bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Essayistic Spirit
Authors: Obaldia De Claire 
Published: November 2023

Abstract
Despite the recognition of a 'geat tadition' of essayists who have been admitted to the literary canon, the genre remains underrated and somewhat neglected in literary studies. Clare de Obaldia's wide-ranging study argues that to relegate the essay in such a way is to ignore the fact that our 'modern' conception of literature is fundamentally essayistic, that ours is a typically essayistic age, and that all texts are implicitly regarded as essays. The general perception of the essay as a short, fragmentary form that hovers between philosophy (or science) and literature - the cognitive and the aesthetic - has often led to its being overlooked. The Essayistic Spirit explores both the creative potential of the essay and the limits of essayism on the borders of philosophy, literature (especially the novel) and criticism, by referring our post-romantic concpetion of literature and literary history back to Montaigne's Essais, and to a whole related tradition of philosophical scepticism. This comparative study draws on a range of writings including those of Montaigne, early German Romantics, Lukács, Adorno, Derrida, Hartman, Barthes, Proust, Broch, Musil, Bakhtin, and Borges.
Toute la memoire du monde: Repetition and Forgetting
Authors: Frow John 
Published: November 2023

Abstract
One way of describing the imaginary object named postmoderniry is to say that it is the time of a fall from memory into history, or from history into amnesia. Fredric Jameson, for example, writes that ‘what was once, in the historical novel as Lukacs defines it, the organic genealogy of the bourgeois collective project … has meanwhile itself become a vast collection of images, a multitudinous photographic simulacrum’. Our historical or post-historical situation is thus one ‘in which we are condemned to seek History by way of our own pop images and simulacra of that history, which itself remains forever out of reach’.
Four and Twenty Fiddlers
Authors: Holman Peter 
Published: November 2023

Abstract
The royal string band at the English Court had its origins in a six-man consort from Italy, brought to England by Henry VIII in the spring of 1540. Peter Holman's book charts the history of this institution from its beginnings to the time of Purcell. He considers the previous history of instrumentalists at court, the role of the court band in the sixteenth and seventeenth centuries, and its influence on the dance music of the period. The establishment of the band at the English court is set in the context of the violin's place in Europe in the sixteenth century, as the author considers the origins of the instrument and discusses contemporary references to violin bands in court, town, and church. The development of the violin band is traced by reference to an immense amount of documentary information, much of it new. The first thorough treatment of this subject, Peter Holman's book will be welcomed for the new light it sheds on large areas of musical history.lin was little known in England before the Restoration.
Bach’s Articulation
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
If I were asked to name the most serious and most common fault in modern performances of Bach, I would reply without hesitation: ‘non-existent or incorrect articulation’. Non-existent articulation is tantamount to rattling off the music and playing the notes with no sense of their inner coherence. Incorrect articulation, on the other hand, can obscure the meaning of a passage, and in extreme cases make a nonsense of it, just as wrong punctuation can produce the opposite of the intended meaning.
Dynamics
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
The paucity of dynamic marks in baroque music makes it necessary for every musician to determine the dynamics he intends to apply. First some remarks concerning dynamics on the harpsichord. Shaping the dynamics of the melodic lines is only marginally possible on the harpsichord, though it must not be overlooked. Franqois Couperin says of this:
J. S. Bach’s Ornaments: Some General Remarks
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
It is often claimed that J. S. Bach used French ornamentation signs to the virtual exclusion of all others, and that for this reason all his embellishments ought to be executed in the French manner. This is a gross simplification of a rather complicated state of affairs. If conscientious performers were able to solve all problems of embellishment with the help of a few clear-cut instructions a la franfaise, no one would be happier than those of us who perform the music of Bach.
Arpeggios
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
In the preceding chapters I have referred on a number of occasions to arpeggio, a technique that is very common in the case of stringed instruments. Because the art of arpeggiation is deemed to be an aspect of embellishment in older and newer treatises, it seems apposite to sum up some of the relevant rules that pertain to Bach, and to discuss a number of special cases.
Professional Pressures
Authors: Cooper Barry 
Published: November 2023

