bluuebunny/crossref_metadata_2025_split huggingface dataset:
Business or Pleasure -- Legal Traps
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
In the violin world there are broadly three classes of person interested in stringed instruments. First there is the player or teacher. Players and teachers very often form the end link of the chain: the consumer in a true sense, for whom the product exists. Then there is the collector. Collectors have occupied a ubiquitous position for some centuries. Collecting violins is almost as old as their manufacture. But it became a more com mon pursuit in the nineteenth century when a larger number of connoisseurs began to appreciate the violin as a valuable artefact.
Stolen Violins
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
Thefts of violins and other bowed stringed instruments have been endemic for the past two centuries. Violins can be beautiful things. They are known by the general public to be of value. A few collectors, players, or other ‘fidiculomaniacs’ are happy to conceal a famous stolen violin, it seems for their lifetimes (as is the case with dishonest art collectors), and less famous violins can be disposed of in various ways, just like other stolen goods. For the last hundred years or so the pages of the Strad have been full of sad accounts of the loss of someone’s instrument, more often than not taken with its case when proper attention to its safety was not being paid. In one recent example the owner put her double violin case on the ground while helping an elderly cellist into her car. In this brief moment the double violin case was taken.
The Purloined Violin
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
As noted by Brian Harvey in Chapter 7 on stolen violins, violins have repeatedly been an attractive target for thieves motivated by profit or passion for the instrument. In the USA, as in Eng land, a good faith purchaser cannot generally acquire title to, or right to possession of, stolen property, nor can a person receiving stolen goods from a thief, or a person in line of possession of a thief, obtain title to stolen goods.1 Although the law may vary in different states, most states have adopted the Uniform Commercial Code (UCC) which provides that ‘[a] purchaser of goods acquires all title which his transferor had or had power to transfer.’
Discovery of Fraud and Deception: Fiddling Away the Time - The Statute of Limitations and Other Defences
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
When one obtains an inaccurate certificate of authenticity or appraisal from an expert, the mere passage of time may cut off one’s ability to obtain a remedy for the wrong, as discussed above in Chapter 9. In most jurisdictions, tort claims for fraud or negligent misrepresentation will not accrue until the victim dis covers, or reasonably should have discovered, the facts constituting the fraud. Therefore, the statute of limitations may run on a claim for fraud if a court finds that the owner should have dis covered the fraud at an earlier date.
Defamation and Product Disparagement
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
The law of defamation protects damage to one’s reputation. The concept is not n w -· as Shakespeare’s Iago says to Othello:Generally, in violin commerce, a claim for defamation may arise in a situation in which false statements are made regarding the skills, character, or attributes of a violin maker or dealer, such as that he or she sells fake instruments, sells instruments for inflated prices, or that he or she does not have sufficient skill or expertise. Such statements, if false, have the potential for greatly damaging a professional’s reputation, resulting in economic loss, to say nothing of the emotional damage such an instance may cause. The foundation for the law of defamation is federal law arising from the United States Supreme Court’s interpretation of protection warranted under the First Amendment, which is binding throughout the states. However, state constitutions, legislation, and common law may have an impact on the analysis and outcome of such a claim.
Tax Issues
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
This chapter only includes brief reference to recent opinions relating to the issue of depreciation of instruments of the violin family and does not involve an exhaustive discussion of all tax issues relating to violin commerce. Two very recent opinions in the USA have held that if a working musician uses an instrument in a trade or business and the instrument is subject to wear and tear, the instrument may be depreciated even though it actually may appreciate in value because it is a rare antique. One of those two cases involved Richard and Fiona Simon, both first violinists with the New York Philharmonic. Their recent court victory in the Second Circuit against the United States Internal Revenue Service involved the depreciation of two Prancois Xavier Tourte violin bows, which were purchased from Moes & Moes, Ltd. for $21,500 and$30,000 in 1985 and were previously in Hans Weisshaar’s collection.
Intellectual Property Rights
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
Is that secret wood treatment, varnish formula, source of supply, or violin pattern that you worked years to develop a pro testable property interest? The field of intellectual property, which includes the areas of patent, copyright, trademark and trade dress, unfair competition, and trade secrets, protects a broad range of ideas, processes, designs, expression, names, and secrets all of which, under the right circumstances constitute ‘property’ that one may protect from another’s use. Violin makers and dealers are individuals who, for the most part, have come to the profession out of their devotion, passion, and keen interest in the art of making instruments. Although deception and other misdeeds do occur, they are the exception and not the norm. The AFVBM, discussed above, has attempted to set high ethical and professional standards for its members regarding obligations to fellow members, clients, and the public at large. Those entrusted with instruments of the violin family for a professional purpose, such as restoration, generally recognize their duty to protect and conserve these objects which frequently have great historical and artistic significance.
Shostakovich in Harmony: Untranslatable Messages
Authors: Fanning David 
Published: November 2023

