Borromeo in Milan, was widely used as a model, though this is not to deny his enormous contemporary prestige.
Scipione Gonzaga: A ‘Poor’ Cardinal in Rome
Authors: Fenlon Iain 
Published: November 2023

Abstract
If Scipione Gonzaga is remembered at all today, it is most likely for his friendship and patronage of Torquato Tasso, as the dedicatee of the poet’s youthful Discorsi dell’arte poetica (Pl. 5.1) and one of his dialogues, the transcriber (in the crucial year 1575) of all the stanzas of the Liberata then available to him, and as the editor of the celebrated edition of the full text of the poem brought out by the Mantuan printer Osanna in 1584. Of his own literary efforts little remains.
Music Criticism in Vienna 1896-1897
Authors: Mccoll Sandra 
Published: November 2023

Abstract
Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincided with increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events and issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick, widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates the intellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation.
The Dramatic Pastorale and Pastorale en Musique
Authors: Powell John S 
Published: November 2023

Abstract
While isolated examples of pastoral plays appeared in France during the Middle Ages, native pastoral drama, like ballet de cour, had its true beginning in the latter part of the sixteenth century and reached fruition during the reign of Louis XIII. The Renaissance pastorale came to France from Italy and Spain, primarily through the French translations of Jacopo Sannazaro’s Arcadia (1505; trans. 1544), Jorge de Montemayor’s Diana (c.1560; trans. 1578), Torquato Tasso’s Aminta (1581; trans. 1584), Giambattista Guarini’s Il Pastor fido (1585; trans. 1595), and Luigi Grata’s fl Pentimento amoroso (trans. 1590).
The Mythological Pastorale and Pastoral Opera
Authors: Powell John S 
Published: November 2023

Abstract
The performances of ltalian operas in Paris, with their magnificent sets, breath-taking machine effects, and the rapid set-changes devised by the machine wizard Giacomo Torelli, brought about a transformation in French stagecraft of the latter 1640s. While rudimentary special effects (as described by Bruscambille) had been part of French theatre since the late sixteenth century, Rossi’s Oifeo and its ‘marvellous set-changes, machines, and other inventions until now unknown in France’ galvanized Parisian stage-designers. When the old Marais playhouse was destroyed by fire in 1644, the actors built a new theatre designed for the pro¬ duction of pieces a grand spectacle.
Samuel Wesley and the Music Profession
Authors: Olleson Philip 
Published: November 2023

Abstract
‘Making a Living’, Chapter of Cyril Ehrlich’s The Music Profession in Britain,’ deals with the lives of professional musicians in the late eighteenth and early nineteenth n:nturies. A central part of the chapter is his discussion of three ‘success stories’: R. J. S. Stevens (1757–1837), William Crotch (1775–1847), and Sir George Smart (1776–1867). Although their careers took markedly different courses, all three rose from humble origins to achieve considerable fame and fortune by a combination of natural talent, hard work, and a dear understanding of the mechanisms of social advancement in the music profession.
‘Wise men from the East’: Mozart’s Operas and their Advocates in Early Nineteenth-Century London
Authors: Cowgill Rachel 
Published: November 2023

Abstract
I have seen the West End, the parks, the fine squares, but I love the City far better. The City seems so much more in earnest: its business, its rush, its roar, are such serious things, sights and sounds. the City is getting its living—the West End but enjoying its pleasure. At the West End you may be amused, but in the City you are deeply excited.
Sainsbury’s Dictionary, the Royal Academy of Music, and the Rhetoric of Patriotism
Authors: Langley Leanne 
Published: November 2023

Abstract
The Allied victory at Waterloo, in June 1815, put an end to more than twenty years of conflict with Revolutionary and Napoleonic France. It also put thousands of Britons out of a job in an economic depression that lasted until 1821.’ Odd as it may seem, the nation that had the Duke of Wellington and commanded a supreme position in the world felt no euphoria at wars’ end. On the contrary, a kind of social malaise and general uncertainty characterized national life in Britain for two decades.
‘Here will we sit’: The Creation of the Ulster Hall
Authors: Johnston Roy 
Published: November 2023

