bluuebunny/crossref_metadata_2025_split huggingface dataset:
lvanov’s Memoirs
Authors: Wiley Roland John 
Published: November 2023

Abstract
To all appearances, Lev lvanovich Ivanov was a quiet, introspective man. Unlike his elder colleague Petipa, or any number of famous dancers, he never granted an interview with the press. An obligation to speechmaking came with his promotion to second balletmaster, when he would salute the artist of the hour at benefit performances. Even here emotion or shyness could render him mute. Thus, at the farewell performance of ballerina Evgenia Sokolova,
Charles Wheatstone Invents the Concertina
Authors: Atlas Allan W 
Published: November 2023

Abstract
We should pause in our discussion of the concertina in order to consider the life and career of its inventor, Sir Charles Wheatstone.1 Born at Gloucester on 6 February 1802 into a family whose connections with the music business as both publishers and manufacturers of wind instruments extended back to around 1750 (they set up in London in 1806),2 Wheatstone displayed his scientific precocity as early as 1817, when, as a 15-year-old, he read and then duplicated Alessandro Volta’s experiments in electricity. At about the same time, he began to develop his interests in acoustics and sound conduction,3 and, in a more practical vein, to judge from his ‘Harmonic Diagram’ of 1824 (see Ch. 4 below), tunings and temperaments.
Musorgsky
Authors: Brown David 
Published: November 2023

Abstract
This is not only the first life-and-works on Musorgsky in English for over half a century but also the largest such study of the composer ever to have appeared outside Russia. Mussorgsky was one of the towering figures of nineteenth century Russian music - but also one of the most tragic. Largely an amateur with no systematic training in composition, he nevertheless emerged in his first opera, Boris Godunov, as a supreme musical dramatist, presenting here (and in certain of his piano pieces in Pictures at an Exhibition) some of the most startlingly original of all song composers, with a prodigious gift for uncovering the emotional content of a text. His failure to complete his two remaining operas, Khovanshchina and Sorochintsy Fair, before his premature death from alcohol poisoning is one of music's greatest tragedies.
The Making of a Composer I
Authors: Brown David 
Published: November 2023

Abstract
N October 1856 It Chanced That The Seventeen-Year-Old, newly commissioned Musorgsky found himself duty officer at the second military hospital in St Petersburg where the duty doctor was the twenty-two-year-old, also newly qualified Alexander Borodin. The two men were quickly on good terms, and that same evening were invited to a soiree at the home of Popov, the hospital’s chief doctor. ‘At that time Musorgsky was totally callow, very elegant—to be exact, a mere sketch of an officer,’ Borodin recalled in his brief memoir of Musorgsky written in April 1881, only days after Musorgsky s death: Borodin̓s precise sketch is precious for, taken in conjunction with the photograph of the same year (see plate 1), it affords a vivid image of the teenage Musorgsky.
Salammbô
Authors: Brown David 
Published: November 2023

Abstract
Ne Consequence of The Phenomenal Expansion of Music history studies since World War II has been the toppling of those titans who were once confidently credited with having, unaided, created a form or founded a movement. No one today asserts, as some did within living memory, that Monteverdi invented opera, Haydn (or C. P. E. Bach) devised sonata form, or that Beethoven created Romanticism. Yet to say that Mikhail Glinka singlehanded laid the foundations of the Russian musical tradition as a distinct component of Western music is nothing other than the truth.
The Marriage: Towards Boris
Authors: Brown David 
Published: November 2023

Abstract
Ushkin’s four little tragedies have been rated among literary critics as his most remarkable dramatic creations. Concentrated dramatic vignettes, the longest only some 500 lines of blank verse, they are so fleeting it is difficult to envisage them staged. But their very concentration, their mingling of the colloquial with the poetic, their economy and precision in character delineation, and their structural tautness made them gifts to the opera composer—provided each was accepted on its own terms.
Life alongside Boris I: The Nursery Completed
Authors: Brown David 
Published: November 2023