Abstract
The context is fascinating. Shostakovich’s relationships with literary figures, with friends and fellow-musicians, with the power-brokers in the Soviet system, and, not least, with women, are all pertinent to the many enigmas of his musical legacy; and it is vital, not only for our understanding of Shostakovich the Man but also for the general de-mythologizing of Soviet cultural history, that a lot more Russian material, including his voluminous correspondence, should become available in translation, properly commented on by writers sensitive to the way Russian minds work. But what is it that we are trying to get in context? Were it not for the music he created, we would not now be so avidly attending Shostakovich concerts, buying recordings, organizing conferences, and publishing books. Looking at recent trends in published commentaries, there is reason to fear that his career may become merely an arena for ideological mud-slinging, and however fascinating it may be to observe the swing of the Shostakovich reception history pendulum, we may not thereby be getting any closer to what makes the music tick. We surely need to remember that even the bravest composer, the most subversive, the most socio-politically challenged, the most politically correct composer, never gained immortality on that strength alone. Music commemorating the victims of pogrom, holocaust, terror, and atom bomb has to be more than anecdote or reportage if it is to survive; unless, that is, we are prepared to yield to emotional blackmail.
Shostakovich’s Highth
Authors: Haas David 
Published: November 2023

Abstract
The best and the worst interpreters of Shostakovich’s Eighth Symphony are agreed on at least one point: This symphony, begun in July 1943, two days before the Battle of Kursk, has something to do with war. Too often, however, speculation as to Shostakovich’s precise inspiration, whether personal or collective experience, Fascist invaders or Stalinist terror, Second World War or war in general—so occupies the commentators that they neglect basic description of the music. Thus in their reviews of the New York premiere on 2 April, 1944, neither Olin Downes nor Virgil Thomson bothers to mention that this is a symphony in C minor, a striking omission in Downes’s case, since he proudly informs the readership that he had been granted special access to the score. This is unfortunate, since key is our first, and not insignificant link back to Beethoven’s Fifth Symphony. There are other shared traits as well: Shostakovich’s Eighth Symphony—like Beethoven’s Fifth—is unmistakably tragic, occasionally lyrical, memorably ferocious. It is also a powerful emotional experience—or journey—meant to provide the same range of highs and lows that a nineteenth-century audience once heard in Beethoven. Most intriguing of all, Shostakovich’s Eighth-like Beethoven’s Fifth-is a symphony without subtitles, without Red and Black army markers for its themes. And the many passages of apparent expressive intent—the multiple onslaughts of searing violence, the straining lyrical lines, the chaotic textures that clear away into soft, shimmering azure skies—depend for their coherence on abstract musical schemas traceable to the nineteenth century.
Millennial Prelude
Authors: Whittall Arnold 
Published: November 2023

Abstract
In 1989, Alexander Goehr described a fundamental feature of twentieth-century music with exemplary concision: a great deal of music written in the last seventy years or so cannot be regarded as a straight-forward continuation of Classical and Romantic music, either in the way it is conceived or in the way it is meant to be listened to. Background-foreground perception is inapplicable here because, in reality, insufficient background is implied. Continuity is fragmented or constructed of events unrelated to each other, pitch succession too complex to be memorable, and constructional procedures too difficult to be perceived as aural logic.
Opera
Authors: Whittall Arnold 
Published: November 2023

Abstract
Attempts to argue that opera in the modern age is an anachronism have never carried much conviction, and even composers who, in youth, dismissed the genre with contempt have found themselves drawn to the challenge of developing a personal response to its opportunities for large-scale structuring. Many of these efforts will be chronicled in later chapters. This one concentrates on composers who remained committed to tonality, and whose careers flourished, or were well-launched, before 1950.
Béla Bartòk 1915—1927
Authors: Whittall Arnold 
Published: November 2023

Abstract
Bela Bart6k completed his Second String Quartet in October 1917, and Halsey Stevens rightly said that ‘the whole direction of Bart6k’s later writing might be deduced from this one work’. Back in 1911, when he finished his opera Blue-beard’s Castle, Bart6k had still not written a wholly successful instrumental work on a large scale. The First String Quartet (1909) has many remarkable qualities, but it is not a completely coherent conception, and the composer’s confidence was hardly increased when Bluebeard’s Castle was rejected by a Budapest competition jury. Bart ó k devoted himself to the collection and arrangement of folk music, only returning to ‘serious’ composition when war broke out and travel became difficult. The Second Quartet, like its contemporary, the ballet The Wooden Prince (1914—17), took a significantly long time to complete, but it laid the foundations for the next twenty-five years of creative achievement, not only in the way its musical language explores Bart6k’s distinctive stylistic conjunction between the materials of folk and art music, but also in the tension between tonal and post-tonal characteristics which his detennination to preserve the large-scale sonata-based structures of earlier times made possible.
The Romantic Decade
Authors: Rushton Julian 
Published: November 2023

