bluuebunny/crossref_metadata_2025_split huggingface dataset:
Introduction
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
Monteverdi’s Vespro della Beata Vergine, published together with his Missa in illo tempore, has been a familiar item in music histories and the subject of intense interest among early music performers and enthusiasts for many years. And well it should be, given the grand dimensions, vocal and instrumental virtuosity, musical colour, and extraordinary variety characterizing the collection of fourteen compositions subsumed under the title Vespro della Beata Vergine in the composer’s Bassus Generalis part-book. The importance of this publication to Monteverdi himself is underscored by its dedication to Pope Paul V2 Interest in the Vespers has led to several modern editions and innumerable performances and recordings, some of very high quality, employing historical instruments and up-to-date knowledge of early seventeenth-century performance practices.3By now, the Vespers of 16m are truly in the public domain, familiar to large numbers of musicians and music-lovers.
A Preliminary Note on Analytical Method and Terminology
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
Monteverdi’s music has long been considered to span the watershed between the late Renaissance and early Baroque, between the decline of polyphony and the medieval modal system and the beginning of the functional harmonic system and modern tonality that only became fully established in the late seventeenth century. In this sense he has been viewed as a ‘transitional’ composer, helping to define the criteria of the transition and to move it toward further stages of development. Yet Monteverdi’s role in this historical process should not be overestimated. His use of cadentially directed melody and harmony, the scales and ostinatos in his bass-lines, his circle-of-fifths bass movement, his homophonic textures, his melodic and harmonic chromaticism, his variation techniques, and his tonal organization in large structures were shared in some measure or another by the vast majority of composers of his era. Moreover, many of these stylistic features trace their origins well back into the sixteenth century, in some cases as far as the fifteenth century.
Compositions Based on a Cantus Firmus: The Response and Psalms
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
In the Bassus Generalis part-book, at the head of Domine ad adjuvandum, the rubric appears Vespro delta B.Vergine da concerto, composto sopra canti fermi (Vespers of the Blessed Virgin in concerto, composed on cantus firmi). Of the fourteen compositions aside from the Missa in illo tempore in Monteverdi’s 1610 print, ten are ‘composed on cantus firmi’. These comprise the response, all five psalms, both Magnificats, the hymn Ave maris stella, and the Sonata sopra Sancta Maria, the latter based on the Litany of the Saints. Only the four few-voiced motets are without a cantus firmus.
Organs and Organ Registration
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
Italian organs of the sixteenth and early seventeenth centuries, most often comprising a single keyboard with a compass of thirty-eight to fifty-three keys, were rather simple in comparison with the larger instruments of northern Europe. Approximately fifty to fifty-three keys were common, but the lowest octave was usually a short octave, devoid of chromatic half-steps and often containing even less than a full diatonic octave.
Obbligato Instruments
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
In three compositions of the 1610 Vespers, Domine ad adjuvandum, the Sonata sopra Sancta Maria, and the Magnificat a 7, Monteverdi calls for specific obbligato instruments, while in two others, Dixit Dominus and Ave maris stella, notated instrumental parts are provided for ritornellos without any indication of what instruments might be used.
Instrumental Doubling and Substitution for Vocal Parts
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The practice of doubling voices with instruments and/or using instruments to substitute for voices in both secular and sacred music was widespread and well established in Italy long before the turn of the seventeenth century. Although the evidence is more ubiquitous for masses and motets than it is for psalmody in the sixteenth century, there is also firm evidence for instrumental doubling in vesper psalms. The Venetian theorist Nicola Vicentino had declared as early as 1555 that to make a large sound (intonatione) in spacious churches and other large places, ‘one can compose masses, psalms, and dialogues and other things to play with various instruments, mixed with voices’. The title-page of Ippolito Camatero’s Salmi corista a otto voci of 1573 describes the contents as ‘convenient for the voices, accompanied as well with every sort of musical instrument’.
Three Theatrical Songs (1946) Milton Babbitt (born 1916)
Authors: Manning Jane 
Published: November 2023