Abstract
T is no Surprise That While Boris Was In The Making Musorgsky had little time for other things, and not one of his letters survives from the period of its composition. Since September 1868 his permanent base had been with old family friends, Alexander Opochinin and his sister Nadezhda. Throughout the earlier part of 1869 there were occasional reports of him at the familiar musical gatherings at various friends’ and colleagues’ homes, where Boris was exhibited as it was composed, Musorgsky himself performing all the male parts, choruses, and recitatives, Alexander Purgold the female and boys’ roles. But not until October 1869 do we have any direct evidence from the composer himself, when he wrote to Balakirev excusing himself from being a rehearsal pianist for an FMS concert on the grounds that he was too out-of-practice and would be a hindrance rather than help. Nor, as he explained in December to Karl Albrecht, one of Tchaikovsky’s colleagues at the Moscow Conservatoire, did he have anything to hand that he could contribute to the anthology of choral pieces that Albrecht was compiling. Since Albrecht belonged to a musical establishment antipathetic to Musorgsky, the latter might have been expected to show no sympathy for this project, and it seems the more surprising that he should have promised to compose and despatch such a piece as soon as time permitted. But relations between the two main opposing groups in Russia’s musical life were by now much easier.
Two Relationships: Pictures at an Exhibition and Sunless
Authors: Brown David 
Published: November 2023

Abstract
Usorgsky had Known the Architect and Artist Viktor Hartmann since the late sixties. The two men had quickly become friends, and in 1868 Hartmann had presented Musorgsky with two of his sketches (of a rich and a poor Jew). In return Musorgsky had dedicated to Hartmann the second song, ‘In the corner’, of his Nursery cycle, and the artist had become a frequent presence at the musical soirees of Musorgsky’s circle. But suddenly, on 4 August 1873, he had died. Musorgsky was deeply shocked; while walking with Hartmann in St Petersburg during the artist’s last visit, he had seen him suddenly taken ill with what was clearly some serious cardiac disorder and was now full of self-reproach for having shrugged it off at the time. The letter to Stasov in which he recounted his reaction is perhaps the most consistently pain-filled he ever wrote.
Peter Grimes
Authors: Evans Peter 
Published: November 2023

Abstract
By now it is even more obvious than it was in 1945 how fastidious Britten was in selecting poets and poems for the song-cycles that form one important branch of his work. A composer who seeks in both the sonority and the emotional and intellectual content of verse a powerful stimulus to his imagination must embark on an operatic enterprise with trepidation since, unless he decides directly to adapt an existing play (a solution Britten was not to attempt until his version of A Midsummer-Night’s Dream in 1960), he runs the risk that his initial vision, even when embodied in the choice of a subject, may be dimmed by the actual verbal material to which his librettist commits him.
Music for Children
Authors: Evans Peter 
Published: November 2023

Abstract
By comparison with the other composite chapters of this book, unified by the medium of the works discussed, the assembly of pieces within this chapter must appear heterogeneous. And it could be considered not altogether logical a selection, since both the Missa Brevis and the Gemini Variations might with no less justice be regarded as music for children yet have been relegated to other chapters, whereas Saint Nicolas, though written for young people, is now at least as often performed by adult choirs. However, it seems to me worthwhile for once to look right across Britten’s creative career, and to observe his response, always sympathetic but always changing both in its form and its tone, to the musical needs and ambitions of groups of children.
War Requiem
Authors: Evans Peter 
Published: November 2023

Abstract
It has not been the purpose of this book to record the fluctuations of Britten’s critical stock, for such an account would not bear much demonstrable relation to the quality of the music he was producing at any given period. However, it may be that in taking the War Requiem to be a landmark in the composer’s creative career one is too much swayed by the reception it was originally accorded and the subsequent anxiety on the part of writers who had joined in the paean to qualify their praise.
Anglican Plainchant Apologetics: the 1820s to 1860s
Authors: Zon Bennett 
Published: November 2023

