bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Piano
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
For more than a century the piano occupied a dominant place in music and society. Professor Ehrlich follows its fascinating history from the fortepiano of Mozart's time, through the Victorians' `household orchestra and god', to the most sophisticated modern products of the Japanese manufacturers. His protagonists include barnstorming virtuosi, fashionable ladies and aspiring clerks, the great makers and the back-street `garrett-masters', distinguished musicians, and hire-purchase touts. Originally published in 1976 by Dent, this book has now been updated and revised by the author in the light of developments of recent years.
The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music
Authors: Boyden David D 
Published: November 2023

Abstract
David Boyden's classic book, first published in 1965, was the first to deal comprehensively with the history of violin playing against the vast panorama of the violin's evolution and the music written for it. Its principal theme is the manner in which the violin was actually played in past centuries, dealing with such practical questions as bowing disciplines in their national and historical evolution, the performance of staccato, the use of vibrato, the meaning of numerous and esoteric performing directions, the notation and performance of double stops, the rules of scordatura playing, and the sound of the violin in early times. Remaining an invaluable source of reference for the performance of early music, this book is now available for the first time in paperback.
The Advent of the true Violin and its Development to 1600
Authors: Boyden David D 
Published: November 2023

Abstract
The true violin came into being about the middle of the sixteenth century, when a fourth string was added to the early three-stringed violin, viola, and cello ( the cello may already have had four strings). The change to the four-stringed instrument must have taken place by 1556, since Jambe de Fer, in his Epitome musical of that year, specifically mentions these fretless instruments with four strings. He distinguishes the violin family clearly from the viols, mentions their respective social functions, and gives their tunings, the soprano member (dessus) being tuned like the violin today: g d’ a’ e”. There is no doubt he is describing the true violin.
How The Violin Sounded and How it was Played in the Sixteenth Century
Authors: Boyden David D 
Published: November 2023

