bluuebunny/crossref_metadata_2025_split huggingface dataset:
Mass Sections
Authors: Sherr Richard 
Published: November 2023

Abstract
Among the works attributed to Josquin des Prez are a few isolated settings of the Ordinary of the mass. Most of these were printed by Petrucci in 1505 in the collection entitled Fragmenta missarum (a compilation of settings of single movements of the Ordinary by a number of composers). In the Petrucci print, the Josquin settings are all grouped together. In addition, there are a three-voice G/,oria de beata Vi,;gine ascribed to Josquin in St Gall 463 (‘Tschudi Liederbuch’) and a Credo setting ascribed to him in Cambrai 18. The mass sections are listed in Table 7.1. Most of these works have conflicting attributions or are unica. In one case of conflict Petrucci’s attribution is almost certainly wrong: the ascription of the Missa de feria to Johannes Martini in a Ferrarese source would seem to clinch that matter, and this work has been omitted from the following discussion. Also excluded is the Gloria in St Gall 463, for which only the superius survives. For the other works with conflicting attributions and for the unica the case is less clear.
Missa Da pacem and Missa Allez regretz
Authors: Sherr Richard 
Published: November 2023

Abstract
The preceding chapters have covered those masses and mass sections that are now by common consensus considered to be by, or at least possibly to be by, Josquin des Prez. Omitted from those chapters are two masses for which a consensus used to exist, but does no longer. Both were published in the Josquin Werken and were accepted as authentic by Osthoff, but subsequently their authenticity was so seriously contested that it seemed plausible to omit discussion of them from this book. Some explanation, however, is warranted. Nothing demonstrates the contention of Rob C. Wegman in this Companion about the ‘force of opinion’ better than the fate of the Missa Da pacem at the hands of modern scholarship. This mass was not merely accepted as a work of Josquin’s, but as one of the best examples of his ‘late style’ until the 1970s. The mass even exists in more than one modern edition (the Werken and Das Chor werk ), a distinction shared only by the two most famous masses of Josquin, the Missa Pange lingua and the Missa de beata Vi1lJine. Based on the antiphon Da pacem Domine, the mass is attributed to Josquin in three of its five sources, all three post-dating his death by about twenty years.
Analysing Josquin
Authors: Milsom John 
Published: November 2023

Abstract
My teacher Josquin ..never gave a lecture on music or wrote a theoretical work, and yet he was able in a short time to form complete musicians, because he did not keep back his pupils with long and useless instructions but taught them the rules in a few words, through practical application in the course of singing. And as soon as he saw that his pupils were well grounded in singing, had a good enunciation and knew how to embellish melodies and fit the text to the music, then he taught them the perfect and imperfect intervals and the different methods of inventing counterpoints against plainsong. Ifhe discovered, however, pupils with an ingenious mind and promising disposition, then he would teach these in a few words the rules of three-part and later of four-, five-, six-part,etc, writing, always providing them with examples to imitate. Josquin did not, however, consider all suited to learn composition; he judged that only those should be taught who were drawn to this delightful art by a special natural impulse. IN this eyewitness account of musical pedagogy in the early sixteenth century we come as close as contemporary sources will allow us-and itis neither as close nor as authoritative as we might wish -to hearing the words Josquin des Prez himself used in order to illuminate the theory and practice of his art. Nothing in the anecdote lies beyond credibility. On the contrary, Josquin emerges as a teacher without obvious idiosyncrasy who adheres closely to the standard tutorial curriculum of the day.
1881-1905
Authors: Stevens Halsey 
Published: November 2023

Abstract
There is a bitter irony in the fact that not one of the Hun·garian towns in which Béla Bartók spent his youth is now within the boundaries of Hungary. The Treaty of Trianon, in June 1920, stripped Hungary of two-thirds of her territory and half of her population, allotting to Romania, Yugoslavia, and Czechoslovakia land that had been Hungarian for more than a thousand years.
The Chamber Music: I
Authors: Stevens Halsey 
Published: November 2023