Abstract
The big, secular, centrally placed hall was an important feature of the mature town of the Industrial Revolution. It was temple to Mammon, status symbol, auditorium, and money-maker. While is imposing architecture might have regard to local circumstances, equally important was that it should proclaim the town’s membership of the urban league. The principal practical reason for building it was to provide an assembly space. Like the great churches and monasteries, palaces, and big houses of earlier times, it celebrated the provider and also issued a challenge to future generations to keep it fully used. An essential component of the case for its erection was that it should produce financial gain.
Edward Dannreuther and the Orme Square Phenomenon
Authors: Dibble Jeremy 
Published: November 2023

Abstract
Perhaps one of the most remarkable things about Edward Dannreuther, concert promoter, piano virtuoso, teacher, scholar, and composer, is that his name is today hidden ‘under a bushel’, aptly reflecting the modesty of a man who shunned publicity, preferring to spend his life in semi-seclusion. Yet during the late nineteenth century he was one of London’s, indeed one of the nation’s, most respected and elevated musicians, associated with all that was new, progressive, and intellectual—the very epitome of Klesmer, George Eliot’s bold and cerebral pianist in Daniel.
Cyril Ehrlich: Before The Piano
Authors: Elkan Walter , Roberts Andrew D 
Published: November 2023

Abstract
Few people succeed in fitting two very successful careers into less than one lifetime. This chapter is intended for readers who know little about Cyril Ehrlich’s back ground or his earlier career as an economic historian of Africa. A celebraion of Cyril’s achievement would be incomplete without at least a brief account of this earlier part of his life.
Remembering and the Sound of Words
Authors: Piette Adam 
Published: November 2023

Abstract
Radical Satire and Print Culture 1790-1822 focuses on the work produced collaboratively between 1816 and 1822 by the poet and radical journalist William Hone and the brilliant young graphic satirist George Cruikshank. Dr Wood provides a much needed analytical framework for Regency radical satire uncovering a set of new sources and previously unknown cultural contexts for Hone and Cruikshank's work, which is shown to combine modernity and tradition in thrilling ways. Hone fused the literary and political inheritance of eighteenth-century satire with contemporary developments in advertising , popular publishing and mass marketing; Cruikshank combined the sophisticated conventions of the political print with the most up-to-date methods of advertizing, politics and propaganda. Entertaining and original, this is an important contribution to the study of radical satire, which sheds new light on the relations between popular political authors and graphic artists and the major Romantic writers of the period.
Introduction
Authors: Spearing A C 
Published: November 2023

Abstract
Dreaming is a form of sleeping experience that simulates waking experience: it occupies the whole field of consciousness and is extended (however illogically) in the dimensions of space and time; but, so far as I can recapture it in memory, it has a number of characteristics that differentiate it from being awake. Though sometimes extremely vivid, dreaming is in general elusive, and less easily remembered than waking experience.
Self as Text: The Political Agenda
Authors: Worthington Kim L 
Published: November 2023

Abstract
Human beings are to be understood as texts: this metaphoric claim has frequently been made by contemporary critical theorists for whom the acts of writing and interpretation which constitute textual meaning are thought to be paradigmatic of the conceptual processes through which we come to know ourselves and our world: in thinking myself, I write (and read) a text of self. So conceived, the self-reflective act of introspection is one of hermeneutic endeavour, not of factual discovery, and self-knowledge is subject to precisely the same limitations of doubt and uncertainty which characterize all interpretations. In our century, linguistic scepticism has become intimately bound up with concerns about selfhood, personal agency, and individual autonomy, for it is claimed that only through language and acts of (linguistic) inter pretation do we arrive at a conception of who we are. Increasingly, in a variety of disciplines, theorists have recognized language as the epistemological (and some would say ontological) foundation of subjectivity. Only through the medium of language, it is argued, can we come to know what it means to be human, or, even more devastatingly, do we know that we are. Ever more frequently, (meaningful) being is situated in the linguistic processes of intel lection.
Feminist Linguistic Determinism
Authors: Worthington Kim L 
Published: November 2023

