bluuebunny/crossref_metadata_2025_split huggingface dataset:
‘Les Paifums de la nuit’
Authors: Brown Matthew 
Published: November 2023

Abstract
It is hard to imagine a more dramatic juxtaposition than that between the first and second movements of Ibéria. In place of the ebullience of ‘Par les rues et les chemins’, ‘Les Parfums de la nuit’ evokes what Falla referred to as ‘the intoxicating spell of Andalusian nights’.
Structural Considerations
Authors: Zychowicz James L 
Published: November 2023

Abstract
While completing the draft score of the Fourth Symphony in Summer 1900, Mahler began to discuss the music in detail with his confidante Natalie Bauer-Lechner. After telling her the key of the work—G major—and the approximate performance—time—45 minutes-he confessed that in composing the Fourth ‘I only wanted to write a symphonic Humoresque, and out of it came a symphony of normal dimensions’. While he was nowhere explicit about what constituted for him ‘normal dimensions’, the result was a concise symphony in four movements for a smaller orchestra than his earlier works.
“Das himmlische Leben” before the Fourth Symphony
Authors: Zychowicz James L 
Published: November 2023

Abstract
In various ways the song “Das himmlische Leben” is at the core of Mahler’s Fourth Symphony, and the composer himself regarded the song as the goal and inspiration for the later work. He once told Natalie Bauer-Lechner that ‘Das himmlische Leben’ formed ‘the tapering, topmost spire of the edifice of this Fourth Symphony’. Even though the song and the symphony emerged years apart, Mahler's comment underscores the complex and suc­cessful integration between them.
Short Score
Authors: Zychowicz James L 
Published: November 2023

Abstract
After working on the preliminary sketches for the first three movements of the Fourth Symphony, Mahler used them to prepare the more continuous short score or Particell of the work. At some point he organized the preliminary sketches and numbered the pages to reflect the order of ideas as he wanted them to occur in the short score. By ordering the material he had possibly composed out of sequence he had already moved beyond preliminary sketch stage. Yet not all the transitions were in place, nor had he completely thought out the structure of the symphony.
Fair Copy
Authors: Zychowicz James L 
Published: November 2023

Abstract
The fair copy of the Fourth Symphony is the full score that Mahler used for the premiere of the work and also the basis for its first publication. In the draft score he had already completed the first orchestration of the work, but it remained for him to refine the score when he took the Fourth into the fair copy. While he might change the substance of the symphony at this point, such revision was rarer than the attention he gave to the details of scoring, dynamics, and other expressive elements, which he applied more consistently at this stage of composition.
Towards a Grounding in Bach Interpretation
Authors: Hurford Peter 
Published: November 2023

Abstract
As a composer, no other musician has so thoroughly understood and responded to the organ’s nature. Bach’s handling of counterpoint fulfilled the instrument’s musical potential and raised the art of organ music to a level comparable with that of any other instrument. Indeed, he set a standard which required his predecessors to be re-evaluated, and which illuminated for posterity the organ’s potential as a musical medium.
The Sacrae Cantiones
Authors: Watkins Glenn , Stravinsky Igor 
Published: November 2023

Abstract
THE only reference to any of Gesualdo’s sacred works before the twentieth century is in a letter from Fontanelli to Duke Alfonso stating that the Prince had been busy writing and had composed, in addition to several madrigals, a motet and an aria.1 Heseltine was one of the first to mention their existence, but he did not examine them and was correct in stating at that time that his fame as a composer rested entirely upon his madrigals.2
The Final Years1891-1897
Authors: Avins Styra , Eisinger Josef 
Published: November 2023

Abstract
Important works come from the last years ofBrahms’s life-the clarinet music, the late piano pieces, Op. 116-19, and the Four Serious Songs (Vier ernste Gesiinge). None the less, one distinct impression left by letters of this period is that of a man managing an extensive and diverse network of friends and family. ‘Outsider’, lonely man, he who never laughed inwardly (as he once said to Alwin von Beckerath); if he was those things in his own mind and where it counts most, he was also a person with a very active social life who wrote a great many letters to maintain it.
The Cathedral cappella in the Early Seicento
Authors: Reardon Colleen 
Published: November 2023