Abstract
UNLIKE Haydn, who served the Esterhazy family for many years, Beet-hoven was never employed in the direct service of a patron once he had left Bonn, and he tends to be regarded as the first example of the romantic ideal of an independent composer, working as a free artist, writing only what he wanted and when he wanted. To a certain extent this picture is correct, for although he had a number of patrons he was never in a situation in which he was obliged to compose what they asked, and when he was granted an annuity in 1809 by three patrons (Prince Kinsky, Prince Lobkowitz, and Archduke Rudolph) the sole condition they imposed was that he should continue to reside in Vienna. This annuity made him free of financial worry (in theory if not in practice) and enabled him to compose as much or as little as he liked for the rest of his life. One might imagine that from then on he wrote only what he considered to be in the best interests of his art, and the types of music he liked most. Yet even while he was negotiating the annuity contract he indicated that he would have preferred to enter the Imperial service as a composer with a regular salary and presumably corresponding obligations.1 Similarly in 1 807 he expressed a desire to become composer for the Royal Theatres in Vienna, even though he would have been obliged to write at least one opera a year plus other smaller stage works as required.’ In fact he became a free-lance composer more by mischance than by design, and even so a surprisingly high proportion of his output was written because of particular combinations of circumstances that just happened to arise.
The Sketching of Form and Key
Authors: Cooper Barry 
Published: November 2023

Abstract
WHEN Beethoven began composing a new work he generally began not with melody but with decisions on the type of work and the key. This is not to say that he did not sometimes sketch isolated melodic ideas which might later form the basis for finished works, but this was not his normal startingpoint. He normally began by deciding whether the next work would be, say, a sonata, a quartet, or a symphony, and by deciding on its key and character. For this reason we shall examine here how he sketched key and form, before proceeding in the next chapter to the question of melodic sketching.
Musical Structure and Vivid Pictorialism: ‘Meeresstille’, Op. 112
Authors: Cooper Barry 
Published: November 2023

Abstract
WHEN planning a movement for an instrumental work, Beethoven often decided at an early stage to use a standard form such as sonata or rondo form, and so once he had decided on the nature of the main themes there were no major structural problems to face. If the movement was to have a more irregular form, this too was often determined at an early stage-usually with the aid of a synopsis sketch. In certain vocal works, however, the form was determined largely by the shape and content of the text. In such cases any elements of form other than those present in the text could be clarified only gradually, during the sketching. Hence successive drafts for such a work would not only refine and amplify details, as in an instrumental work, but also show substantial progress in the overall form of the movement, as well as evolving details to highlight the meaning of individual words.
A Long-Running Revision: Second Piano Concerto
Authors: Cooper Barry 
Published: November 2023

Abstract
iT is easy to imagine that by the time Beethoven progressed from preliminary sketches to drafting an autograph score his main compositional problems were soked and that little further composing activity remained. With some works this was undoubtedly so, but with others he continued to make changes—even quite major changes involving the replacement of whole sections or movements—right up to and occasionally beyond the time of publication. A well-known example is Fidelio. But a work with an even longer period of gestation and even more versions (not all extant) is the Second Piano Concerto, Op. 19, with a period of about twenty years between the probable date of the tirst autograph score (the late 1780s) and the date of the last phase of composition (1809). The main reason for the long delay between its composition and the date of publication (December 1801) was that the concerto, like his other early piano concertos, was written for his own use as a performer. In this situation it was better that the concertos remained unpublished so that rival pianists would not be able to use them, and so he deliberately held them back, as he explained in a letter of 22. April 1801: ‘ Musical policy demands that one should keep one’s finest concertos to oneself for a time.” As a result of this policy, each time he turned to the Second Piano Concerto during the period before publication he was liable to notice defects, and so parts of the work were continually being revised.
Anthems for Other Royal Family Occasions: Two Weddings and a Funeral
Authors: Burrows Donald 
Published: November 2023