Abstract
There is no better way to approach the music of BC!, Bartók, and certainly no better way of understanding the processes of growth that his music underwent, than through the string quartets. This was the only form which held Bartók’s attention from his student days to the very end of his life: his first quartet,1 later suppressed, was written (according to Kodláy) in 1899, when he was eighteen years old; and in December 1944, less than a year before his death, he was planning to write a new quartet,2 of which only a few motives were sketched. Between are the six quartets which mark not only successive culmination points in Bartók’s career, but also in a sense the culmination of twentieth-century activity in the form.
The Dramatic Music
Authors: Stevens Halsey 
Published: November 2023

Abstract
I the nationalist ferment of the 1840’s, the Hungarian public was ready to greet with acclaim any art-work that embodied the political philosophies of the time. Ferenc Erkel took advantage of the Hungarian state of mind to produce in the early years of that decade his operas Báthori Mária and Hunyadi L á szló, which laid the foundations for a national lyric theater. Their immediate success was somewhat clouded by the dark years following the collapse of the 1848 revolution and the exile of Kossuth, but Hunyadi L á szló in particular retained a place in the repertory. Erkel’s later operas, B á nk B á n and others, though still performed, never attained a comparable success.
Prelude
Authors: Kennedy Michael 
Published: November 2023

Abstract
On 13 December 1921 Elgar confided to his friend Sir Sidney Colvin: ‘I am still at heart the dreamy child who used to be found in the reeds by Severn side with a sheet of paper trying to fix the sounds and longing for something very great. I am still looking for this ⃛ but as a child and as a young man and as a mature man no single person was ever kind to me.’
Elgar was sixty-four when he wrote this letter. He was acknowledged to be the foremost English composer of his time; nearly every kind of official honour had come his way; self-taught, he had risen from provincial obscurity to international fame; he had achieved in his music the ‘something very great’. Yet he still regarded himself as an ‘outsider’ and looked back on his early struggles not with self-satisfaction but with bitterness. What did he mean when he said that no one was ‘kind’ to him? Biographical facts prove that he was offered many a helping hand. Nevertheless he spoke and wrote often of the discouragement he received from his friends and of their slighting attitude to his music. ‘One’s ownfriends are the people to be most in dread of,’ he wrote shortly before Froissart was performed, ‘I have always been wrong hitherto’.
Wand of Youth
Authors: Kennedy Michael 
Published: November 2023

Abstract
Edward William Elgar was born in the village of Broadheath, just outside Worcester, on 2 June 1857. He was the fourth (or perhaps the fifth) child of William and Ann Elgar. They had married in 1848, and she had become a convert to Roman Catholicism in 1852 her husband was not baptized as a Roman Catholic until he was on his deathbed in 1906. He is said to have ‘detested’ papism and — jocularly—to have threatened to shoot his daughters if he saw them going to confession. A Dover man born in 1821, William Elgar settled in Worcester in 1841. He had served a musical apprenticeship with Coventry and Hollier of Dean Street, Soho. This firm was approached by the Comptroller of the Household of the Queen Dowager, Adelaide (widow of William IV), to provide a piano-tuner for the instruments at Witley Court, Worcestershire, where Adelaide took up residence in 1844.
War
Authors: Kennedy Michael 
Published: November 2023

