bluuebunny/crossref_metadata_2025_split huggingface dataset:
Songs as Texts
Authors: Frith Simon 
Published: November 2023

Abstract
Most contemporary popular music takes the form of song (even acid house), and most people if asked what a song “means” refer to the words. In examining what the words do mean we can follow two obvious strategies, treating songs either as poems, literary objects which can be analyzed entirely separately from music, or as speech acts, words to be analyzed in performance. But in listening to the lyrics of pop songs we actually hear three things at once: words, which appear to give songs an independent source of semantic meaning; rhetoric, words being used in a special, musical way, a way which draws attention to features and problems of speech; and voices, words being spoken or sung in human tones which are themselves “meaningful,” signs of persons and personality. In this chapter I will focus on words and rhetoric; in the following chapter I will consider the voice.
1921-1945
Authors: Stevens Halsey 
Published: November 2023

Abstract
The 1920’s were marked by the resumption and intensification of Bartók’s concert career, now deliberately expanded to an international scale. His letters, postmarked London, Paris, Malvern Wells, Aberystwyth, Venice, Palermo, Basle, Philadelphia, Los Angeles, and Seattle, indicate the widening scope of his activity. Thus, in a sense, he carried out Oscar Bie’s suggestion, though it is unlikely that it was as a result of Bie’s advice. The territorial limits of Hungary had shrunk to a third of her former size; even Pozsony, where Paula Bartók still lived, was in a foreign country, and elaborate formalities had to be complied with whenever Bartók wished to visit her. Though he retained his post at the Academy of Music, the contracted area of Hungary permitted no significant concertizing, and it was natural that he should look to western Europe, and eventually to America, for an audience.
The Concertos
Authors: Stevens Halsey 
Published: November 2023

Abstract
BartÓK’S follow work in the concerto mold was not originally intended as a concerto at all. The Rhapsody, opus 1, was written for solo piano, and later rewritten for piano and orchestra in preparation for his Paris visit in 1905 to compete for the Prix Rubinstein. Dated November 1904, the original differs in certain respects from the version with orchestra, chiefly in the addition of a rather extended introduction, as well as in the amplification of several internal passages in order to provide balance.
Transition and Change
Authors: Smallman Basil 
Published: November 2023

Abstract
WHILE the closely knit group of César Franck’s successors (not only Schmitt and D’Indy, but also Pierné, Vierne, Roger-Ducasse, and others) continued, during the first decades of the new century, to exploit the ‘symphonic’ type of piano quintet, with its peculiar emphasis on thematic unification and extreme richness of texture, Faure, with his two contributions to the genre—Op. 89 in D minor and Op. 115 in C minor—pursued an altogether more independent line, in which purity of style and classical poise were the distinguishing traits. Enlarging on the highly personal musical language created during his first period, not least with his piano quartets, he provided in these works of his maturity a new intensity of vision, unfailingly emotional, but couched always in terms of moderation and restraint. Eugene Ysaÿe, who, with his quartet and Faure as pianist, gave the first performance of Op. 89, in Brussels in 1906, precisely described the essential nature of the composer’s thought when he referred to his ‘total rejection of showmanship’ and his ability to create ‘absolute music in the purest sense of the words’.
The Relationship of Style to Scoring
Authors: Smallman Basil 
Published: November 2023

Abstract
NOT infrequently, in scoring for strings and piano, it is the distribution of themes and their accompaniments, and the attainment of blend and balance between the tonally non-equivalent ‘sides’ of the ensemble, which present the greatest technical challenges. And since scoring forms an integral part of the creative process—and is thus an important aspect of the composer’s personal style—the solutions to these common problems tend naturally to be numerous and varied. The most effective types of scoring are arguably those in which themes and accompaniments can be exchanged, immediately or at long-range, between the different ‘sides’ of the ensemble; and those in which the accompaniments themselves, so far from being neutral patterns which simply supply harmony, reveal genuine motivic significance. These ‘ideal’ types of scoring, however, may be relevant only to a limited number of styles. In the case of music of a different nature—more homophonic, perhaps, or more theatrical—quite another manner of scoring may be appropriate, one concerned more with drama and rhetoric than balanced discourse, and thus involving more extended solo writing, more antiphonal interplay, and even a larger amount of straightforward doubling. It is reasonable to assume, therefore, that apart from moments of striking finesse on the one hand, or of miscalculation on the other, scoring cannot meaningfully be judged in isolation, but only in relation to the wider musical style which it serves.
1950–1961 ‘My Silly Selfish Self-Indulgence’
Authors: Gillies Malcolm , Pear David 
Published: November 2023