Abstract
Frederick, Prince of Wales, had been born and brought up at Hanover, where he remained as the family’s representative when his parents came to London in 1714. Following his father’s accession to the British throne in 1727 it was inevitable that he too would move to London, but the King showed no impatience for his company: he eventually arrived at St James’s Palace early in December 1728, never to return to Hanover again.
Introduction
Authors: Reardon Colleen 
Published: November 2023

Abstract
For travellers approaching from the south, Siena at first looks much like any other Tuscan hill town. Above the undulating grain fields and vineyards of the countryside stand the sturdy walls which gird the city. Beyond this barrier, closely spaced houses of warm, terracotta brick climb upward in ever-decreasing numbers. As the imposing shapes of its most important monuments project themselves against the horizon, however, the city takes on its own distinct personality. Even from afar, the Duomo and its campanile are visible, as is what appears to be a free-standing wall, the remnant of an abandoned enterprise to build the largest church in Christendom.
The Instrument and the Mouthpiece
Authors: Schuller Gunther 
Published: November 2023

Abstract
The first problem the prospective horn player faces is the purchase of an instrument and a mouthpiece. Since in many cases this first instrument and mouthpiece have a great influence on the initial formative stages of the player’s development, considerable care should be exercised in this matter. The choice of an instrument is, of course, a personal matter, but certain fundamental minimum requirements can be set down to help the beginner.
Beethoven’s Folksong Settings
Authors: Cooper Barry 
Published: November 2023

Abstract
Beethoven composed far more folksong settings than any other type of composition. Most are British songs, including Auld Lang Syne and the The Miller of Dee, with text by such authors as Burns, Byron and Scott. Yet Beethoven's settings, commissioned by George Thomson of Edinburgh, have been neglected by performers and scholars alike, and nearly all accounts of them are both superficial and startlingly inaccurate. This book is based on a very elablorate study of a wide range of sources, and dispels the many myths that have been circulating about this music. Every one of the 179 settings is dated to within a few weeks and an account is given of the souces of the melodies and texts, the difficulties of sending the music across Europe during the Napoleonic Wars (smugglers were even called upon to assist!), the fees Beethoven received, and when and how the texts were added. By comparing Beethoven's settings with those of his predecessors Pleyel, Haydhn and Kozeluch, the author demonstrates that Beethoven comprehensively transcended the bounds of convention, producing settings of extra-ordinary quality and originality. Suggestions are also made for overcoming the problems of presenting these songs in performance.
Introduction
Authors: Cooper Barry 
Published: November 2023

Abstract
BEETHOVEN composed a large number of folksong settings, in which traditional tunes were provided with preludes, postludes, and accompaniments. Almost all were made for the Edinburgh publisher George Thomson (1757–1851), for whom he also composed sixteen sets of folk song variations for flute and piano, Opp. 105 and 107. The present study concerns just the folksong settings, not the variations.
Thomson was a civil servant by profession, but a keen amateur cellist and music-lover, who became passionately fond of Beethoven’s music. He also showed much interest in folksong—initially that of Scotland but later of other countries—and as a result became a friend of the great Scottish bard Robert Burns (1759–96), publishing many of his poems.
The Accompaniments: Instrumental Parts
Authors: Cooper Barry 
Published: November 2023

Abstract
One of the most important features of a folksong accompaniment is the role of the pianist’s right hand-in particular, whether it merely doubles the voice or is treated independently. There was still a lingering tradition in Beethoven’s day, visible in some of his earliest Lieder, for publishing songs on only two staves so that the right hand would automatically double the voice throughout the song. In some of Thomson’s later publications Beethoven’s settings were actually printed this way, and the two songs Beethoven sent to Simrock (Group XVIII) were also notated on only two staves.
London, Paris, Dublin 1732–1762
Authors: Careri Enrico 
Published: November 2023