Abstract
although Sherlock Holmes’s remark to Dr. Watson would not survive the scrutiny of the strictest student oflogic, his principle of investigation has its uses in searching for the details of anything as confused and elusive as violin playing in the sixteenth century. Reductio ad absurdum is a negative method which may lead to positive results. Consider the matter of the sound of the sixteenth-century violin. How can we possibly know what the violin sounded like four centuries ago? Obviously we cannot know absolutely, even if there were adequate words to convey an accurate notion of sound. However, it is useful to establish the fact that the old violin could not possibly have sounded like the modern violin; and thus, having eliminated the impossible, we can go on, by more positive methods, to show what must have been the truth-however improbable (c£ p. 67).
Jean Sibelius Symphonic Fantasia, Pohjola’s Daughter, Op. 49
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Wainamoinen, true and ancient hero of Finnish mythology, is driving home upon his sledge out of the twilight kingdom of Pohjola, the home of dark songs. ‘Hark! what is this sound?’ He gazes upwards. There, upon the rainbow high in the blue air, Pohjola’s daughter sits radiant, and spins. Her beauty entrances him; he implores her to come down to him. She refuses mockingly. Again he implores, and she demands, ‘Turn my distaff into a boat such as I have long desired. Show me your magic powers, and I will gladly follow you.’
Pyotr Ilyich Tchaikovsky Symphonic Poem, Francesca Da Rimini (Fantasia After Dante), Op, 32
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
This work was selected by its composer for performance at Cambridge on that memorable occasion in 1894 when he came with Boito, Max Bruch, and Saint Saens, and all four composers conducted their own works and received honorary degrees from the University.
Donald Francis Tovey
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
A composer cannot but be gratified at the invitation to explain his work to the Listener. But I do not think that listeners as such will have more difficulty in understanding my pianoforte concerto than in understanding any other work written in a classical language, though our friends the critics are making it exceedingly difficult to listen to any classical artistic language known to be writ ten by a person who is still alive. My case is beyond apology, and does not lie at all heavily on my conscience. As a conductor and a producer and teacher of music, my services are at the disposal of every sincere person who can use them; so that I do not consider myself a blackleg when as a composer I write to please myself, and recognize no duty to imitate either my contemporaries or the classics.
Richard Wagner Die Meistersinger Von Nornberg: Prize Song From Act III
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
In the concert-room we cannot realize the full effect of the Prize Song, for we are not given the three strophes in which Walther worked it out according to the Mastersingers’ rules when he told his dream to Hans Sachs. In those three strophes the first part of the tune is not what it became in the supreme moment of final inspiration when the hero sung it before all Nuremberg to win his bride. The point where the final version diverges is one of the subtlest and greatest moments in all Wagner. We cannot realize it without the earlier strophes which cannot possibly be attached to it: but the next best thing is to hear it after the Overture which contains Eva’s figure and the whole of the Abgesang or Envoy.
Ian Whyte Overture, The Treadmill
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
I am allowed to reveal the dread secret that The Treadmill is a presumably unofficial title for the interior works of a (let us use the indefinite article) broadcasting house.1 We must therefore not look for the monotony which is usually associated with treadmills; on the contrary, there is the strain of considerable variety: pro portions and rhythms must be fitted with the accuracy of a well cut jigsaw.
The work of the treadmill is eminently practical and you may expect that everybody in the orchestra is treated humanely. With modern music, however, there is one orchestral instrument who is treated in a way that would justify interference by the RSPCA. There are two aspects of musical rhythm, which may be called the syllabic and the muscular, of which the types are, respectively, speech rhythm and dance rhythm.
Johann Sebastian Bach (1685-1750) [Rediscovery And Influence; Compositional Method As Shown In Rearrangements]
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The rediscovery of Bach’s choral music dates from the boyhood of Mendelssohn, who at 12 years of age read the autograph of the Matthew Passion in the Royal Library at Berlin, and never rested until he had given a private performance of it, the first since Bach’s death. In England the revival began still earlier, by the performances and publications of Wesley and Crotch. (In 1850, a century after his death, a society was started for the correct publication of all Bach’s remaining works.) Robert Franz, the song-writer, arranged some of Bach’s finest works for modern performance: a valuable service so long as the scholarship of the rediscovered art was in its infancy, but now superseded by the realization of Bach’s own methods.
Anton Bruckner(1824-1896
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Anton Bruckner, the Austrian composer, was born on 4 September 1824, at Ansfelden in Upper Austria. He successfully competed for the organistship for Linz cathedral in 1855. In 1867 he succeeded his former master of counter point, Sechter, as organist of the Hofkapelle in Vienna, and also became professor in the conservatorium. In 1875 he was appointed to a lectureship in the university. He made a great impression by his extemporizations on the organ, and his success in an organ competition at Nancy in 1869 led to his playing in Paris and London (six recitals at the Albert Hall, 1871). His permanent reputation, however, rests on his compositions.
Eight Lectures on Beethoven (I 922)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
I propose tonight to deal with what are known as Beethoven’s three periods. It is quite futile to attempt to connect Beethoven’s work with the course of his life. The more we study his compositions and the methods by which he achieved them, as shown in his sketch-books, the more we realize that the keynote to his development is the assurance of mastery. He will not undertake a thing in conditions which he cannot thoroughly master. That is an invariable thread throughout all his work: we can say all his work, with hardly any qualification; because even in the very small category of works that are thrown off with a manifestly inferior technique, there is the same note of mastery, only it is a mastery that has become disdainful-we might say insolent.
Note on the Text
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Below are printed what survives of the 1937 series (with the last three talks on key­contrasts and key-relationships run together as one and pruned of a section in which Tovey answers listeners’ letters), preceded by a substantial selection from the two series of short ‘Keyboard Talks’ broadcast in 1934 and 1935, taken from the BBC Written Archives texts. As the title implies, there was a large element of Holding Forth at the Piano in these programmes, which does not necessarily make good printed book mate­rial.
Sound Vibrations
Authors: Maconie Robin 
Published: November 2023

Abstract
Baron Munchausen, Jules Verne, Méliès, and H. G. Wells all invented stories about space and space travel treating space as if it were full of air. As late as the 1930s Flash Gordon and his intrepid space explorers were still depicted as travelling to Mars and back through continuous cloud cover. Long after the Michelson-Morley experiment of the final decade of the nineteenth century put paid to the existence of the ether, people continued to believe that there must be something occupying the space between the stars. After all, how would light reach the earth if there were no medium for it to travel through? Sound requires a medium, and for our practical purposes that medium is the air we breathe. The transmission of sound as pressure waves through air was beginning to be properly understood by the mid-nineteenth century, and provided the model for speculation about the transmission of other forms of sensory information, such as smell by vapours, disease by germs (why not? disease was a communicable influence on the senses transmitted by an unknown and invisible agency), and light itself.
Attraction
Authors: Maconie Robin 
Published: November 2023

Abstract
The word ‘attractive’ is usually taken to mean ‘beautiful’. Why should this be so? Attraction says something about how we perceive the world. Those things which are attractive help to define our ways of seeing and hearing; they do not have to be beautiful in themselves or in an absolute sense. As we now realize, attractiveness is species-specific: a bright flower to us may appear quite different to a pollinating insect whose vision extends beyond the humanly visible spectrum, just as the nocturnal environment must sound very different to bats and other creatures whose hearing discrimination is more acute at higher frequencies than ours.
Melody, Harmony, Tonality
Authors: Maconie Robin 
Published: November 2023