Abstract
When Agostino Agazzari took over the organist’s position at the Duomo in January 1597, he became a member of the most prestigious musical organization in Siena. Professional musicians first appeared on the Cathedral’s payment registers at the dawn of the quattrocento, and the growth of the cappella in the following century and a half mirrored the city’s aspirations to international prominence and power. The cappella became a symbol of Sienese resistance during the brutal siege of 1554-5, when the Republic was in its death-throes.
Musical Repertoire and Liturgical Context
Authors: Reardon Colleen 
Published: November 2023

Abstract
In October 1608, the canons of Siena Cathedral wrote to the Grand Duke of Tuscany asking for higher wages. They obviously had got wind of a pay rise that was to be granted to the musicians and used that as an argument to justify their own request. Lorenzo Usimbardi, secretary to the Grand Duke, shrewdly turned the difficult matter over to the Sienese rector, Muzio Placidi.
Tone Production
Authors: Schuller Gunther 
Published: November 2023

Abstract
The manner in which the instrument is held is of the utmost importance. Tastes and national schools vary considerably in this. But in general, one can say that playing positions seem to be determined by the type of sound a particular school finds desirable. In the United States horn players tend to find a darker tone more useful, while in England a more open quality seems to be common practice. The English players no doubt find the American horn quality (especially some of the more extreme examples) muffled and too close to a tuba sound; while the Americans think of their English colleagues as lacking in the characteristic horn mellowness and too close in tone conception to the trombone or baritone.
Legato
Authors: Schuller Gunther 
Published: November 2023

Abstract
A beautiful legato on the horn is one of the most precious characteristics. Since a large part of the horn literature consists of music where a good legato is required, the student is advised to spend much time on this problem. The single most important factor in legato playing (slurring from one note to another) is our old friend ‘breath support’. As we have learned, it is the air column that largely controls the vibration of the lips. Now the secret of good slurring is to keep this vibrating of the lips constant and controlled between slurred notes. Otherwise the beauty of the legato will be impaired or-worse yet-the player may find that the second note, to which he is attempting to slur, will not speak at all. It therefore stands to reason that extremely sensitive control of the air column is the key to a smooth, perfectly controlled legato.
Origin of the Melodies
Authors: Cooper Barry 
Published: November 2023

Abstract
The melodies used for Beethoven’s settings have a wide variety of origins. Some were much older than others, and not all are true folksongs. But ‘folksong’ can never have a very rigid definition, and most of the melodies that had not originated as folksongs had taken on folksong-like characteristics over a period of time; in other words, they had become well known amongst the general populace and were treated as if folksongs, subjected to minor modifications and often transmitted orally, even if they had originated as composed art music. Thus it is convenient, if only partially accurate, to refer to them all as folksong melodies.
The Accompaniments: General Approach and Treatment of Voices
Authors: Cooper Barry 
Published: November 2023

Abstract
Most of the melodies set by Beethoven were originally monophonic, but it became increasingly common in the course of the eighteenth century for such melodies to be published with some kind of accompaniment and, later still, preludes and postludes in the manner of an aria. Whether instrumental accompaniments enhance simple folk-tunes or merely detract from them depends on one’s own perceptions, as well as on the quality of the accompaniments, and there are some musicians who might argue that a melody conceived monophonically should be left as it is.
The Hall Collection
Authors: Knapp J Merrill 
Published: November 2023

Abstract
IT is not often that a scholar has the opportunity to be in direct touch with the founder of a collection—particularly of one that deals, not with the twentieth century, but with Handel and the eighteenth. Many years ago, as a young American faculty member working in England, I had the privilege of meeting Dr James Hall through his old friend William C. Smith of the British Museum. Dr Hall (1899-1973), a busy physician of Deal and Walmer in Kent, was not a professional musician, scholar, or bibliographer, but an avid Handel enthusiast who had managed during an unbelievably active lifetime of medical practice to assemble bit by bit a large collection of printed editions of Handel’s works—at a time when they could usually be picked up for a few shillings—and also contemporary manuscripts, some of which were made for Frederick, Prince of Wales in the 1740s. All this was accomplished by a man of modest means and no inherited wealth who, besides his musical activities (he was an organist and choirmaster, and directed over a hundred performances for his local choral society), had a distinguished career during World War II as a sea surgeon, jumping on and off ships in the English Channel to perform emergency operations, notably during the evacuation from Dunkirk.
Early German Handel Editions during the Classical Period
Authors: Baselt Bernd 
Published: November 2023