Abstract
ALTHOUGH they were composed and performed for many years before they were eventually published, the concertos of Op. II and III achieved a wide dissemination only after the series of public performances organized by Geminiani at Hickford’s Room between December 1731 and April 1732. Following their publication in 1732 they were performed everywhere in England, not only at public concerts or at meetings of music societies, but also between the acts of stage works. The last-mentioned context proves their popularity beyond question, for only music that was known to be in fashion was chosen for the entr’actes. Typical examples besides Geminiani’s concertos were the overtures of Handel’s operas, the same composer’s celebrated Water Music, and Vivaldi’s ‘Cuckoo’ Concerto (RV 335). To give some specific instances: the intervals of The Careless Husband (Haymarket, 20 October 1733) were filled by the first concerto of Geminiani’s Op. II, the Overture to Handel’s Alessandro, and the ‘Cuckoo’; for The Constant Couple (Haymarket, 27 October 1733) the same service was provided by the fourth concerto of Geminiani’s Op. III and the Overture to Tamerlano; in The Relapse (Haymarket, 1 December 1733) it was the turn of the sixth concerto of Geminiani’s Op. II, the Overture to Admeto, and a concerto for two oboes by Pepusch; Love for Love (Haymarket, 4 February 1734) featured the third concerto of Geminiani’s Op. II, the Overture to Tolomeo, and the Water Music; The Country Wife (Drury Lane, 4 February 1735) had the first concerto of Geminiani’s Op. III, the Overture to Esther, and an unidentified concerto for oboe by Geminiani. These Op. II and Op. III concertos remained in the British orchestral repertory until the death of the composer and were reprinted repeatedly up to the end of the century. It is important to bear this fact in mind, for otherwise it would be quite difficult to explain why Geminiani’s standing with the public remained high even though almost all his subsequent compositions met with failure.
Articulation
Authors: Harrison Bernard 
Published: November 2023

Abstract
The eighteenth-century theorists who deal with the subject of articulation in keyboard music describe four different types of touch, namely staccato, legato, the ‘ordinary’ touch, and portato or Tragen der Töne. While there is a considerable degree of uniformity in these eighteenth-century theoretical descriptions of each type of touch, important distinctions need to be made between eighteenth- and nineteenth-century discussions of this subject, and not a few problematic interpretations of this evidence in the modern literature require re-evaluation. Staccato is, according to C. P. E. Bach, indicated by either a Strich or a Punkt and the duration of the notes so marked is ‘a little less than half of their notated length’, although Bach indicates that the extent of the staccato is dependent on the value of the note, the tempo and the dynamic level. Staccato occurs ‘in general’ in ‘leaping passages and rapid tempos’. Marpurg's description in the Anleitung zum Clavierspielen is similar to Bach's, but he recommends that the staccato note be held ‘for half’ its value. In Principes du clavecin, Marpurg gives the realization of the staccato note as exactly half the notated value (table II, figs. 8.a-c) and adds that the staccato Strich is sometimes used instead of the Punkt. Türk's comments at the end of the eighteenth century on the notation of staccato are an elaboration on those of Bach, but in one respect (the question of whether the distinction between Strich and Punkt is functional) they are prophetic of nineteenth-century descriptions: ‘The signs at a [i.e. Strich] and b [i.e. Punkt] have the same meaning, but some would like to indicate by the stroke (a) that a shorter staccato be played than that indicated by the dot (b).’
Francis Poulenc
Authors: Mellers Wilfrid 
Published: November 2023