Abstract
Although Grainger wanted to believe that he belonged to the ageless, that old age which he so feared was slowly creeping up on him. The 1950s would be, for him, a decade of cancers and failing abilities first physical, then mental which left him wildly bitter at what he would now never achieve. But, despite frequent bouts of whingeing and self-accusation, he did continue until his final months to promote his music, to lecture and to play in concerts. He also managed to order his Melbourne museum, to tie up loose compositional ends and to make important advances with his ‘Free Music’ machines. The circle of his intimate correspondents declined markedly between 1950 and 1953 with the deaths of such close friends as Balfour Gardiner, Roger Quilter, and Karen Kellermann. Only his wife, Cyril Scott, Herman Sandby, and Grainger’s stepdaughter Elsie Bristow remained to share the more confidential news of his final years.
Sound Recording Practice
Authors: Borwick John 
Published: November 2023

Abstract
In this invaluable book, a broad range of contributors—musicians, acousticians, electronic engineers, and broadcasters—share their specialized expertise on the equipment used to record, transmit, and reproduce speech and music and the operational techniques that have evolved over half a century in the sound recording industry. This fourth edition, newly revised and comprehensive, emphasizes the array of new technologies and techniques such as rapid advances in recording techniques, computer-controlled equipment, new digital recording formats, and the proliferation of consumer audio/video media. Addressing the user rather than the designer or manufacturer, Sound Recording Practice offers a stimulating, informative, and comprehensive guide to each aspect of recording.
Studio planning and installation
Authors: Munro Andy 
Published: November 2023

Abstract
Studio planning encompasses many disciplines, including some not immediately associated with the business and operation of recording studios. Installation is simply the execution of the planned schedule of works, and success or failure is almost entirely a result of the technical competence and experience of the studio ‘designer’.
The word ‘studio’ is taken generally to mean any area associated with the technical or artistic procedures involved in the recording process. It may be argued that, to some clients, the quality of a studio’s facilities in terms of catering and recreation are just as important as the quality of the studio acoustics or mixing console. However, a successful studio design is invariably the result of interpreting the exact requirements of the client, who presumably (but by no means always) has an equal understanding of his own (and his customers’) recording and business philosophy.
Digital mixing
Authors: Lidbetter Paul S 
Published: November 2023

Abstract
Digital audio systems have come a long way in recent years. There have been major advances in audio performance, the use of software control systems, and economic effectiveness, all of which have resulted in the appearance of increasing numbers of digital audio consoles and systems for both music recording and post-production applications. The driving force is, as always, higher integration on silicon and higher storage densities. One such example is the use of interactive graphics technology which has evolved on the wave of the PC-based Windows environment and is continuing to evolve as technology gears up for multimedia applications. Another is the ever-increasing computer processing power that is available from embedded systems along with trends towards the ease of interprocessor communications through networks.
Maintenance
Authors: Atkin Malcolm 
Published: November 2023

Abstract
As the audio industry has matured, there has been a great increase in the number of small manufacturing companies producing an ever-wider range of equipment for studio use. This in turn has meant a changing role for the maintenance engineer. He may no longer be asked to build an in-house mixing console, but he will be expected to have wide experience ranging from antique musical instruments to the merits of the latest software updates. He will also be the person whom everyone calls upon when things go wrong.
A professional studio should have a fully qualified technical engineer available at any time that a session is in progress. Whilst breakdown cover can be provided by mobile service engineers, this should not be a substitute. A true recording studio is always being modified and re-equipped as tastes and methods change, and a full-time engineer who has intimate knowledge of the installation and operation of all the equipment in the studio is a tremendous asset to the company.
Classical music
Authors: Revill Adrian 
Published: November 2023

