bluuebunny/crossref_metadata_2025_split huggingface dataset:
Student and Schoolteacher (1814-1816)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
‘Today I composed for money for the very first time.’ FoR a full three years from the autumn of 1813, Schubert lived at home with his parents and aunt Magdalena in the Saulengasse schoolhouse. He entered the Imperial teachers’ training college as a ‘secular’ (weltlicher) student in November, almost three months before his seventeenth birthday. Here, and in a model school incorporated into the college, the students were trained over a ten-month period to be assistant elementary schoolteachers. They studied basic educational subjects and teaching methods. Schubert tolerated the course and worked sufficiently hard to pass his final examination on 19 August 1814 with comparative ease, and to be described as ‘industrious’ (fleissig) in his practical work.1 His best subjects, or those that came most easily to him, were German language, grammar, and spelling, and also handwriting. In the light of his future rather well written descriptive letters to family and friends, his literary attempts at prose and poetry, and his neat manuscripts, his marked facility for these subjects might be expected. His worst report was for ‘religion’, for which he received his only ‘had’ (schlecht); but as he was a secular candidate this did not affect his overall success in the examination.
La Dolce Vita (1820-1822)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
With reliable and supportive friends like Josef von Spaun, Johann Mayrhofer, and Anselm Hiittenbrenner, and influential patrons of the calibre of Johann Michael Vogl and Ignaz Sonnleithner, the outlook for Schubert at the start of 1820 was promising indeed. Helped by his friends, his reputation in musical circles was growing, particularly as a composer of songs, but also of orchestral and church music; and by the end of 1820 he had already made some impression in Vienna with his music for the theatre. In 1821 he was to enjoy remarkable advances in his profession, with more, and some prestigious, concert performances of his music, publications, and press reviews and notices. By the end of 1822 his situation had changed totally. Composers, like all creative artists, need both stimulation and solitude. Schubert’s closest friends understood this. They knew when it was necessary for him to be alone, and they were ready when he needed them to listen to his latest compositions, to discuss poetic texts, to share his current concerns, or just to relax with him and enjoy his company.
An Expanding World (1825-1826, Part I)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
IN 1825 Schubert seems to have shown few signs of ill health. In the year that followed there was a short spell in August and September when he was to some degree under the weather, a little sick (halbkrank) in August, according to Bauernfeld;1 ailing (kranke!t) in September, as reported by Ferdinand van Mayerhofer.2 This could have been due to syphilis, but might also have been a temporary indisposition, the result maybe of a long summer spent in the hot, unhealthy climate of Vienna. On the whole, the two years were good ones for him, 1825 particularly enjoyable, fruitful, and promising. On the other hand, any successes of 1826 were somewhat overshadowed by financial problems. Professionally, and this despite the public’s declining interest in all classical music, Schubert was doing rather well; and his election in September 1825 to the prestigious position of one of the twenty ‘deputies’ of the committee of the Gesellschaft der Musikfreunde bore witness to his fast-growing reputation in Vienna. Slight fluctuations in his musical fortunes from one year to the next balanced out overall.
Gloom and Creativity (1827)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
FoR a few weeks from the end of 1826 Schubert lived alone, but in February he returned to the Schobers’, to their new home in the smarter surroundings of the Tuchlauben. Here they occupied the second floor of the house known as the Red Hedgehog, next door to the rather grand premises of the Gesellschaft der Musikfreunde, the Blue Hedgehog, which the society had occupied since 1822. Schubert now had the use of two rooms and a ‘music closet’, presumably an annexe to one of the rooms, and for this comparatively spacious accommodation it is likely that he paid rent. Schober was the manager and possibly joint owner of the Lithographic Institute which was situated in the Michaelerplatz and where he had been employed since the summer of 1826.1Although his new apartment was more elegant and larger than that in the Backerstrasse, his business was struggling, and he would have been grateful for the little extra income that Schubert’s rent provided. For his part, Schubert now had both a pianoforte always to hand and the opportunity to entertain his own guests in the privacy of his rooms.
Principles of Transcribing and Editing
Authors: Caldwell John 
Published: November 2023