Abstract
Ernest Newman, writing in the Musical Times of September 1914 on ‘The War and the Future of Music’, remarked that in England Elgar was still ‘the one figure of impressive stature’. It was nearly fifteen years since the Variations had first been played and the English musical scene in that time had been transformed. Yet much remained the same. Parry was still director of the Royal College of Music, Stanford still taught there and was still Professor at Cambridge, Mackenzie was still Principal of the Royal Academy of Music, Brodsky was still Principal of the Royal Manchester College of Music and still active enough as a soloist to have played the Violin Concerto in Vienna in 1913 under Franz Schalk. But Elgar’s name and fame surpassed them all. He stood aloof from ‘schools’ of music, he had no academic position, he exerted no direct influence on the young. He had seen new names come into prominence but none challenged his supremacy. Bantock had his admirers, Josef Hol¬ brooke enjoyed a brief spell of attention, and Delius was regarded almost as a foreign composer. Of a younger group the most successful and admired was Vaughan Williams, whose A London Symphony, first played in March 1914, owed something to Elgar’s example. His friend Gustav Holst was known only to a restricted circle. Ethel Smyth, J. B. McEwen, Frank Bridge, Arnold Bax, Cyril Scott, York Bowen, Percy Grainger—all had work to their credit but some had yet to make their mark and others, though they did not realize it, had already made what mark was within their capacity. One thing was common to all the younger men: they could face the world of music bravely and confidently, and this they owed, as much as to anything, to the vantage-point won for them by Elgar.
The Music of Brahms
Authors: Musgrave Michael 
Published: November 2023

Abstract
Michael Musgrave presents a contemporary view of Brahms 150 years after his birth, seeing him not simply as the `conservative' figure so often stressed in the past, but as one who creatively reinterpreted a wider range of historical elements than any composer of his time. Brahms absorbed his studies directly into his music-making and composition and in so doing helped to evolve not merely a personal language which was regarded as progressive and sometimes difficult by a range of contemporaries and successors, but also helped to establish an ethos of historical reference which anticipates the twentieth century. The book concentrates on the music, with Brahms's life discussed briefly in the introduction. The works are considered in four phases according to genre, with an emphasis on connection and on the development and elaboration of a unified language. The list of works includes a recent discoveries and a calendar outlines the pattern of his musical life, including relevant information concerning performances.
The Music of Chopin
Authors: Samson Jim 
Published: November 2023

Abstract
The lasting popularity of Chopin’s music has reached ‘from salon to slum’. He captured and expressed the spirit of the age of Romanticism, its ardour and idealism, its longing and restlessness, its love of spontaneity, with an authority his contemporaries immediately recognized and which successive generations have admired and loved. Much of the Chopin literature in English is biographical, but this book is a critical study of the music itself and of the creative process which is central to the life of any composer. Professor Jim Samson provides a detailed analysis of the style and structure of the music in the light of recent Chopin scholarship on the one hand and recent analytical methods on the other. The early chapters deal mainly with the sources and the characteristic profile of Chopin’s musical style, relating his music to a wider context in social and stylistic history. Later chapters look rather at the structure of his music and how it functions, with many examples highlighting the discussion.
Pitch and Transposition
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
For sixteenth- and seventeenth-century music the question of pitch standards is complex, and reliable information is limited. The only certainty is that there was no uniform pitch standard from country to country, from city to city, and not necessarily even between two organs in the same church. To quote Arthur Mendel: It is clear that absolute pitch could have had relatively little importance to the musician before the late 18th century To musicians before 1750, the notes on the staff, and the names by which they were referred to, represented degrees in a gamut that had no permanent anchor at a standard pitch level, but was freely movable up and down according to the nature of the voices or instruments involved on any given occasion.
New Vocal Repertory
Authors: Manning Jane 
Published: November 2023

Abstract
Jane Manning, a leading singer of 20th century music, has chosen over 70 songs to serve the singer as an introduction to contemporary vocal music. She briefly describes each song and gives advice on its performance, showing where potential problems lie and how best to approach them. Around 100 music examples illustrate the text. Jane Manning also makes suggestions on how to programme each piece in a concert. An appendix indicated from where scores can be obtained. This book is useful both as a guide to choosing repertory and as a tutor on the practicalities of performance.
Strange Obituaries: The Historical Uses of the perobitum Supplication
Authors: Starr Pamela f. 
Published: November 2023