Abstract
WHEN Handel was buried in Westminster Abbey on 20 April 1759 last respects were paid to him by almost everyone in cultivated English society. He was looked upon as the greatest English composer of the age, who had made London’s opera the centre of European musical culture, and had created in his oratorios the national art form of the English middle class; later he would be seen to have prepared the way in his instrumental music for the classical symphony and sonata.
Critical Reception Contemporary and Modern
Authors: Careri Enrico 
Published: November 2023

Abstract
WITH the publication of his Opp. II and III concertos Geminiani’s fame in England reached its summit. His abilities as a violinist, composer, and teacher were beyond dispute. Contemporary criticism, with just a few exceptions, is generally very positive—not only on account of the qualities of the music itself but also because Geminiani is credited with guiding English musical taste in the right direction by encouraging the study and performance of Corelli’s music and making a decisive contribution to the foundation of a native English school of violinists and composers.
Francesca Cuzzoni and Faustina Bordoni: The Rival Queens
Authors: Larue C Steven 
Published: November 2023

Abstract
With the arrival of Faustina Bordoni in London in the spring of 1726, the Royal Academy entered into its final phase of artistic development. During this period Handel’s operas came to dominate the stage of the King’s Theatre; by the 1727–8 season, six out of seven operas were either newly composed by Handel or were revivals of his earlier works.1 The cast of the Royal Academy company remained stable throughout these final two seasons, and as a result, the Academy boasted the finest opera company in the world at that time.
B
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
B., J. See BOOMER, Jacobus: no. 4.; and BROADWOOD, John (Johannes): Square, no. 14.
BABGOCK, Alpheus and Lewis. Makers of pianos in Boston, Massachusetts. Alpheus Babcock (b Dor chester, Mass., 11 Sept. 1785-d Boston, 3 Apr. 1842) flourished as a piano builder in Boston and later in Philadelphia, Pennsylvania. Alpheus and his brother Lewis (b [Dorchester], 1779-d Milton, 14 Jan. 1814) trained with Benjamin Crehore (q.v.) in Milton; in 1810 the brothers began to build on their own at 44½Newbury Street, Boston. Thomas Appleton joined the firm in 1813 as an organ building associate. Crehore, formerly the Babcocks’ master, now became their journeyman due to the collapse of his own firm.
F
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
F., J. G. See FICHTL, Johann Gottlieb. FABRITIUS, Pieter Leonardus [fi. c.1808]. Piano maker in The Hague, The Netherlands. DATE: 1808 STYLE: Square COMPASS: 5½oct.: FF-c4 LENGTH: 165.5 WIDTH: 57.5 DEPTH: 21.5
Assigning Antecedents to Ambiguous Pronouns: The Role of the Center of Attention as the Default Assignment
Authors: Hudson-D’Zmura Susan , Tanenhaus Michael K 
Published: November 2023

Abstract
Four experiments examined the use of pronouns and nouns in discourse using an on-line coherence judgment task. Ambiguous pronouns referring to the center of attention (Grosz, Joshi. and Weinstein 1983) were judged to be coherent more often and more quickly than ambiguous pronouns which did not refer to the center of attention indicating that an immediate provisional interpretation was made on the basis of the discourse structure. In addition, ambiguous pronouns were processed faster than explicit nouns when both were used to establish the discourse focus. Ambiguous pro nouns were interpreted as referring to the focused entity even when this assignment was implausible.
Centering, Global Focus, and Right-Dislocation
Authors: Grosz Barbara J , Ziv Yael 
Published: November 2023