Abstract
The techniques involved in recording classical music are different from those used to record other types of music, and this is largely because the philosophy behind the production of the recordings is different. The record industry uses the term ‘classical music’ to encompass many types of music, not just the strictly classical works of Mozart or Haydn but also Romantic works by composers like Tchaikovsky and Wagner, twentieth-century music, and a growing catalogue of early music. The styles and the sound of this repertoire are very diverse but the philosophy common to the recording production is to capture a perfect performance and give the listener the impression of hearing it from a perfect seat in the concert hall. The producer and engineer keep this ideal in mind even when hundreds of takes need splicing together from sessions recorded in a venue with non-ideal acoustics. The purist approach is to use a single microphone (or stereo pair) and record the music in long continuous takes with no editing; indeed for some people this is the only valid approach. However, it must be said that the majority of classical recordings are not made in this way. Many different microphone techniques are used and, to understand how these have evolved, it is necessary to consider the parameters which contribute to the sound of a classical recording.
The Monteverdi Vespers Of 1610
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
This is a thorough-going study of Monteverdi’s Vespers, the single most significant and most widely known musical print from before the time of J.S. Bach. The author examines Monteverdi’s Vespers from multiple perspectives, combining his own research with all that is known and thought of the Vespers by other scholars. The historical origin as well as the musical and liturgical context of the Vespers are surveyed; similarly the controversial historiography of the Vespers in the nineteenth and twentieth centuries is scrutinized and evaluated. A series of analytical chapters attempt to clarify Monteverdi’s compositional process and the relationship between music and text in the light of recent research on modal and tonal aspects of early seventeenth century music. The final section is devoted to thirteen chapters investigating performance practice issues of the early seventeenth century and their application to the Vespers, including general and specific recommendations for performance where appropriate. The book concludes with a series of informational appendices, including the psalm cursus for Vespers of all major feasts in the liturgical calendar, texts, and structural outlines for the Vespers compositions based on a cantus firmus, an analytical discography, and bibliographies of seventeenth-century musical and theoretical sources.
A Philosophical Note on Historical Performance Practice
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
Performance of the Monteverdi Vespers, whether of individual pieces or as a complete vesper service, raises numerous problems that every ensemble director must address and resolve in one way or another. The final part of this volume is devoted to an exploration of historical performance practices as they are applicable to the Vespers and to assisting performers in approaching this music in an informed way.
Continuo Instruments
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The normal continua instrument for music in church was the organ. Harpsichords were used on rare occasions, such as when organs were in disrepair, or during Holy Week, when the use of the organ was proscribed. Occasionally one finds evidence of the employment of both organs and harpsichords in large-scale, multi-choir works; the harpsichord may in some instances have been the sole keyboard continua instrument for one of the choirs, but there is also evidence of organ and harpsichord serving simultaneously as continua instruments for one or more choirs in polychoral compositions. In any case, the descriptions make clear that these were special events employing unusually large vocal and instrumental resources. Even with the combination of organ and harpsichord, there is no evidence known to me that suggests the alternation of the two instruments in the same composition other than between separate choirs of polychoral works.
Continua Realization
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The role of accompanying foundation instruments and the realization of continua parts were much less consistent in the early seventeenth century than they came to be after many decades of development and gradual standardization. Manuscript and printed accompanying parts were not limited to the single bass-line which eventually became the norm, but ranged from full scores, duplicating precisely the polyphonic texture of all the vocal or instrumental parts, to short scores with bass and one upper part or more, tablatures with bass-line and upper parts arranged according to the capacities of a particular type of instrument, and single bass-lines either derived from one or more of the vocal or instrumental parts or independent of these parts. Each of these types of manuscript and printed accompanimental parts poses different problems in its execution and realization, and all, with the exception of tablature, are represented in the bassus generalis of Monteverdi’s Vespers. In my edition of the Vespers, all of the parts printed in the bassus generalis have been included in a separate appendix.
Liturgical (and Paraliturgical) Music in the Papal Chapel towards the End of the Fifteenth Century: A Repertory in Embryo
Authors: Roth Adalbert 
Published: November 2023

Abstract
With these words in the arenga of the first bull of privileges in favour of the college of the papal chapel, published in June 1473, Sixtus IV became the first pope in the fifteenth century to express his contentment with the musical services of the most consistent corporate group in his court chapel.1 Never before in an official document of the Holy See had a pope referred explicitly to the musical duties of his singers.2 This is not merely the rhetoric of some versatile papal secretary, but the pope himself who speaks to us, as the history of the papal chapel during the second half of the fifteenth century clearly testifies.
Music of the Raj
Authors: Woodfield Ian 
Published: November 2023

Abstract
Music of the Raj is a study of musical life in late eighteenth-century Anglo-Indian society, based on the unpublished correspondence of an extended network of families. The writers of these letters — amateurs with a passionate commitment to the art of music — provide a perceptive commentary on many of the major issues of the day: the stylistic change from Baroque to Galant, the replacement of the harpsichord with the pianoforte, the establishment of the musical canon, and the growing economic and cultural influence of women musicians. Among the topics discussed are the transport, tuning and maintenance of instruments, the relationship between amateur pupil and professional teacher, the conduct of the domestic musical soirée, the role of glee singing in courtship, and the musical education of children. An account is also given of the growth of an expatriate musical culture among the European inhabitants of early colonial Calcutta, and the musical tastes of major Anglo-Indian figures such as Robert Clive, Warren Hastings, and Sir William Jones are assessed. English attitudes to Indian music is an important theme, especially as manifested in the fashion for the Hindostannie airs, transcriptions of Indian melodies in European musical language. The study concludes with an examination of the musical lives of wealthy nabobs back in England, where they immersed themselves in Indian musical culture, taking the Grand Tour, supporting opera at the Kings Theatre, and employing fashionable Italian teachers for their children.
The Male Dilettante
Authors: Woodfield Ian 
Published: November 2023