Abstract
The nineteenth-century Anglican plainchant revival was nothing without its defenders of sacred music. Apologists may have held widely differing views on the matter, but all were united in one fundamental belief, that being the absolute necessity for a revival of musical worship in England. The man looked upon by Victorians as the father of sacred music apologetics is Richard Hooker (c.1554–1600), whose work formed the early cornerstone of apologetical literature. Hooker’s name appears frequently in numerous periodicals including The Parish Choir and The Ecclesiologist, and he is cited extensively in contemporary sermons, lectures, and pamphlets, particularly in reference to chapters 38 and 39 of the fifth book of his Ecclesiastical Polity. In part 38, ‘Of Music with Psalms’, Hooker divides his ideas into three separate points.
The Pathétique
Authors: Poznansky Alexander 
Published: November 2023

Abstract
Pyotr Ilyich arrived in St Petersburg on 10 October. As usual, our nephew and I met him, and I found him as hale and hearty as when I had last seen him in Moscow. He liked everything about our new apartment, and his good mood stayed with him, especially during the first few days, while his arrival was not yet known in the city and he could still dispose of his time freely. Only one thing disturbed him: the musicians at the rehearsals were little impressed with his Sixth Symphony. Besides the fact that he valued their opinion, he was worried that their indifference might affect the actual performance of the piece. Pyotr Ilyich conducted well only those of his works which he knew the orchestra liked. In order to achieve subtlety of shading, overall harmony, it was essential for him to feel sympathy and pleasure from those around him. A cold expression, an indifferent gaze, the yawn of an orchestra member, all understandable when a piece was as yet unfamiliar, constrained and flustered him, and he paid scant attention to polishing up details.
Tribute
Authors: Poznansky Alexander 
Published: November 2023

Abstract
Along the staircase leading to Modest Tchaikovsky’s apartment two counter-currents of people flow unceasingly. The apartment door stands constantly open. A thousand people have passed through it today. The corner room, in which the coffin lies, makes a distinctive impression: its whole tropical decor [the correspondent has in mind the palms and other tropical plants in the room-A.P. |, the drawn white curtains at the windows, and the garlands hung about the walls, breathe an air of still and silent sorrow. Throughout the day the crowd scarcely diminishes, but despite its presence the room is quiet.
Funeral
Authors: Poznansky Alexander 
Published: November 2023

Abstract
Today Tchaikovsky’s funeral was held. A funeral is a sad ceremony, but when it is performed so majestically, so solemnly as it was today, this sadness is made somewhat less evident; this scene of universal respect for the deceased offers us the consolation that the life and labours of a man do not pass without leaving a trace. The whole of the city’s intelligentsia turned out to bury Tchaikovsky: everyone capable of feeling, appreciating, and perceiving musical impressions longed to pay their last respects to the great composer, to catch a glimpse of his coffin, to sigh bitterly over such an untimely loss. Dignitaries, students, artists of word and thought, and crowds of common people came en masse to accompany Tchaikovsky to his grave; everyone entreated God to grant peace to the soul of the extinguished “leading light of Russian musical art”, as was written on one wreath.
Three Tributaries of ‘The River’
Authors: Griffiths Dai 
Published: November 2023

Abstract
Now all them things that seemed so important, well, Naturally, in appealing to so many consumers, pop music admits of little formal complexity. Whatever a song’s concern, it occurs stringently within the demotic constraints of verse, chorus, middle eight, and their like. So often is the familiar blast of Bob Dylan’s harmonica an end in itself that he is able to contradict this expectation by withholding the true final verse. Describing Handel’s practice within the formal convention of recitative and aria in eighteenth-century opera seria, Winton Dean observed: ‘His care for dramatic values led him to modify the formal scheme to express not only states of mind but character in action; and here most of all the stiffness of the convention enabled him to bring off all manner of surprises’ (Dean 1969: 171).
Secrecy and Silence: An Introduction to Music and its Metaphor
Authors: Goehr Lydia 
Published: November 2023