Abstract
When the Renaissance musician breathed his last, we must hope that he died at peace, surrounded by mourning colleagues and family; perhaps, as Du Fay had planned, to the cadences of his own specially chosen polyphony. But it is also likely that the onlookers included some one less concerned with final farewells than with passing along information of the decease to a person with a fast horse to Rome. Even as the obsequies were in progress, it is likely that a petition was being rushed to the papal court with a request for an ecclesiastical benefice that had been held by the deceased musician. If the petition reached the curia and was processed before any other petition for the same benefice, its success was probable.
The Woman Amateur
Authors: Woodfield Ian 
Published: November 2023

Abstract
Much thought, tempered by experience, was given to the question of how keyboard instruments should be transported within India. The growing population of Anglo Indians lived in closely-knit settlements, and so the transport requirements tended to be either for very short distances (within a settlement) or for much longer distances (between settlements). Indian servants were employed to carry pianofortes short distances:I supped last night with Mrs Plowden, and spent the evening very agreeably. I sent for my Pianoforte there, which can be brought at any time in three minutes; this is very pleasant, for hers is not kept constantly in tune. I seldom play upon anything else in the evenings; I have it always brought into the veranda at night on account of the cool ness. My touch upon this instrument is much improved-when I am playing upon it and the sweet south wind is blowing upon me, how impatient I am in the thought that many, many days must pass before we enjoy these pleasures together.1
Pre-orchestral Ensembles
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
The five accounts of the birth of the orchestra summarized in Chapter 1 agree more or less on chronology: the orchestra began to emerge in the second half of the seventeenth century, and the process of its birth stretched over the next hundred years. This does not mean that there were no large instrumental ensembles before 1650. Reports from the sixteenth and early seventeenth centuries document many instances in which large numbers of instrumentalists were assembled in the same place at the same time and played together, or at least played in coordination with one another. These “pre-orchestral” ensembles were made up of different instruments than orchestras of later times; they were organized according to different principles, and they played different roles in the events in which they participated.
The Birth of Orchestration
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
In an article on “Accompaniment” published in 1791, the French critic Jean-Baptiste Suard makes a pronouncement that contradicts a century or more of writing and thought about music. “The human singing voice,” says Suard: doubtless has a special charm that no instrument can equal; but the possibilities of the voice are limited in comparison to those of a large instrumental ensemble whose diverse timbres, wider range, and greater freedom and precision of execution lend infinite variety to the colors and shadings of the composer’s palette. Indeed there are a multitude of effects [une multitude d’effets] that can be produced only by instrumental music.
Some Chronological Problems in Mozart: the Contribution of Ink-Studies
Authors: Arthur John 
Published: November 2023

Abstract
IN the establishment of a surer chronology for Mozart’s works surviving in autograph, Schriftchronologie (the study of the chronology of the handwriting) and paper-studies—as practised by the late Wolfgang Plath and by Alan Tyson respectively—have unquestionably proved effective. But while these disciplines have been responsible in recent years for the redacting of many of Mozart’s compositions, it must also be acknowledged that there are numerous autographs whose chronological secrets have, to a greater or lesser extent, remained impenetrable. It is my purpose here to discuss some abidingly problematical works of Mozart, and to demonstrate that help in the task of clarifying their chronological circumstances can be drawn from a largely underestimated quarter: the inks in which their autographs are written.
Mozart’s Reception in Vienna, 1787-1791
Authors: Edge Dexter 
Published: November 2023

Abstract
Upon arriving in Vienna in 1781, Mozart rapidly became the darling of the upper aristocracy. During the first five years of his life in the imperial capital, he was in continual demand as a performer and teacher, he composed a popular Singspiel, and he earned a great deal of money. Then, about the time of Le nozze di Figaro in 1786, things began to go sour. Perhaps because of aristocratic uneasiness over the supposed revolutionary sentiments of Figaro and the moral ambiguity of Don Giovanni, or perhaps because of Mozart’s refusal to accept his ‘place’ as a common entertainer, his popularity declined precipitously: his music went out of fashion, invitations to perform disappeared, and his income plummeted.
Mozart, Da Ponte and the Ensemble: Methods in Progress?
Authors: Carter Tim 
Published: November 2023