Abstract
The centering framework and theory treat interactions among attentional state, choice of referring expression, and discourse coherence. Centering has been proposed to fill the role of modeling the local level of attentional state within Grosz and Sidner’s (1986) model of discourse structure. In this chapter, we demonstrate that centering can also aid in explaining a particu lar syntactic structure, right-dislocation (henceforth, RD). RD construc tions contain a pronoun and a coreferential definite description; these two expressions are used jointly to establish discourse coherence.
Recency Effects in English Inversion
Authors: Birner Betty J 
Published: November 2023

Abstract
Previous work (Birner 1992, 1994) has shown that the preposed constitu ent of an English inversion must not represent less familiar information within the discourse than does the postposed constituent. However, what is relevant for the felicity of an inversion is more than simply whether or not an element has been previously evoked in the discourse. An examina tion of a corpus of natural language data suggests that discourse-familiarity is a gradient notion determined by a range of factors, including prior evocation, inferability, and recency of mention.
Poulenc Et La Jeunesse
Authors: Mellers Wilfrid 
Published: November 2023

Abstract
The prelude consists of rudimentary organum in parallel fourths and fifths —prophetic of the opening of Ravel’s magical childhood opera, L’Enfant et les sortil èges (1920-5), when the ‘fallen’ child disrupts the cosy kitchen with his small savagery. The chant of Poulenc’s savage is even more primitive, but less heartfelt, being a metrically rigid wail down a tetrachord. The instrumental sonorities are more suggestive of dulcet Bali than of darkest Africa, but that the technique is gauche is part of its appeal; its na їvety is its integrity —which is why the music still tickles the fancy, if it does not stir the heart. The smart public at the avant-garde concert put on by the singer Jane Bathori, on 17 December, was delighted with the jeu d’esprit which offered promise of artistic fruition.
Poulenc Et Le R êve Pastoral
Authors: Mellers Wilfrid 
Published: November 2023

Abstract
Although the technical features Poulenc had acquired from Satie and Stravinsky are still evident in Les Biches, it is his first work that could never be mistaken for anyone else’s. Indeed, his debt to Stravinsky is as much a matter of general concept as of musical particularities. Stravinsky had created for Diaghilev a balletic Rite of Spring set in the Old Russia, and had also made a ballet about a wedding among the Russian peasantry. Poulenc’s Les Biches also celebrates a spring festival and a marriagetransported from White Russia to la Belle France, old and new.
Poulenc, La Guerre, Etla Mort
Authors: Mellers Wilfrid 
Published: November 2023

Abstract
A Roman Catholic by family tradition, Francis ‘lapsed’ during and after the First World War. Yet we have noted how, beneath the ostensible frivolities of his youth, his heart remained, like that of his master Satie, of a singular purity: so we need not be surprised that the death of an intimate friend and musical colleague, in a car crash in 1936, should have shattered him. That the manner of Pierre-Octave Ferroud’s death was horrendous-he suffered what Francis called a ‘decollation atroce’-must have given a raw edge to the experience of loss. Poulenc decided to make a penitential pilgrimage to the shrine of the Vierge Noire at Rocamadour, where he had a mystical experience,
Poulenc Le Bonhomme: Le Conservatisme Et L’Enfance
Authors: Mellers Wilfrid 
Published: November 2023

Abstract
Two years previously, in 1947, Poulenc had fulfilled a BBC commission for an orchestral work of symphonic scope. Although it is about the same length as a Haydn symphony, Poulenc was wise to call his piece Sinfonietta, for it approaches symphonic form more in the spirit of French ballet music than of Haydn or Mozart. The first movement offers the basic duality of a tight rhythmic motif in the minor, and flowing, lyrical tunes in the major. Even so, the movement proceeds kaleidoscopically; and although beautifully scored, it sounds overscored, and slightly outstays its welcome.
The Rise of the Vernacular Motet
Authors: Page Christopher 
Published: November 2023

Abstract
THERE is a consensus that the audience for medieval motets comprised ‘an educated élite’, ‘the intellectual élite’, ‘the educated’, or ‘men of letters’, and that motets were enjoyed in ‘very exclusive social circles’. It is apparent that these observations are basically the same, and the next chapter will be concerned with the evidence upon which they are based. For the moment, let us look in a slightly different direction. The author of one text in the Montpellier codex says that he has ‘often found many a clerk, cowl set aside, who doesn’t insist that there be a debate on logic’, and it is generally accepted that the Ars antiqua motet is connected with the recreation of masters and students in the University of Paris.
Huizinga, The Waning of the Middle Ages, and the Chanson
Authors: Page Christopher 
Published: November 2023