Abstract
On 1 November 1829 Berlioz presented his second grand concert. More cautious this time, he did not confine it to his own music, but included vocal items by other composers and the first French performance of Beethoven’s Fifth Piano Concerto played by Ferdinand Hiller. Berlioz’s two overtures were repeated. The Resurrexit resurfaced as Le Jugement dernier, and the only new work was the sylphes’ scene from Huit scenes de Faust. He withdrew the scenes shortly afterwards, but the grip Goethe’s Faust exerted had led to an unsuccessful attempt, in 1828, to obtain the commission for a ballet; more significant, during 1829, was his idea for a ‘descriptive symphony’ on Faust.2 The hypothesis that much of Symphoniefantastique, composed early in 1830, was conceived with Faust in mind is certainly tempting (see Chapter 9).
Techniques of Composition
Authors: Rushton Julian 
Published: November 2023

Abstract
In view of my frequent references to The Musical Language of Berlioz (MLB), and a return in this chapter to its main topic, the nuts and bolts of Berlioz’s music, a summary of its contents and some updating of its conclusions may be useful; specific examples in these paragraphs add to those in MLB, to which page-references in parentheses refer. Discussion of Berlioz’s education (Chapters 1 and 5) can be amplified by lessons from the Messe solennelle (see below and Chapter 8). Several chapters in MLB adopt the approach of earlier studies by tackling elements of technique and style separately. Two chapters on pitch assume that Berlioz’s development of the expressive and structural resources of rhythm, colour, and space did not entirely separate him from his contemporaries; melody, harmony, and counterpoint retain priority in defining the uniqueness of his music.
A Fantastic Symphonist
Authors: Rushton Julian 
Published: November 2023

Abstract
By the time Berlioz published his thoughts on instrumental expressiveness, he had composed three titled overtures and a symphony, although Symphonie fantastique and La Tempête had not yet been performed. In his 1830 article, Berlioz mentions Weber in the same breath as Beethoven, presumably thinking of the overtures. Les Francs-juges and Waverley, his first two sharply contrasted pieces, had been performed without detailed programmatic exegesis, and in their original form were written without much knowledge of Bee hoven.
Patterns of Development
Authors: Talbot Michael 
Published: November 2023

Abstract
Up Till now, our discussion of finales has been taxonomic rather than chronological, and chronological rather than genre-related. The time has come to investigate how and where the three basic types of finale have been employed in each of the main multimovement genres of Western instrumental music between 1700 (with occasional backward glances) and 1900 (with occasional forward glances). Examining the genres separately reveals that each, in any given period, has its charact eristic preference for a type of finale—modified but rarely altogether overridden by the individual preferences of 1schools, and composers-and that these preferences are sometimes strikingly divergent.
Final Thoughts
Authors: Talbot Michael 
Published: November 2023

Abstract
Any system of classification needs constantly to be interrogated. The fundamental questions are always primarily two. Why classify at all? Why use precisely these categories and not others? The first question has to be answered pragmatically. If it is true, as nominalists would argue, that every manifestation is unique-that no two pieces of music are the same (for otherwise, we would not recognize them as separate pieces)-then no attempt to yoke them together under some heading wil1 capture their real essence. This is undeniable. However, the history Ian’s or the analyst’s aims are more modest. The objective is not to reveal the complete truth or the full information but to expose a selected part of both. Calling the finales of Beethoven’s Ninth Symphony and Bruckner’s Eight Symphony, summative, or those of Mozart’s, Heffner, Symphony and Schumann’s, Rhenish, Symphony, relaxant, is a convenient way of drawing attention to one particular aspect of them that is of special interest because it relates to a tradition. For other, equally valid, purposes one might classify works or movements according to entirely different criteria. For example, one might speak of a class of, D major, works related by a complex history of, first, modal transposition and, later, instrumentation and style.
Introduction: On Reading Critics Reading
Authors: Parker Roger 
Published: November 2023

Abstract
Everyone ‘reads’ these days: a book, a person, a bodily gesture, a picture, a set of moral principles, a musical performance; and claims for the startling new ness of the activity thus renamed are often exaggerated. But perhaps in the present case there is some justification for the overt banner of difference. Our project is to examine in new ways some small part of the opéra and ballet criticism in early nineteenth-century France, most of it journalistic; and our starting point came with the feeling that this body of writing had been undervalued and, for that reason, insufficiently thought about. In that sense, the project falls into a developing pattern in musicology generally (at least in its Anglo-American wing). Whether from a new mistrust of analysis or-in some extreme cases-of any detailed explanation of the internal workings of pieces of music, or as a way of suggesting new and broader fields of meaning for those pieces, musicological conferences, journals, dissertations and books seem increasingly dominated by ‘reception studies’.
Gluck, Berlioz, and Castil- Blaze: The Poetics and Reception of French Opera
Authors: Everist Mark 
Published: November 2023