Abstract
TRADITIONAL approaches to issues of tonality and structure in the three Mozart-Da Ponte operas have come under criticism in recent years. The long-range tonal planning and tonal resolutions conventionally extolled in commentaries on these works have been shown by James Webster often to be little more than none-too-analytical wishful thinking. And judging by recent remarks from Carolyn Abbate and Roger Parker, even Mozart’s much vaunted use of the structures and dynamics of sonata form in his ensembles is coming under threat.1 The Act 2 finale of Le nozze di Figaro, once, nay still, thought an epitome of the opera buffa finale, is proving particularly vulnerable to this post-modernist dismembering of conventional views of Mozart.
Operatic Plotting in Le nozze di Figaro*
Authors: Waldoff Jessica , Webster James 
Published: November 2023

Abstract
Plot is so basic to our experience of reading, and indeed to our very articulation of experience in general, that criticism has often passed over it in silence, as too obvious to bear discussion. Yet the obvious can often be the most interesting, as well as the most difficult, to talk about.1OUR premise is that plot is equally basic to the experience of opera. Every opera acts out a story; every opera involves characters in action on the stage, who have motivations and goals, who become embroiled in conflicts that depend for their resolution on the course of events; and every opera turns on discoveries, reversals, climaxes, denouements and other standard features of dramatic plots. But plot is more than a matter of story alone:
Operatic links between Rome and Vienna, 1776-1790
Authors: Pirani Federico 
Published: November 2023

Abstract
IN the period between Die Entfuhrung aus dem Serail and Le nozze di Figaro, Mozart saw the return to favour of Italian opera, when the Emperor Joseph II restored it to the Burgtheater after the popular failure of the German National Singspiel, which had used the house since 1778. In a letter dated 7 May 1783,1 Mozart told his father of the new company’s performers and performances and of his readiness to measure himself against an Italian opera. The new court librettist, Lorenzo da Ponte, was currently writing a text for Salieri (to be II ricco di un giorno), and could not at the moment supply a completely new libretto; undeterred, Mozart had read his way through some hundred librettos, he said, without finding anything to his satisfaction.
The Cabaret artistique
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
For centuries, the word cabaret had designated a simple tavern or corner bistrot. Qualified as artistique in the early I 8Sos, the cabaret became something else: part literary cafe, part artists’ haunt, part caveau, and part goguette. The early clientele was correspondingly varied. Before long, the motley customers became part of the show, as cabaret owners capitalized on the allure of the unconventional, idealistic, and sordid lives reputedly led by students, painters, and poets, so that they might attract those who wished to appear progressive or who wished to get a close look at latter-day vie de Boheme.
Archetypes Of Congert Music
Authors: Bowen Meirio 
Published: November 2023

Abstract
In the present period, the traditional titles for instrumental forms have often been found confusing. Small wonder that younger composers have tended to eschew such titles altogether, the impulse of the avant-garde being to exclude all received procedures or nomenclature. In any case, actual received terms such as ‘symphony’, ‘concerto’, ‘sonata’, and ‘suite’ really are imprecise terms for the music written today. They need re-examination and re-definition. Such imprecision and the confusion that it causes are not absolute; nor should the rejection of received titles be automatic.
Pierre de la Rue and Musical Life at the Habsburg- Burgundian Court
Authors: Meconi Honey 
Published: November 2023

Abstract
Pierre de la Rue, composer at the grande chapelle of the Habsburg-Burgundian court for nearly a quarter of a century, composed for one of the leading musical institutions of his day. Serving successive rulers Maximilian I, Philip the Fair, Juana of Castile, Marguerite of Austria, and the future Charles V, La Rue surpassed a dozen composer colleagues in his creation of polyphony to meet the needs of the court and its extravagant liturgy. Honey Meconi presents the first ever study in English of la Rue’s life and career, exploring aspects of his compositional output and highlighting the reawakening of modern scholarship to his unique contribution. Extensive documentation of the events of his life and a complete record of the transmission of his music across Europe make this study essential for everyone studying the musical court in Europe at the turn of the 16th century.