Abstract
There are really only two fundamental requirements for an edition of music: clarity and consistency. In this respect there is no difference between a ‘scholarly’ and a ‘practical’ edition. The aim in both should be the same: to provide a musical text which can be trusted, and to do so in such a way that the music can be easily assimilated by the eye. There is qo place for ‘scholarly’ editions which use barely legible forms of notation, or for ‘practical’ editions which provide insufficient information about the materials on which the text is based. Of course a sumptuously designed collected edition can often afford to include supplementary information-biographical, documentary, etc.-which is not strictly germane to the text; but that is another matter. The text of a collected edition should be per formable as it stands. In the same way a ‘practical’ edition, however much advice it may give to the performer, should not distort the original and should be careful to distinguish between the composer’s work and the editor’s.
Medieval and Early Renaissance Music
Authors: Caldwell John 
Published: November 2023

Abstract
This chapter deals with the period up to about 1450, though some of its recommendations are applicable to the early part of the following period as well.
Medieval music presents perhaps the severest problems to the editor. A legible transcription into modem notation necessarily results in an appearance totally at variance with that of the original source; and yet the editor must be sure to avoid anachronistic conventions. A further difficulty is that the transcription of a good deal of medieval music involves a certain amount of conjecture; but the editor must commit himself to the solution of problems which may not readily admit of one. We shall consider first some of the difficulties associated with the presentation of mensurable music, before going on to consider the special problems of monophony and some smaller points of detail.
Baroque and Classical Music
Authors: Caldwell John 
Published: November 2023

Abstract
In editing the music of comparatively recent times the difficulties are considerably lessened, but the temptation will perhaps be to assume too readily that the solution to various problems lies on the surface. The topics will be dealt with in this chapter in much the same way as in those preceding; but while to a large extent the treatment will be (as previously) self-sufficient, a reading of those chapters will help in understanding the back ground to some of the problems discussed. Occasionally, specific reference will be made to the discussion of minor matters which do not require renewed attention in this chapter.
The Lyric Art of the Trouvères: The Courtly Chansons of Gautier de Dargies
Authors: O’neill Mary 
Published: November 2023

Abstract
Gautier de Dargies was a seminal ﬁgure among the early generation of trouvères: not only does his output demonstrate a profound and sophisticated assimilation of the lyric art imported from his southern predecessors, but it also demonstrates a skill, ﬂair, and individuality which helped to establish trouvère art as a distinctive entity. Born c.1170, his career overlapped with, among others, those of Blondel de Nesle, Chastelain de Coucy, and Gace Brule´, and his work was to have a considerable inﬂuence on his contemporaries and successors. Dargies’s output comprises twenty chansons (two of which survive without music, and in the case of three others, the attribution is uncertain), and three descorts.
Multimedia as Metaphor
Authors: Cook Nicholas 
Published: November 2023

Abstract
As We Saw in Chapter 1, Eisenstein rejected synaes-thetic correspondences as a viable basis for the relationship between music and moving pictures, and emphasized instead the need to forge associations between the two media within the context of the individual film. But how is this to be done? Eisenstein’s model of music-picture relationships turns out to be less different from Kandinsky’s than the acerbic nature of his critique of the painter might suggest. Like Kandinsky’s, his basic model of cross-media relationships seems to be triadic: picture and music are related not directly, but by virtue of something that they both embody. And at first sight this something is not very different from the ‘inner sound’ which, for Kandinsky, unified sound and colour; indeed, there is one place in The Film Sense where Eisenstein actually talks about ‘the unified “inner sounding” ‘ of a sequence in his film ‘Alexander Nevsky’.1 Similar terms are scattered throughout the book, and sometimes they suggest what might be dubbed the occult nature of music-sound relationships:
The Musical Organization of the Dresden Court, 1734–1745
Authors: Stockigt Janice B 
Published: November 2023