Abstract
By the middle of the 1820s, the fifty-year tradition of performing Gluck’s stage works in Paris was coming to an end, and the discipline of professional music criticism was just beginning to emerge. Two critics, Hector Berlioz and Frarn çois-Henri-Joseph Blaze (Castil-Blaze) engaged with this disappearing repertory in a way that held great significance for Gluck’s opéras and their place in the musical and theatrical culture of the Bourbon Restoration and July Monarchy. Comparing how these two critics read Gluck’s works shows how they adopted different philosophical standpoints and points up key areas in which their views-surprisingly, given Berlioz’s distrust of Castil-Blaze are remarkably similar; such comparison and contrast may form the basis of an understanding of the position held by Gluck’s opéras in the period.
About the House
Authors: Smith Marian 
Published: November 2023

Abstract
A good bit of the journalistic ink expended on the Paris Opera during the July Monarchy was devoted to the ballet-pantomimes created there. In this ballet journalism there are several types of comments which on first reading might strike one as very odd-and far harder to digest than the oft-quoted and readily understandable snippets about such matters as nascent pointe technique, the decreasing importance of the male dancer, and the new ethereal dancing style of Marie Taglioni. Because of their potential for affording new insight, or at least for offering an interesting confrontation with the ‘otherness’ of the past, these strange comments seem particularly intriguing.
Building a Repertoire: Original Compositions for the British Brass Band, 1913—1998
Authors: Hindmarsh Paul 
Published: November 2023

Abstract
In a typically provocative talk broadcast on BBC Radio 3 in 1972, the composer Robert Simpson called into question the way in which musical commentators and composers have used words like ‘progress’ or ‘advance’ when charting the paths which ‘serious’ composition has taken during the twentieth century. If we consider the composing of music to have progressed or advanced, Simpson argues, are we to regard Wagner’s powers of musical thought as superior to Beethoven’s, or to consider Beethoven more musically intelligent than Mozart, simply because the style and structures they employed have developed and changed? In Simpson’s view, creative powers and musical intelligence should not be confused with mode of address or changing fashion—concepts which are equally pertinent to any overview of the contribution made by composers writing for the brass band in the twentieth century.
Spain: La Guitarra de quatro órdenes
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
In his set of variations on the Conde Claros ground for vihuela (Delphin de musica ... 1538), the excellent Spanish composer Luis de Narvaez (fl. 1530--50) provides conclusive evidence that the guitar and vihuela were regarded as two distinct instruments in sixteenth-century Spain. He specifically heads one section of his fifteenth variation ‘contrahaciendo la guitarra’ (in imitation of the guitar), and for this section employs only the four inner courses of the vihuela, which comprise the interval pattern (though not the pitches) of the four-course guitar.
France: The Creation of the Repertory
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
Whereas in Spain the music for guitar was limited to a few items found in the vihuela books, French publishers produced substantial collections exclusively for the guiterre (or guiterne). And not only was there far more of it, but the French repertory was considerably more varied, comprising fantasias, intabulations of vocal music, songs to the guitar, and dance music, all composed in a style that involved a much greater degree of ornamental passagework than is found in the Spanish sources. French composers further augmented the guitar’s repertory by providing solos that could also be used as parts in ensemble versions of the pieces.
Italy: The Role of the Guitar in the Rise of Monody
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
Music historians have recounted at length the rise of the new style of ltalian solo song, known today as monody, and its new approach to accompaniment called basso continuo. Especially well chronicled are those activities that occurred in the north Italian cities of Florence, Ferrara, and Mantua. Much has been written about the ‘Florentine Camerata’, a circle of noblemen and intellectuals who met regularly to discuss and formulate theories on the nature of ancient culture and music, and how the latter might have been performed. An influential figure at these gatherings was the singer composer Giulio Caccini (c.1545-1618), whose patrons were the Medici and whose 1602 publication Le nuove musiche, a book of solo songs with basso continuo accompaniment and a preface on the performance of’the new music’, is considered by many to be central to the rise of monody.
Spain, Portugal, and the New World
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The history of composed music and instruction for the Spanish guitar in Spain begins in the year 1596 with a modest tutor on chord playing by Juan Carlos Amat (c.1572-1642). Amat was Catalan, a prominent medical doctor in the town of Monistrol near Barcelona, who also wrote a book on medicine in 1623 and a popular book of 400 Catalan aphorisms in 1636. No copies of the original 1596 edition of his guitar tutor survive.