Abstract
Consider three paradoxical proclamations: first, Orwell’s: ‘the opinion that art should have nothing to do with politics is itself a political attitude’; secondly, Goethe’s: ‘You cannot escape from the world more certainly than through art; and you cannot bind yourself to it more certainly than through art’; and thirdly, Adorno’s: ‘music represents society the more deeply the less it blinks in its direction’. Though they were uttered in very different times and places, these proclamations share the rationale of protecting music, literature, and the arts from the threat of the moralizing censor, where the censor symbolizes a social or moral unfreedom. I borrow part of my opening thought from Nietzsche’s Twilight of the Idols, specifically from his comment on ‘l’art pour l’art’ (section 24): ‘The struggle against purpose in art is always a struggle against the moralizing tendency in art, against the subordination of art to morality. L’art pour !’art means: the devil take morality! But this very hostility betrays that moral prejudice is still dominant.’
Vocal Style and Technique
Authors: Mcgee Timothy J 
Published: November 2023

Abstract
Giorgio Anselmi’s praise of the voice, written in 1432, resembles similar tributes down through the centuries, including the present. But while such consis tent characterization of the voice might suggest that little has changed in terms of vocal sound during that period, nothing could be further from the truth. What has remained constant is the attraction of the well-trained voice, but as will be demonstrated in the following chapters, the actual sound made by the voice has changed drastically over the centuries, and the sound that was valued so highly in the time of Giorgio and earlier was one that was highly ornate. By studying the ornaments that were an integral part of the singing style of the Middle Ages along with an analysis of the various commentaries on singing and singers, we shall be able to come to some understanding of the nature of the particular vocal sound that inspired Giorgio’s remarks.
Written Ornaments
Authors: Mcgee Timothy J 
Published: November 2023

Abstract
To complete our investigation of the medieval singing style and at the same time introduce the concept of ornamentation, we have the testimony of a set of ‘ornamental’ neumes and instructions on their performance. A study of these neumes and the special sounds that they require will bring the instructions of the previous chapter to the level of practical application. It will also assist us in comprehending the extent to which ornamentation was a part of basic musical practices of the late Middle Ages, and make clearer the fundamental concept of the vocal style as well as the specific techniques involved in singing medieval music.
The Lute in Britain
Authors: Spring Matthew 
Published: November 2023

Abstract
The lute was one of the most important instruments in use in Europe from late medieval times up to the eighteenth century, as a solo instrument, in combination with other instruments, or with the voice. Despite its acknowledged importance this study is the first ever comprehensive work on the instrument and its music, apart from performance studies or bibliographical and reference publications. While Spring focuses on the lute in Britain, he also includes two chapters devoted to continental developments: one on the transition from medieval to renaissance, the other on renaissance to baroque, and the lute in Britain is never treated in isolation. Six chapters cover all aspects of the lute's history and its music in England from 1285 to well into the eighteenth century, whilst other chapters cover the instruments early history, the lute in concert, lute song accompaniment, the thearbo, and the lute in Scotland. Writing for the music student, the serious listener, the player, maker, and lute enthusiast, Spring makes available for the first time, over 40 years of musical scholarship previously the preserve of academic journals.
Introduction
Authors: Spring Matthew 
Published: November 2023

Abstract
Contrary to popular belief, the lute was never the natural instrument of the troubadour or trouvere. It does not feature in French or English iconography or literature before the thirteenth century. This introduction traces the appearance of the lute before its arrival in northern Europe. It serves to differentiate, at an early stage, the lute from other popular plucked instruments like the gittern and citole. It is intended to do no more than lay down some general markers on the early history of the lute, a huge subject quite outside the scope of this book.
The Lute in England before 1500
Authors: Spring Matthew 
Published: November 2023

Abstract
No actual lute music from Britain survives before the earliest sixteenth-century tab latures. We must rely on literary and iconographical evidence to build a picture of lute practice in the medieval period. This chapter surveys what material there is. Conclusions are few and questions are many.There is no trace of the lute or gittern in Britain before 1285. Certainly these instruments were largely unknown, or at best insignificant, before the fourteenth century. They may have been introduced directly from Spain: the medieval English court had good contacts with those of Spain, and Plantagenet kings often intermarried with the northern Spanish to bolster themselves against the French. Richard I, the son of Henry II and Eleanor of Aquitaine, married Berengaria, daughter of Sancho VI of Navarre, in 1191. Another of Henry II’s offspring, his daughter Eleanor, married Alfonso VIII of Castile in 1169.
The Lute in Song Accompaniment
Authors: Spring Matthew 
Published: November 2023