Abstract
The following years of Zelenka’s life were marked by the complete musical ascendancy of Hasse in Dresden, renewal of the opera, and the consequent loss to the Catholic court church of the musical focus and prestige which had been its privilege since the early 1720s. Friedrich August II and Maria Josepha, with their new royal responsibilities, were frequently absent from Dresden, spending long intervals in Poland. The new Elector-King’s love of hunting meant that the castles of Moritzburg and Hubertusburg became focal points for the court, the hunt season influencing its place of residence for parts of each year.
Introduction
Authors: Maunder Richard 
Published: November 2023

Abstract
Although much has been written about eighteenth-century Viennese key board music, especially that of the Haydn-Mozart period, there has been surprisingly little serious research into the instruments for which it was com posed. Viennese harpsichords are not mentioned at all in Hubbard’s Three Centuries of Harpsichord Making, and just one was included in the second edition of Boalch’s Makers of the Harpsichord and Clavichord; even in the recent third edition only four are listed. Still less is known about clavichords, and the orthodox view in many quarters is that such instruments made almost no impact in South Germany and Austria.
The Musical Sources
Authors: Cooper John Michael 
Published: November 2023

Abstract
The manuscripts for the ‘Italian’ Symphony have contributed to the confusion regarding the relative authority of the two principal versions. Unlike contemporaneous works for which an authoritative Fassung letzter Hand is available (such as the Piano Concerto in G minor, Op. 25, the three concert overtures Opp. 26, , and 27, the Six Preludes and Fugues for Piano, Op. 35, the oratorio St Paul, Op. 36, or even the posthumously published Konzertstücke, Opp. 113 and 114), the ‘Italian’ Symphony confronts us with a skeletal, yet convoluted musical Quellenlage.
Knowing Mendelssohn
Authors: Cooper John Michael 
Published: November 2023

Abstract
The question, of course, is actually a complex of questions, depending in part on whether we understand the infinitive ‘to know’ experientially or epistemologically. The simplest approach might seem to be to use the word in the sense of ‘kennen’ (to be acquainted or familiar with), but if the composer’s will is taken into consideration even this definition leads to a quagmire, for by the 1840s Mendelssohn clearly desired that the work not be known. To perform and study it in any of the surviving versions is, therefore, to contravene that desire deliberately. Nor are meaningful compromises easily attainable. Performances of the familiar version sup- press his thrice-reiterated view that the 1833 version of the last three movements is inadequate and specifically inferior to the version represented in the 1834 revision score. Yet performances of the 1834 score must either present a ‘decapitated’ A major Symphony or combine the latest surviving version of the first movement with composer’s preferred version of the last three—producing a composite symphonic whole that never actually existed.
Lutos ławski’s Aesthetics: A Reconstruction of the Composer’s Outlook
Authors: Skowron Zbigniew 
Published: November 2023

Abstract
One thing, however, is always undeniable to me: no sound sequence, no vertical aggregation should be composed without regard being given to every single detail of expression, colour, character, physiognomy. Even the minutest detail should satisfy the composer’s sensitivity to the maximum degree. In other words, there should be no indifferent sounds in music.’
Microtones in the Music of Lutos ł awski
Authors: Petersen Peter 
Published: November 2023

Abstract
Microtones are defined nowadays as intervals ‘smaller than a tempered semi tone’. As the system of twelve equally tempered pitches within an octave is only some three centuries old, and confined, furthermore, to European art music, microtones-or microintervals-actually represent the rule in music, and the division of the octave into equidistant intervals the exception. However, when we consider how ‘well-tempered’ tuning of keyboard instruments has triumphed world-wide in its short existence, the issue quickly recedes in the face of a musical practice in which ‘impure’ intonation and the ear’s automatic ‘correction’ of pitches are everyday phenomena.
Binchois and Sacred Music at the Burgundian Court
Authors: Haggh Barbara 
Published: November 2023