Abstract
Linguistic creat1v1ty has been celebrated by a number of recent feminist theorists, who extol the virtues of creative play in the texts of literature and society. In this chapter I want to look at the way in which feminists have utilized the insights of poststructuralist theory in order to bolster such a position. But the absorption of poststructuralist claims into feminist theory is problematic. What seems to be at issue is a fundamental conflict between the emancipatory impulses of feminism and the deterministic ethos that ostensibly underlies the poststructuralist theories to which many contemporary feminists are attracted. In much recent feminist theory we find an uneasy merging of conceptions of the (female) subject as a political agent and as a decentred social construct. In some cases, poststructuralist theories of decentred subjectivity are harnessed to drive forward the liberationist claims of feminism. The reasons for this perhaps unlikely alliance, and the problems which arise from it, are instructive.
Speaking (for) One’s Self: J.M. Coetzee’s Foe
Authors: Worthington Kim L 
Published: November 2023

Abstract
There persists in some contemporary theory the idealistic dream for, or deceptive invocation of, the unconditional liberty of an auto nomous’I’, an’I’ whose authenticity is unlimited by expectations of narrative continuity and the constraints of identity realized through time. What theorists in this mould are keen to discover (or encourage) in the contemporary fiction they analyse is a move towards the release of the previously bound’identities’ of traditional narrative (the identities of characters, readers, authors, and texts) into a state of existential emancipation which is uncircumscribed by expectations of continuity or referentiality. In their wishful insistence on the possibility of escape from conventional narrative restraints, these theorists appear to avoid (or evade) the consequences for notions of morality and agency which are encouraged by the provocation of unlicensed interpretative liberty. The assumptive optimism of such claims is quite insupportable. It promises the unattainable by imagining that we can meaningfully deny or escape frameworks of meaning altogether, encouraging the belief that we can simply side-step the (potentially restrictive) enclosures of convention and still retain the value of this strategic move.
Introduction
Authors: Beer Gillian 
Published: November 2023

Abstract
Cultural encounter occurs not only between peoples of different ethnic origins but between trades, genders, professional groups, specializations of all sorts in a society. Train-spotters, mothers of babies, astronomers, horse-riders have each their special knowledges and vocabularies; but none of them lives as train-spotter, mother, astronomer, horse-rider alone. Each inhabits and draws on the experience of the historical moment, the material base, the media, and community in which they all dwell. (Indeed they may all be one person, though a busy one.) These multiple subject positions mean that relations never form a single system: what may be perceived as outcrops or loose ends may prove to be part of the tracery of other connections. So, as Marilyn Strathern observes, ‘English kin relations do not make an individual person equal to his or her field of relations, let alone a universe of social relations.
Four Bodies on the Beagle: Touch, Sight, and Writing in a Darwin Letter
Authors: Beer Gillian 
Published: November 2023

Abstract
The ‘warm scribe ‘, in Keats ‘s compelling description of the writer ‘s hand, cancels the distance between cold print and body. A hand reaches out from the text, is occupied in the text; brushing aside the print on the page, it makes the reader conscious of the hand ‘s activity in reading as well as writing. We smooth the page, we turn it, each alone. The past body of the writer is here insurgent, meeting the reader ‘s hand, matching it, touching it. The effect is rare, and daring. It relies upon Keats abandoning the dualistic hierarchies of mind and body, having available to him without favour all his five senses.
Problems of Description in the Language of Discovery
Authors: Beer Gillian 
Published: November 2023

Abstract
Discovery is a matter not only of reaching new conclusions but of redescribing what is known and taken for granted. Scientific enquiry constantly revives questions which are answered both in science and literature at changing levels of description. Description must find ways out of the circle of current presumptions if it is to create knowledge or fresh insight. Yet all description draws, often unknowingly, upon shared cultural assumptions which underwrite its neutral and authoritative status and conceal the embedded designs upon which describing depends. How can the language of scientists and of poets (in the broadest sense) resist such designs and disturb teleological patterns which may otherwise lock their project into the circle of the foreknown? How much do the discursive strategies of scientists and poets have in common? Are we able to pinpoint stable distinctions between scientific communication and poetic communication in relation to the problem of describing? These are questions I shall consider by means of example in this essay.