Abstract
Melody, harmony, and tonality are different ways of describing pitch relationships. Melody relationships are sequential, harmony relationships simultaneous, and tonality (the prevailing scale or mode) the system of interval relationships of which melody and harmony are transient and partial expressions. A line of melody, whatever else it may signify, is a proposition concerning the interpretation of data in succession. One interpretation may require a continuous correlation of the range of pitches a melody brings into play and how that collection may alter over a period of time.
Ornamentation
Authors: Maconie Robin 
Published: November 2023

Abstract
Ornamentation is the convenient term found in dictionaries of music to describe the various ways in which a performer brings freshness, spontaneity, and a sense of individual personality to a familiar composition. The name suggests decoration, and decoration to a twentieth-century mind has rather dismissive overtones of the trivial and the superfluous. In the late twentieth century, post-modern architecture has renewed interest in the functional, as well as the merely decorative aspects of ornament, so the time is perhaps opportune to consider whether ornamentation might not also play a more significant role in music than conventional scholarship has seen appropriate to acknowledge hitherto.
Palladio
Authors: Maconie Robin 
Published: November 2023

Abstract
A Sixteenth-Century Italian architect of genius proportions his interiors to ratios corresponding to musical consonances. His German near-contemporary Michael Praetorius publishes a massive illustrated treatise on musical instruments, one of which has never been satisfactorily explained. Could it be that the two mysteries are related? The place of music in Palladian design is amply documented but a source of lingering embarrassment to architectural historians. Andrea di Pietro, known as Palladio (1508-80), was the outstanding representative of a generation committed to the renewal of civilian culture according to the Platonic principles which had given rise to the great monuments of Greece and Rome.
Dissonance
Authors: Maconie Robin 
Published: November 2023

Abstract
Harmony has two aspects, the physical and the musical. Harmonics refer to the physical reality of periodic vibrations, audible or otherwise, whereas harmony and harmonization allude to the combination of two, three, or more voices or instruments sounding at different pitches. The two are related, of course. The dogmas of classical tonality are defended by appealing to the natural order of acoustics, and to natural intuition of what constitutes satisfying pitch relationships. The difference lies in the association of harmonics with intrinsic order, the timbre of a musical instrument or resonant cavity making audible a natural order that is already present,—in contrast to harmony which is essentially a product of human activity in imitation of the acoustic order observable in nature.
Vincent D’indy and His World
Authors: Thomson Andrew 
Published: November 2023

Abstract
Over sixty years after his death in 1931, Vincent d’Indy is still a much misunderstood and maligned figure in French music. Previous biographers have left a portrait of the academic figure par excellence, who turned the seemingly inspired and selfless inspiration of his master César Franck into a cold and authoritarian pedagogical system. This new study re-examines the evidence, reveals a much more psychologically complex and turbulent character, and finds that d’Indy was a tireless propagandist for a spiritual revival of French musical civilization. Yet he was fully aware of the social and intellectual problems of the secular Third Republic which militated against his Dante-inspired Catholic humanism, embodied in the work of the Schola Cantorum, the Paris institution founded by d’Indy to reform the practice of sacred music. Far from being a pure reactionary, his outlook was in reality remarkably progressive, manifest in his revivals of early music, notably Monteverdi’s Orfeo, his encouragement of Debussy, and his willingness to engage - often pugnaciously - with the latest musical manifestations of Richard Strauss, Stravinsky, Schoenberg, and Varèse. His own compositions likewise contain passages of astonishingly bold invention and modernistic effects, all too easily overlooked.
The Immigrant Composers Traniform the Musical Scene
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
The already-limited compositional activity in the field of concert music during the 1920s nearly came to a halt with Joel Engel’s death and Jacob Weinberg’s emigration to the United States in 1927.1 The renewed prospect of the arrival of first-rank Jewish composers was welcomed by the ideological circles in the Yishuv, as when rumours spread that Arnold Schoenberg, “the founder of the modern school … who became famous all over the world, considers immigration to our country … Perhaps very soon out of Zion shall go forth music? … Let the lost sons return to their people’.2
Individualism versus Collectivism Music and the Kibbutz
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
The kibbutz1 movement was the most powerful manifestation of the ideology of communal life and of a voluntary rejection of private property and pecuniary greed. The communal spirit penetrated all walks of kibbutz life, such as insistence on joint meals at the common dining hall which also accommodated most social and cultural functions. From 1921 to 1948 the number of kibbutzim in Palestine leaped from 11 to 130 and their population increased from about 700 in 1921 to 54,000, that is, from less than I per cent of the Yishuv in 1921 to more than 7 per cent. Kibbutz life was idolized in urban society among many of those who were not willing to join communal life themselves. Consequently, the kibbutz movement was permeated by the optimistic vision of paving the way to utopia. Yet the way was fraught with obstacles, doubts, and soul-searching.
Nutcracker
Authors: Wiley Roland John 
Published: November 2023