Abstract
Singing to the lute is as old as lute playing itself. The earliest English sources (mid sixteenth century) all show that the influence of vocal accompaniment was ever present in the lute repertoire. A good proportion of the surviving pre-1580 pieces are either tablature versions of popular song tunes to be played as solos, or actual accompaniments to songs. This is to be expected, as the early sources like Stowe 389, RA 58, and the commonplace books belonged to amateurs for whom popular songs may have been the most accessible repertoire.
From Renaissance to Baroque: A Continental Excursus, 1600 – 1650
Authors: Spring Matthew 
Published: November 2023

Abstract
Vomigny Perrichon and the Polack are furthest Lutinists in the memory of man that deserve to be menconed and to have a Statue upon the Mount of Parnassus for haveing given us the Rudimente of the Lute and cleared the first difficulties that hindered production of this Masterpeece[.] Afterwards Monsieur Mezan geot appeared upon the Stage of Musicke and using the Lute with nyneteene Stringes hath soe polished the Composition and the playing of it that without Contradiction we must give him the praise to have given to the Lute his first perfection …
The Caroline and Commonwealth Periods (I625–I660)
Authors: Spring Matthew 
Published: November 2023

Abstract
Here is a fellow who comes into England with an ill meen and thredbare cloaths, and there presently sets up a Court of Judicature, arraigning both Musick, Instruments, and Musicians, for not being a la mode de France; the twelve ranks of strings other Lute, the double neck, the lessons, the method of playing, and almost the hands too, for not being mangy about the wrists like his: he belies great masters; and teaches but his own imperfections: And if his fingers be so weak they can scarce crawle o’re a Lute, then to play gently and softly is the mode, and doucement is the word: and if so gouty and child-blained as he rakes the strings worse than if they were grated on by a ragged staff: then fort and Gallyard is the word, and strong and lusty is the mode agen; and if you like not his play, he tells ye at least, that he has the only new method of Paris, and that he teaches a ravir and non pareille, and for his lessons (which he has rakt out of Gau/tier’s dunghill, or collected from the privy-house of Dufaut) he keeps them as precious reliques, giving such out for new as were made before the Avignon or the Pope’s coming there:
Scottish Lute Music
Authors: Spring Matthew 
Published: November 2023

Abstract
Lutenists were fully established at the Scottish royal court by the late fifteenth century, though the instrument is occasionally mentioned in Scots literature before this time.1 Sir John Graham Dalyell in his Musical Memoirs of Scotland (1849) mentions a number of lutenists belonging to the royal household, the earliest reference being in 1474. Dalyell lists extracts taken from the Household Accounts of the Lords High Treasurers of Scotland showing frequent payments to lutenists during the reign of James III (1460 – 88) and James IV (1488 – 1513). Payments were made to a certain Jacob, but also to his fellow lutenists: John Wardlaw, Rankine, Robert Rudman, Adam Dikeson, Robert Hay, John Ledebetar, Craig, ‘Lindores’, and ‘Gray Steil’.The unfortunate James IV married Margaret Tudor in 1503. During the celebrations he entertained his bride by playing the ‘clarychordes’ and ‘lute’. Margaret had been taught the lute as a child. Kenner or Krennar, her ‘lutar’, is mentioned in English accounts prior to her departure, and was probably English.
The Bridge, Soundpost, and Tailpiece
Authors: Beamnt Jams 
Published: November 2023

Abstract
The bridge transfers the vibration of the string to the body and plays a much larger part in determining tone than is often recognized. We saw in the previous chapter that it is also involved with pitch. A well cut, perfectly fitting bridge of the right weight is essential. Would that every player appreciated that a good professionally cut bridge is also precious. The bridge has one foot near the point where the front is supported internally by the sound post; the other foot is over the bass bar, a beam along the inside (Fig. S. l ). In the playing position the violinist and violist see the sound post side on their right; the cellist and bassist see it on their left. In the figures the bass bar is marked Bb and the sound post Sp.