Abstract
Once considered as little more than the froth in the wake of the First World War, a witty boy-hedonist who, in the giddy Twenties, tweaked the noses of moribund establishmentarians, Poulenc has in fact proved unexpectedly durable - more so than any of his colleagues among Les Six, including those who developed more grandiose ambitions. Here is a survey of Poulenc's music, based on careful selection of his works, and written by an authoritative guide. Having placed Poulenc in the context of French life and society after the First World War and considered him in relation to his masters and mentors, especially Satie and Chabrier, Mellers turns to Poulenc's Diaghilev ballet, Les Biches, to important sequels to it, such as Concert champêtre and Aubade, and to works of transition, such as the Concerto for two pianos and orchestra. The next section discusses the `social' music of Poulenc's middle years - especially the music for piano (for Poulenc a domestic instrument), written during the Thirties, and the centrality of song in his work; some account is offered of his relationship with his main poets, Guillaume Apollinaire, Paul Eluard, and Louise de Vilmorin. Mellers mext considers the impact on Poulenc of the Second World War, especially as manifest in the great choral work Quatre Motets de Pénitence and the Organ Concerto. Separate chapters deal with the three main operatic pieces and Poulenc's relationship to Bernanos and Jean Cocteau; with the late devotional works, especially the Stabat Mater, the Gloriam and the Sept Répons des Ténèbres; and with the chamber works of the last few years. The chapters are illustrated througout with music examples. Adopting a broadly chronological approach, Mellers traces Poulenc's development as a composer from enfant terrible to a mature composer both for secular Society and for the liturgy of the Catholic Church; in so doing he points to the reasons for the durability and pertinacity of his appeal. Mellers further assesses Poulenc's place in the French tradition, and, in a Postlude, pays tribute to the warm regard with which Poulenc was held by so many of his fellow musicians.
Edward Elgar
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
Edward Elgar is among the greatest of all English composers, and this major biography, the culmination of twenty years’ work, is probably the most complete and perceptive study of the composer to date. Drawing on the vast amount of source material, much of it previously unpublished, Jerrold Northrop Moore presents Elgar’s life and works as inseparable parts of a single creative career. This classic study, unavailable for many years, is here reissued as a Clarendon Paperback.
‘Jubilating Always in my Songs’
Authors: Wegman Rob C 
Published: November 2023

Abstract
On 17 January 1491 the canons of St Donatian’s discharged Jacob Obrecht ‘because of the better’.1 No doubt this motivation, however ambiguously worded, reflected the composer’s rather than the chapter’s point of view. Only he could now expect a change for the better, not the church, which was ill-prepared for his departure, and would have to struggle with interim succentors for nearly two years.2 Obrecht was now in his early thirties, and had established himself as the leading composer of northern Europe. His masses and motets were finding their way to musical centres hundreds of miles removed from Bruges, spreading his fame to all corners of the Continent.
Early Episcopal Music in America
Authors: Wilson Ruth M 
Published: November 2023

Abstract
The formal process by which remnants of colonial Anglican ecclesiastical societies were welded into an autonomous American church began its most important phase in Philadelphia in 1785. With the working out of a trial liturgy, the stage was set for the next step, a few years of experimentation with the Proposed Book in episcopal congregations. Representatives of the churches within the states then came together in 1789 to hammer out a final settlement, and by 1790 the important elements of the Anglican Church were in place: a united episcopate, a federal system of government, and a liturgy. The revised liturgy authorized for use on I October 1790 adhered to the general outline of services in the 1662 English prayer book, but, as might be expected, there were substantial changes in the text. Also, part of the Communion liturgy of the Episcopal Church in Scotland was adopted according to suggestions made by the Scottish bishops to the first American bishop, Samuel Seabury, at the time of his 1784 ordination in Aberdeen.
British Keyboard Music to c.1660
Authors: Brookes Virginia 
Published: November 2023

Abstract
This is a work of reference in two parts: part 1 is an itemized list of the contents of all the manuscript and printed sources of British keyboard music to c. 1660; part 2 is a thematic index, listed alphabetically by composer, of all the pieces contained in the sources. Each piece in the index is numbered and that number will also be found against its entry in the source list; thus each piece may be placed in the context of its origins. The book concludes with a computerized code of the musical incipits, so that it is possible to discover if any piece is included in any source. The index itself consists of the musical incipit, and a list of all the known sources, with folio numbers, deviant titles and ascriptions, and modern printed sources, if any.