Abstract
These delightfully simple and original show songs are a real pleasure to sing. They are especially welcome from this distinguished composer whose impressive vocal output is otherwise too difficult to be included in this book (but is to be warmly recommended to singers of outstanding musicianship). As Babbitt says in the introductory note, the songs come from an entirely different side of his musical life and represent his prodigious knowledge, love and understanding of the great American show-song tradition, symbolised by such figures as Rodgers, Kern, Porter, Berlin and Gershwin.
One and All (I975) Karl Aage Rasmussen (born I947) Text by Paul Borum
Authors: Manning Jane 
Published: November 2023

Abstract
The beautiful understatement of Rasmussen’s elegant style has a charm all its own. Any voice will sing the cycle with comfort, but the lightness of touch found in the higher voices (soprano and tenor) is perhaps most suitable for the purity and clarity of line and detail that is so important here. As is typical of this composer, there are elements of pastiche in the music.
May Rain (1941) Lou Harrison (born 1917) Text by Elsa Gidlow
Authors: Manning Jane 
Published: November 2023

Abstract
This enchanting piece by one of the senior figures of American music forms an ideal introduction for a newcomer to a more experimental idiom without posing any musical problems. The piano is prepared by inserting a screw between two of the three strings attached to each of six specified pitches to produce ‘harmonics and a gong-like resonance’.
Two Songs (1977) Peter Racine Fricker (1920-90) Text by T. E. Hulme
Authors: Manning Jane 
Published: November 2023

Abstract
The songs show the expertise that is typical of this fine and unjustly neglected composer. No singer should find them either musically or technically difficult and the piano part is equally undemanding. The vocal writing is smooth and shows Pricker’s sensitivity to timbre. The musical idiom is fairly traditional with neo-classical elements. With great economy of means, the songs come across strongly and clearly and are beautifully integrated. The steady movement of the first, shorter song is contrasted with a more extended second song which is mainly in waltz rhythm with fluctuating tempos. The songs are an ideal choice for a comparative beginner.
A Suite o’ Bairnsangs (I953) Thea Musgrave (horn I928) Text by Maurice Lindsay
Authors: Manning Jane 
Published: November 2023

Abstract
These witty and vivacious settings of Scottish nursery rhymes are a delightful introduction to the work of this fine composer. The poems are aptly characterised in music of a most approachable style with rhythmic twists in an unmistakably Scottish folk tradition.
The Exiled King (1984) Brian Dennis (born I 94I) Text by Li Yin (937-978) Translated by Brian Dennis
Authors: Manning Jane 
Published: November 2023

Abstract
Brian Dennis, a singer-composer, has written a large body of highly original vocal music and it exhibits his special understanding of the medium. Progressing through several styles which reflect his constant awareness of the changing face of contemporary music, he has, over the past Io years, forged an appealing and most accessible personal idiom, well suited to the economical but emotionally charged language of the ancient Chinese texts with which he first began working in the late I96os.
Anerca (1966) Harry Freedman (born 1922) Translation by Knud Rasmussen
Authors: Manning Jane 
Published: November 2023

Abstract
These songs, by a senior Canadian composer, are fine examples of the best vocal writing of the 1960s. Although the lines are often more luxuriant than those in Webern’s music they do show a similar delicacy of touch and a natural unforced shapeliness. The singer will find them delightfully easy and most flattering.
Something Rich and Strange (1976) Trevor Hold (born 1939) Text by William Shakespeare
Authors: Manning Jane 
Published: November 2023

Abstract
Any newcomer to contemporary music, however inexperienced, will find this delectable cycle an excellent introduction to the field. Most audiences will probably know the Shakespeare texts, and the economy and suitability of the settings inspire confidence from the outset. The moods of the texts are expertly caught in the music, and the simplest vocal devices are used with skill and unfailing accuracy. The strong resonances of the middle song are admirably framed by the two contrasting faster ones. Trevor Hold writes extremely well for the voice, as can be seen from his many other vocal works, all of which are worthy of much greater prominence in the repertory.
I Hate Music! (1943) Leonard Bernstein (1918-90) Text by Leonard Bernstein
Authors: Manning Jane 
Published: November 2023