Abstract
Burgundian court statutes and book lists give ample evidence that the itinerant court chapel followed the ‘usage of Paris’ in its daily sacred ritual, which included the singing of discant as well as of chant. How the use of Paris was realized at the court and how composers followed its prescriptions have never been thoroughly investigated, however. Victor Leroquais does address the historical importance of the use of Paris to the Burgundian dukes in the lengthy introduction to his edition of the mid-fifteenth-century breviary of Philip the Good (Brussels, BR 95n and 9026), and Mary Jennifer Bloxam reveals Parisian variants in the cantus firmi of three polyphonic hymns by Binchois and a polyphonic alleluia by Busnoys. Yet music lies outside Leroquais’s plan and Bloxam analyses only selected works, leaving aside, for example, the individual mass movements and Magnificats by Burgundian composers.
Bridging the Medial Caesura: The Wraparound Rondeau
Authors: Bailey John Andrew , Amici Beth Anne Lee-De 
Published: November 2023

Abstract
The puzzle of how to perform the rondeau form seems to have been long solved; its repetition scheme is now memorized alongside that of sonata form. Unlike the parts of sonata form, we usually view the rondeau’s two blocks of music, A and B, as related but clearly delineated: juxtaposed, not linked, in the pattern ABaAabAB. Even in those fifteenth-century rondeaux in which the A section flows smoothly into the B section, modern performances have most commonly paused on the concluding cadences of both the half-strophe (the first’a’) and the half-refrain (the second ‘.A) in order for the singers to return to the beginning. Ideally, we find signa congruentiae in the manuscript marking the note on which each voice is meant to stop. In fact, the signum is often either missing in one or more voices or seems to be misplaced. The rondeau editor traditionally adds the missing signa and moves the misplaced ones to end the A section on a relatively stable sonority, ideally at a cadence.
Towards a Theory of Text-Music Relations in the Music of the Renaissance
Authors: Perkins Leeman L 
Published: November 2023

Abstract
It could be argued that no other topic recurs so frequently in discussions of the music of the Renaissance as text-music relations. It is likely to be included in a variety of contexts, whether the specific focus is a composer, a compositional genre, or the definition of musical style. And in some instances—as, for example, where the Italian madrigal is concerned—consideration of the interrelationships of words and music is clearly unavoidable. There is, in addition, an extensive literature devoted primarily to some aspect of these matters, ranging from occasional articles scattered through various journals to Don Harran’s comprehensive and carefully documented study.
BBC Programming: Holst, Vaughan Williams and Poulenc (1936)
Authors: Kildea Paul 
Published: November 2023

Abstract
For June-July the musical programme of the B.B.C. are not its brightest. There is the usual sprinkling of light orchestral and classical chamber music programmes, suitably interspersed with part-songs by the various teams of B.B.C. singers octets and choruses. But for the more adventurous listener there is not much excitement. The Canterbury Festival on when Dr. Boult is taking down section of the B.B.C. orchestra, contains Holst’s St. Pauls Suite as the sole representation of 20th Century music.1 [This charming work for strings alone will not be found particularly exhilarating for the admirers of Berg or Bartok.]2 Let the interested listener note the final passage, exacting both for the technique and nerves of the leading first violin-a tactless, and may we suggest, not particularly successful experiment on the part of the composer.Vaughan Williams’ piano concerto will be played by Harriet Cohen on Not one of the most popular works of this [illegible] laureate of English musicians, though its admirers rejoice in the Lisztian flavour of the piano writing, and in the Central European atmosphere of the harmony-Bartok being put in his place, no doubt.
An English Composer Sees America (1940)
Authors: Kildea Paul 
Published: November 2023