Abstract
Male attitudes to musical accomplishment come across very clearly indeed in Anglo-Indian letters of the late eighteenth century. Being on the whole free from external pressures to acquire musical ability, the requirement to ‘peak ‘ during the years of young adulthood was much less intense than it was for women, whose marriage prospects might be adversely affected by any perceived lack of accomplishment. Lack of motivation was rather the problem. Reading through accounts of the Anglo-Indian male at his music, one is persistently struck by a general lack of urgency.
The Early Cantata Composers (iii) Campra, Bourgeois, La Guerre, And Others
Authors: Tunley David 
Published: November 2023

Abstract
Unlike the other composers so far studied, Andre Campra (1660-1744) turned to the writing of cantatas after his reputation had been firmly established, especially following the success of his ballet L’Europe galante (1697). While the latter work has its scenes set in France, Italy, Spain, and Turkey, there is no doubt that despite the touches of ‘local’ colour and the excellent Italian parody (see Ex. 8b) the music comes from the pen of a Frenchman. So too when Campra brings together elements from French and Italian musical styles in his first book of cantatas (1708) we are aware that the composer’s bias towards the Italian style is less pronounced than in the cantatas discussed up until now.
Louis-Nicolas Clérambault
Authors: Tunley David 
Published: November 2023

Abstract
If today Louis-Nicolas Clérambault (1676-1749) is best known through his organ music, in his own day it was his cantatas that were given pride of place in the esteem and affection of his admirers. To judge by the only extant portrait of the composer, it would seem that Clerambault himself placed these above all his other works, for in it he chose to be pictured and remembered as if he were composing his most celebrated piece, the cantata Orphée. And if in his own estimation his cantatas were the most highly prized of his compositions, so too did French opinion place Clerambault above all other cantata composers in that country.
Conclusion
Authors: Tunley David 
Published: November 2023

Abstract
Like opera, the cantata was late in taking root in French soil. Nearly a L century was to elapse before French composers followed the lead given by the Italians in the early seventeenth century, by which time men like Carissimi and Scarlatti were bringing the form in their country to its height. Inspired by models such as theirs, the French cantata, unlike the tragedie-lyrique, did not evolve through the transformation of an existing national form but was born, so to speak, fully fledged. Thus, some of its earliest examples are mature works. In this respect we are reminded strongly of the Italian-inspired English madrigal, the history of which has a number of points in common with the eighteenth-century French cantata.
Original Sets of Parts for Restoration Concerted Music at Oxford
Authors: Holman Peter 
Published: November 2023

Abstract
Seventeenth-century concerted music for voices and instruments survives in two main forms. On the Continent, church music and secular vocal music were commonly published in sets of part-books, while theatre works were copied in score and were sometimes published in that form. In England, by contrast, the music publishing industry was relatively undeveloped until the 1 690s, so sizeable works for voices and instruments rarely got into print. Nearly all Restoration odes, symphony anthems, masques, and operas survive only in manuscript score. These two formats--scores and sets of part-books-are so familiar to us that we tend to forget that they rarely convey all the information we need to recreate the composers’ intentions. Neither format normally tells us exactly how many performers to assemble or how many to allocate to each part, and scores frequently obscure the precise role of instruments by conflating vocal and instrumental bass parts or by leaving out supporting instrumental parts altogether in choral sections. Similarly, we must be wary of assuming that printed sets of parts were actually used for performance and are reliable guides to the size and disposition of the performing forces. Their main function would have been to transmit repertory to musicians outside the orbit of the composer, and they often need to be supplemented by duplicate parts, printed or manuscript, before they can be used. Indeed, I suspect that many purchasers thought them too precious to be used in performance, and treated them as repositories from which manuscript parts were copied.
The Great Qyartet in Idomeneo and the Italian opera seria Tradition
Authors: Mcclymonds Marita p. 
Published: November 2023

Abstract
Mo ZART took great pride in the quartet that he composed for Idomeneo. On 27 December 1780 he wrote from Munich to his father, ‘The more I think of this quartet, as it will be performed on the stage, the more effective I consider it So far there is nothing in my opera with which I am so pleased as with this quartet’.1 During the eighteenth century quartets were uncommon in Italian opera seria but by no means unknown. They were especially rare during the first half of the century, though one can occasionally be found near the end of a third act.
Introduction
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
In Le Coq et l’arlequin (Cock and Harlequin), Jean Cocteau praised the composer who had lately set his ideas to music in Parade: Erik Satie had blazed the trail away from Wagner’s grandiosity and past Debussy’s preciosity towards the modest ideal of a ‘music for every day’. In the same tract Cocteau espoused the French variety theatre as one prototype for a renewal of French musical art. It seems strange that he did not put the two together.