Abstract
The dazzling gifts and versatility of Leonard Bernstein are demonstrated here in this captivating and lighthearted cycle of highly amusing and original songs. It is a perfect party piece for a young singer and her pianist, and great fun for the audience too. A youthful timbre is appropriate, but the composer states quite firmly in his introductory note that the temptation to adopt a falsely childlike manner, or to become arch is to be rigidly resisted.
Extravaganzas (I963-9) Peter Dickinson (born I 934) Text by Gregory Corso
Authors: Manning Jane 
Published: November 2023

Abstract
This cycle of brief songs to evocative, disturbing and ironically humorous texts by the American Beat poet Gregory Corso makes a fine contribution to the recital repertory. Highly entertaining and full of variety, the songs are especially well tailored to the needs of the singer.
Escape at Bedtime (1983) Corey Field (born 1956) Text by Robert Louis Stevenson
Authors: Manning Jane 
Published: November 2023

Abstract
This young American composer’s exqms1te setting of Stevenson’s enchanting poem captures perfectly the glistening radiance of the night sky depicted in the text. It is especially well suited to a young and naturally high, bright-voiced singer using a light and well-open head voice. Considerable technical control and poise are needed to maintain the almost unbroken series of shimmering legato lines which cover a wide range and arch gently within the dynamics, which are never louder than piano.
Four Songs (I970) Robert Heppener (born I 925) Text by Ezra Pound
Authors: Manning Jane 
Published: November 2023

Abstract
This set of songs by the distinguished Dutch composer, Robert Heppener, allows a really accomplished singer to display virtuosity and a versatile technique. The vocal line is appealingly wide ranging, mellifluous and richly expressive; in some places it is quite physically demanding. Sprechstimme is used, together with other spoken devices, including whispering. The four songs are agreeably contrasted to each other.
Evening Land (I98I) Anthony Payne (born I936) Text by W. H. Auden
Authors: Manning Jane 
Published: November 2023

Abstract
This song cycle has an exceptionally strong and immediate appeal to the widest possible variety of listener. Despite its length, it never fails to hold the attention, largely because the words are set so that they can be heard with complete clarity and never fail to make their full impact. The audience can thus easily follow the poet’s spiritual journey of discovery as it unfolds through a succession of nine songs which are joined together in a single span.
Poems of Tagore I (1970) Naresh Sohal (born 1939) Text by Rabindranath Tagore
Authors: Manning Jane 
Published: November 2023

Abstract
The fascinating originality of this Indian composer’s work gives his short scena strong and immediate appeal. The vocal writing inevitably shows the influence of an Eastern tradition and upbringing. The full vibrato of Western singing is inappropriate here and is not to the composer’s personal taste, as I know from working with him.
Beata l’alma (1966) David Blake (born 1936) Text by Herbert Read
Authors: Manning Jane 
Published: November 2023

Abstract
Beata l’alma is an important addition to the vocal repertory and it deserves to be heard more often. It makes considerable demands on the singer and the piano part is also a tour de force (the compo,ser is an excellent player). Some very high passages contain awkward strings of syllables and they may be more easily and smoothly negotiated by a tenor. Diction could certainly be a problem at first. A good deal of preliminary work is needed for the piece to fall naturally into place, but the effort is well rewarded. Many special, expressive effects and changes of vocal timbre have to be mastered with patience, and the practice sessions should not be too lengthy because of the risk of tiring the voice. The work is through-composed in one long span. A piano solo divides the two poems of the text, and there are several sub sections where the music varies greatly in character.
i am a little church (I976) Malcolm Singer (horn I 953) Text by e. e. cummings
Authors: Manning Jane 
Published: November 2023