Abstract
IN a letter of 25 February/9 March 1890, Tchaikovsky writes to Dé sirée Artot of a ballet to follow Sleeping Beauty, one work in an unrealistically ambitious list of new compositions:Now, dear Madame, you will ask me what I want to do after my opera [The Queen of Spades]? If the Good Lord grants me life and good health, this will be an opera on a French text by J. Detroyat and Gallet that I very much like and which I must do, having promised it to these gentlemen. And then I must absolutely take on a Russian opera of which I have had the poem in hand for two years, and which I have given my word of honour to do.
Swan Lake in St Petersburg
Authors: Wiley Roland John 
Published: November 2023

Abstract
Swan Lake was not forgotten in the twelve years between its last performance in Moscow and its first in St Petersburg. After bringing out a piano arrangement of the score at the time of the first performance, Tchaikovsky’s publisher Jurgenson added to his catalogue in the 188os excerpts from the ballet for various performing forces, including arrangements of three dances for two pianos, four hands, by Claude Debussy. Plans for a Petersburg production of Swan Lake may have predated Nutcracker, and even Sleeping Beauty.
The Collapse of a Tradition (Italian Opera 1840-70)
Authors: Budden Julian 
Published: November 2023

Abstract
Up to 1850 the background to Verdi’s artistic growth and the influences that nourished it are fairly easy to trace. The two main landmarks stand out clearly enough: on the one hand the more or less static tradition of post-Rossinian romantic melodramma; on the other the cosmopolitan world of Parisian grand opera. Thereafter the pattern becomes more confused as the landscape itself changes. In France grand opera declined in importance, though the yearly supply was scrupulously maintained till 1870. Meanwhile at the Theatre Lyrique a more truly native opera came of age with works by Gounod, Bizet and, later, Massenet; and from the Bouffes Parisiens sprang a rejuvenated lyric comedy under Offenbach, which was to epitomize the heady gaiety of the Second Empire.
A Problem Of Identity (Italian Opera 1870-90)
Authors: Budden Julian 
Published: November 2023

Abstract
It is always tempting to find a historical turning-point at the beginning of a decade, and usually wrong. But the year 1870 provides a legitimate exception to the rule; enough happened then and immediately afterwards to give a new direction to Italian Jpera and Italian music in general. Not all the decisive events were concerned with music; nor were they confined to Italy. First and foremost was the shock of Sedan, felt throughout continental Europe and all the more powerfully because no one had thought it possible. True, the Europe that had existed since 1815 had been planned with a view to keeping France in her place. None the less successive French governments had been able to take advantage of tensions within the ranks of the Holy Alliance to acquire the prestige and influence from which their country was supposed to have been debarred.
Introduction
Authors: Frogley Alain 
Published: November 2023

Abstract
My own feeling is that we ought only to show MS. of the new one, 9,—but who ever does that I should like them to show the whole of the scaffolding, so to speak…with regard to this no. 9 its a case of all or nothing: I usually destroy my rough copies but I have kept these as I thought it might be useful to show the scaffolding.
Technology and Authority
Authors: Frith Simon 
Published: November 2023

Abstract
In its most basic definition, the technology of music simply refers to the ways in which sounds are produced and reproduced. From this perspective the history of music can be divided into three stages, each organized around a different technology of musical storage and retrieval.
In the first (or “folk”) stage, music is stored in the body (and in musical instruments) and can only be retrieved through performance.
Chronology of Josquin’s Life and Career
Authors: Sherr Richard 
Published: November 2023

Abstract
The following chronology summarizes the known documentary evidence for the biography ofJ osquin des Prez and the people who have been con fused with him (most of it published, some of it unpublished). The chronology reflects the drastic revision of Josquin’s birthdate and early career necessitated by the discovery that the ‘Josquin’who worked for forty years in the cathedral of Milan and the ducal chapel was not our composer, whose true family name we now know to have been Lebloitte.
Motets for Five or More Voices
Authors: Milsom John 
Published: November 2023

Abstract
While Iacchus wondered at the vast waves of the Adriatic, and the rage of the furious whirlpool, and the waters churned up from the deep seabed, and Scylla, and the quick sands of Syrtes, and monsters unknown in any age, with a vine-frond girt about his fair temples, he sang these artful verses with an antique sound: ‘Let us recount, ye muses, Josquin’s ancient loves, whose bidding the ruler of Olympus did, outwith the eternal course and governance of the world, as the Mother stood pitying and, remaining inviolate, bewailed with seemly tears her Son, slain by an unjust judgement. Hail, 0 Most Holy one, Hail Queen; and Thou, highest God, have pity, to whom every year I shall heap up the altars with a calf and unfailing gifts.’