Abstract
THE Mellon chansonnier, a collection of polyphonic songs compiled in the mid-147os, has been edited and issued in a luxurious fashion. The production of such a lavish edition, including an entire volume of introductory and ancillary matter, presented the two editors, Howard Garey and Leeman Perkins, with an opportunity to consider the cultural context of the songs in the manuscript. In his introduction to the poetry, set by composers such as Busnoys, Dufay, and Ockeghem, Howard Garey declares that the poems open ‘a door to ⃛ the world so sensitively described by Johan Huizinga in The Waning of the Middle Ages’. Garey is commending what is perhaps the most famous book ever written about the later lVIiddle Ages in the North and one that enjoys a ‘legendary fame’, in the words of Reinhard Strohm.
Divisions
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
Worcester is divided from the countryside westward to Broadheath by the River Severn. A century ago the river drew the division of city from country more clearly than it does today. Up to its eastern bank crowded close buildings and narrow city streets. But from certain of those streets, and from Worcester Cathedral, you could look across the river to an almost uninterrupted landscape of field and countryside opposite-to the agricultural and pastoral world whose natural cycle still shaped so much of life then.
The Looked-for Genius
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
He has seen fit to fasten upon his own back the burden of an unwieldy, impossible scheme for three oratorios on the subject of the founding of the Church; and until that scheme is done with, and Elgar seeks inspiration in a subject of another type, the most sanguine of us cannot expect much from him in the way of fresh or really vital music. The wisest thing for him to do now is to abandon the idea of a third oratorio on the subject and turn his mind to other themes. These may bring him new inspiration and a new idiom; at present he is simply riding post-haste along the road that leads to nowhere.
The Land of Lost Content
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
In remote north-western Scotland, the beginning was merely strange. After many telegrams of enquiry to friends, one to the Stuart-Wortleys drew response. From Gairloch Edward replied on 9 August: I do not know how to thank you for your telegrams: we were nearly mad to get any news & our friends seemed to fail us thinking, no doubt, that we had moved on. We had intended to do so but we are thirty miles from a station; the means of communication, I mean transport, were the motor-charabanc-the hotel motors (two) to Achnasheen & the steamship to Lochalsh. The public vehicles were all comandeered to carry the territorials & were so occupied for two days-gradually all the guests left & we are now the only people left except an elderly gentle an & his wife.
Beyond Busnoys
Authors: Wegman Rob C 
Published: November 2023

Abstract
The masses Petrus apostolus, Beata viscera, O lumen ecclesie, and Sicut spina rosam form a separate group in Obrecht’s mass oeuvre’, they share a range of features not found in other works. At the same time there are differences of emphasis between them suggesting that they represent successive stages in a continued stylistic development. That development, which will be the main subject of this chapter, must have taken place in the years around 1480. The style of Petrus apostolus points to a date in the midto late 1470s, Beata viscera is believed to have been copied in 1481, and O lumen ecclesie and Sicut spina rosam bridge the stylistic distance between these works and Missa De Sancto Martino of 1486.
Beyond Fortuna
Authors: Wegman Rob C 
Published: November 2023

Abstract
The news of Antoine Busnoys’s death, in November 1492, could hardly have left Obrecht untouched. It closed a major chapter in his life, from possible early encounters in the late 1460s to the six years in which both men worked at Bruges, 1485-91. More importantly, it came at a particularly sensitive time in his own musical career. Busnoys was relatively young when he died, probably under 55, and about fifteen years older than Obrecht himself.
The Last Journey
Authors: Wegman Rob C 
Published: November 2023

Abstract
In the summer of 1503 Obrecht disappears from our view. For at least fourteen months after his departure from Antwerp we have only threads of biographical evidence, which cannot be woven into a seamless historical narrative. There are hints that the composer was active at the court of Emperor Maximilian I, and perhaps the chapel of Pope Julius II—but all we know for certain is that he was appointed in Ferrara in September 1504, and died there within eleven months.