Abstract
The high grading of this piece may seem surprising at first glance, but to perform such harmonically static music as this requires the highest skill. There is a real danger of the singer’s throat seizing up through tension caused by having to repeat notes at a medium to high tessitura. (E is a particularly difncult note in this respect.) Vocal ease is not per haps the composer’s top priority in this ingenious and delightful piece, but it is however fun to work out and audiences will be enchanted by it.
Enitharmon (1973, revised 1984/5) Gwyn Pritchard (born 194 8) Text by William Blake
Authors: Manning Jane 
Published: November 2023

Abstract
Enitharmon is an extremely appealing and sensitive example of a style of vocal writing which was pioneered in the 1960s by Berio and others. Proportional notation is employed and the composer’s guidelines in the front of the score give dear answers to most of the questions that might arise from a first perusal of the music. Close study of this introductory page is essential and it ought to prove reassuring to anyone unacquainted with such notational methods and symbols.
Howard Mayer Brown (1930-1993)
Authors: Haar James 
Published: November 2023

Abstract
At almost every scholarly conference I have attended I can re all saying, or hearing others say, ‘has Howard arrived yet?’. And sooner or later he usually did show up, providing us a kind of signal that it was all right to go ahead. These are just the conferences I went to; there have been many others I didn’t attend but Howard did, and whether he read a paper or not his presence was a sort of guarantee, both that the conference would be all right and that everyone would have a good time. His combination of seriousness of purpose with an inimitable wit, his cosmopolitan yet deeply American per sonality, somehow set the right tone for us all.
Josquin in Rome: Some Evidence from the Masses
Authors: Haar James 
Published: November 2023

Abstract
IT would be gratifying to be able to announce that I have new documentation concerning Josquin des Prez’s service in the papal chapel, a period thought to extend from June 1489 until some time in 1495 or perhaps longer, with some internal gaps.1 Unfortunately I do not. My purpose here is more indirect and more modest; I wish to suggest that some of Josquin’s masses were known in Rome before their printing by Ottaviano de’ Petrucci, and that regardless of their date of copying in Roman manuscripts they were known in versions differing from Petrucci’s sources, in a few instances versions that may lay claim to being specifically Roman and thus possibly close to the composer himself.
Palestrina at Work
Authors: Owens Jessie Ann 
Published: November 2023

Abstract
IT is surprising, given Palestrina’s prominence in his own time as well as his place in history, that little attention has been paid to the question of how he composed. The only scholar to have considered this issue at any length was Raffaele Casimiri, who discussed some of the revisions in Rome, San Giovanni in Laterano, Archivio musicale lateranense, Cadice 59, a manu script largely in Palestrina’s hand.1 While Casimiri’s study continues to be use ful, in part because of the access it offers to the manuscript,2 the question of Palestrina’s working methods deserves further consideration. There is additional evidence not considered by Casimiri: the Mantuan correspondence con cerning Palestrina’s Santa Barbara masses as well as three other autograph manuscripts.
Supplying the Market
Authors: Woodfield Ian 
Published: November 2023

Abstract
By the 1780s, supplying Anglo-Indians with music and instruments had become a lucrative business. London publishers and manufacturers recognized the growing value of this market, and special deals for retailers in India were not uncommon. It was easy enough to arrange for the export of small instruments, such as the flute and violin, but keyboard instruments, because of their size and delicacy, posed particular problems. Harpsichords and pianos could be smashed during storms at sea, ruined by the sea air, or damaged during disembarkation. The next stage in the journey was just as hazardous, often involving a voyage up the Ganges. If an instrument survived all this, the Indian climate could still wreck it overnight, as the intense heat and humidity began to affect the soundboard. Armies of termites, which dispatched most of the organs installed in Indian churches, could only rarely have had the chance to get to work on a harpsichord or pianoforte in pristine condition. Yet, although keyboard instruments were frequently advertised as possessing features suiting them to the climate of India, most of the causes of failure were beyond the control of the manufacturer, and firms could thus sell in this market without fear of reproach.
Professional Musicians in India
Authors: Woodfield Ian 
Published: November 2023