Abstract
In April of last year, I left England on a vacation trip across the Atlantic, a vacation rather from the general European atmosphere than from overwork. I spent two months in Canada, and since last August have been chiefly in and around New York with occasional visits to the Middle West. I have found this country enormously stimulating, and, as I have met many of the chief figures in American music today, I have had perhaps as good an opportunity as most foreigners of comparing conditions in this country with those in their own. There has been recently a lot of correspondence about American music and the treatment of American composers. It has been the chief topic of conversation in many musical circles to which I have been introduced, and it has been the subject of many articles and essays. Let me say straightaway that, in my opinion, the American composer has little to grumble at; compared with English composers, nothing. Whatever struggle American music may have had in the past for its fair.share of public recognition, today the composer here, compared with his English brother even in normal times, has a very rosy prospect.
On Film Music (c. 1940-r)
Authors: Kildea Paul 
Published: November 2023

Abstract
LEYDA: In answering the following questions, illustrate, wherever this is advantageous and possible, by a reference to a film for which you have written the music, and quote from the score.I. Do you assist in the choice of sequences for which music is to be written?BRITTEN: If possible-in my experience in documentaries, yes, in Commercials, no.LEYDA: 2. To consider first the single film sequence-do you work on the music from the script or from the finished film sequence?BRITTEN: All depends on the kind of film. In some documentaries I have done, the picture was cut to the music after the latter was recorded-a luxurious procedure.LEYDA: 3. (a) Does your musical imagination have to fit itself to particulardetails dramatic or visual of film sequences; or is it free to produce its own musical terms for the essence or quality of the sequence as you see it?BRITTEN: It depends on the character of the film. Usually if the picture is serious one finds a musical equivalent to the emotions being shown on the screen. If the picture is lighter, or a cartoon, a lot of synchronization with details on the screen can be used.LEYDA: 3. (b) What-in onecase or the other-is theeffect of your procedure on 1) the music, 2) the film?
Appeal to the Appellate Tribunal (1942)
Authors: Kildea Paul 
Published: November 2023

Abstract
That the local Tribunal failed to appreciate the religious background of my conscience trying to tie me down too narrowly to a belief in the divinity of Christ. I don’t seek as suggested to pick & choose from his teaching, but I regard the whole context of his teaching & example as the standard by which I must judge. It is for this reason that my conscientious objection covers non combatant as well as combatant service in the army. The reference to the RAMC & non-combatant service in the summary of further evidence does not fairly represent what I tried to convey to the Tribunal. I could not conscientiously join the RAMC or the non-combatant corps, because by so doing I should be no less actively participating in the war than if I were a combatant against which service the Tribunal recognised the validity of my objection. I realise however that in total war, it is impossible to avoid all participation of an indirect kind but I believe that I must draw the line as far away from direct participation as is possible. It is for this reason that I appeal to be left free to follow that line of service to the community, which my conscience approves & my training makes possible.
250th Anniversary of the Death of Henry Purcell (1945)
Authors: Kildea Paul 
Published: November 2023

Abstract
Henry Purcell was the last important international figure of English music. Ironically the continent of Europe has been more aware of his greatness than this island which produced him. But that he should be to the English public little more than a name in history books is not altogether strange, for he is the antithesis of the music which has been popular for so long in this country. Think of his unfettered rhythms, boldly discordant harmonies, his long soaring melodies without automatic repetitions of’memorable’ phrases, and especially his love of the virtuoso, the operatic, and conscious exploitation of brilliant sounds; then remember the bulwarks of music in 19th century England! One obvious reason for his neglect has been the lack of accurate (unexpurgated) convenient and vital editions of his work. The great majority of his music has, as an integral part, the thoroughbass which must be ‘realised’ before it comes to life. When one considers the problems of this realisation, one has to admit that the creative imaginations of critics, musicologists, or musical historians (who have exclusively tackled it) are scarcely adequate for the task. Each work must be re-thought in order to evolve textures and figurations to express its mood, remembering all the time the effect of those instruments for which it was conceived. The figuring of the basses is often spasmodic, and the realiser must soak himself in the composer’s idiom in order to provide natural Purcellian harmonies for the melodies. Nor must he be afraid of those very Purcellian qualities of clarity, strangeness, tenderness and attack. But what a rewarding task it is! One can learn endlessly by becoming intimate with such a gift as his. There seems to be nothing this composer cannot do.