Abstract
In the early seventeenth century, the first English factories in India had access to a regular supply of visiting professional musicians on shore leave from East India Company ships. Once this source began to dwindle, it became necessary to consider whether musicians should be employed permanently in India. By the early eighteenth century, the Governor of Madras had started to maintain a regular band of musicians. The nature of this ensemble is not certain, but it seems likely that it was a string band. From the mid-century, there are periodic references to groups of fiddlers in the service of the leading political personalities. Before the Battle of Plassey, Clive sent his players to Orme in Madras, who acknowledged their safe arrival: ‘I have received your consignment of Fiddlers. I pay them. They get victualls with the Governor ‘s band. The origins of the string band in Calcutta are not known, but, by the time of the occupation of the city in 1756, there were six musicians. A list of inhabitants who bore arms at the siege of the city on 1 July includes: ‘Fidlers: Ling, Tuball, Hilmbrat, Janniko, Heneriko, John. Of these, one (Janniko) is identified as having been killed, another (Lyng) as having been in the group which escaped to the ships. A third (John) was described ten years later as having served seven governors of Bengal.
The Encounter with Indian Music
Authors: Woodfield Ian 
Published: November 2023

Abstract
The background to the intense fashion for Indian songs and instruments that swept through Anglo-Indian society in the 1780s lies in the expansion of the East India Company ‘s interests into the central and northern provinces of lndia. It is noteworthy that although Indian tunes were performed and published in Calcutta, they were rarely collected there. Calcutta was perceived as what it was—an English creation. To experience truly ‘authentic ‘ Indian culture, it was widely recognized that a journey inland would be necessary, and an ideal location existed—the kingdom of Oudh. A voyage of two or three months up the Ganges, at the leisurely tourist rate of progress, would bring the visitor to the historic cities of Benares and Luck now, the Company’s most important inland stations. The strategic importance of the kingdom of Oudh grew even as the Mughal Empire waned. At first, the Company regarded Oudh as a valuable buffer state, which offered protection to its possessions in Bengal from the potentially serious threat posed by the Marathas. A delicate balance had to be maintained. Oudh needed to be strong enough to hold up the advance of an aggressor, yet not so strong as to pose a threat itself to the Company in Bengal. One solution was to maintain troops in the region, which the Company began to do during the reign of Shuja-ud-Daulah. His successor Asuf-ud-Daulah was a weaker ruler, who came to be regarded by the English as a libertine with no aptitude for serious government. Company officials thus began to assume a much more active role in ordering the affairs of state. The maintenance of a public show of good relations was now regarded as a top priority, and social intercourse with the Indian nabob and his chief ministers became an important symbol of policy.
The Return to England
Authors: Woodfield Ian 
Published: November 2023

Abstract
Notwithstanding the practical obstacles to keyboard-playing in India, Margaret Fowke stuck to her objective of becoming a ‘finished ‘ pianist. The true level of her accomplishment by the time of her return to England is difficult to assess. Her reputation in Calcutta was certainly good, but standards of performance in India generally were low. Her family ‘s assessments are of course inadmissible as evidence of any actual level of attainment, but they are revealing of attitudes towards the musicianship of a young woman. Joseph ‘s appraisal of his daughter ‘s progress by the time that she was about to return to England was at least straightforward:
The Orchestra in Italy
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
By the time of Corelli’s death in 1713 many Italian instrumental ensembles had taken on attributes of an orchestra. They were based on violin-family instruments; they used several players on each part; they played as unified ensembles. A distinctive repertory of music was beginning to emerge for such ensembles-concertos, sinfonie, and concerted sacred music-and instrumental ensembles were beginning to assume their own identities, distinct from singers and other musical personnel. Corelli’s ensembles in Rome had been pioneers and leaders in these developments, but they were not alone. Ensembles with some or all of these characteristics could be found in Bologna, Turin, Venice, and several other Italian cities.