bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Ostinato Fragments
Authors: Shreffler Anne C 
Published: November 2023

Abstract
In the summer of 1917, Webern had become convinced that his music had substantially changed. Two years earlier, he had already begun to experiment with longer motives and time spans in several extended fragments (including Trakl’s ‘In der Heimat’ and ‘In den Nachmittag gefhistert’). And after serving two extended stints in the army and experiencing the war first hand, he might well have approached composition differently from before. But Webern’s evaluation of his music as ‘something completely different from before the war’ seems exaggerated in the light of the published works from this year. The piano songs, ‘Die geheimnisvolle Flote’ and ‘Gleich und Gleich’ (Op. 12 Nos. 2 and 4), are hardly path-breaking; their musical language is remarkably consistent with that of the other Op. 12 songs composed two years earlier. Two other songs, ‘Wiese im Park’ (Op. 13 No. 1) and ‘In der Fremde’ (Op. 13 No. 3), feature a slightly larger scale, but their instrumentation, form, and motivic construction differ only in degree from pre-war compositions such as Two Songs, Op. 8 or ‘Die Einsame’ (Op. 13 No. 2).
La sede di musica
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
IN the first full-scale guidebook to Venice, printed in I 5 8 I, the Venetian publicist Francesco Sansovino cites performers, performances, theorists, and instrument-makers to substantiate his claim for Venice as la sede di musica. Sansovino’s claim is one that apologists for other Italian cities seem neither to have challenged nor to have made on behalf of the musical culture of their own cities. A parallel exists in the title accorded to Rome as ‘La Santa Sede’ to reflect the fact that the official authority of western Christianity is centred there.
The Musical Scene in the Ottoman Period Initiatives and Rivalries
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
At the turn of the century the New Yishuv was boosted by an immigration wave, known as the Second Aliya (1904–13). Pushed by the pogroms against Jews in Russia which broke out in Kishinev in 1903, most immigrants were young socialists motivated to reform the traditional Jewish way of life through the creation of a new, just society, with hard physical labour and collective effort elevated to the level of religious adoration. They numbered 35,000–40,000 persons and their influence was especially prevalent in the political elite of the Yishuv for years to come.2
Music in the Land of the Bible, Pure Music, and Good Manners
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
The genre of the biblical oratorio maintained a special position in the heated ideological climate of the Yishuv. The solemn moralistic and educational stance of the oratorio since the times of Handel and Haydn had been enhanced by the opportunity to enact the biblical heroic stories in loco.
A Scene Change Enter the Germans
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
Boats are arriving carrying families from Germany whose children studied music with superb teachers there. They escaped persecutions in Germany, and they would like their children to resume their music lessons even before they complete their resettlement. They ask and even request that I allow the children to study, and they promise to pay as soon as everything calms down in Germany and they receive their property. Also, there are several excellent musicians who escaped from Germany and are looking for a place for peaceful life and work.1
Tchaikovsky’s Ballets
Authors: Wiley Roland John 
Published: November 2023

Abstract
Tchaikovsky's Ballets combines analysis of the music of Swan Lake, Sleeping Beauty, and Nutcracker with a description based on rare and not easily accessible documents of the first productions of these works in imperial Russia. Essential background concerning the ballet audience, the collaboration of composer and ballet-master, and Moscow in the 1860s leads into an account of the first production of Swan Lake in 1877. A discussion of the theatre reforms initiated by Ivan Vsevolozhsky, Director of the Imperial Theatres and Tchaikovsky's patron, prepares us for a study of the still-famous 1890 production of Sleeping Beauty, Tchaikovsky's first collaboration with the choreographer Marius Petipa. Professor Wiley then explains how Nutcracker, which followed two years after Sleeping Beauty, was seen by its producers and audiences in a much less favourable light in 1882 than it is now. The final chapter discusses the celebrated revival of Swan Lake in 1985 by Petipa and Leve Ivanov.
St Petersburg
Authors: Wiley Roland John 
Published: November 2023

Abstract
WE have seen that Swan Lakewas taken out of the repertory in Moscow in part because the imperial ballet in that city lost both personnel and financial support in one sweeping administrative reorganization. The Petersburg theatres were also reorganized, though not with such drastic results for the ballet, and a study of Tchaikovsky’s works as first produced in the Maryinsky Theatre should begin with a consideration of this theatre reform (as it was called at the time both in earnest and in derision) and its architect, Ivan Alexandrovich Vsevolozhsky 11835–1909).
The Operas of Verdi
Authors: Budden Julian 
Published: November 2023

Abstract
This is the first volume of Julian Budden's monumental three-volume survey of the operas of Verdi. Hailed on publication for its extraordinary comprehensibility, the set has become the classic reference work on its subject. For this new edition the author has made a host of corrections throughout, and updated the text in the light of recent scholarship. Volume I traces the organic growth and development of the composer's style from 1839 to 1851 - from the first opera, Oberto, to the seventeenth, Rigoletto. Budden examines each opera in detail with a full account of its dramatic and historical origins and a brief critical evaluation. More than 350 musical examples point to the significance of the early operas in Verdi's developing style.
Giovanna D’Arco
Authors: Budden Julian 
Published: November 2023

Abstract
The genesis of Giovanna d’Arco is one of the least documented among all Verdi’s operas. It seems probable that the contract arose out of an understanding with Merelli that Verdi should compose another opera for La Scala in 1845 to make up for the loss of his services in the previous year.* The librettist would be Solera as a matter of course; and his engagement would be Merelli’s responsibility not the composer’s.t Verdi himself had complete faith in the poet’s judgment and sense of theatrical effect and may even have left to him the choice of subject. Too often it is assumed that Giovanna d’Arco marks the beginning of Verdi’s love affair with the plays of Schiller, which was to prove so fruitful in later years. But a letter of Solera’s to the publisher Ricordi suggests otherwise. Remembering the fine that he had had to pay when Nabucco was given in Paris, Ricordi had written anxiously to the poet asking him to make sure that his libretto involved no breach of copyright, since he had heard of a contemporary French play ... Solera replied firmly:
Macbeth
Authors: Budden Julian 
Published: November 2023

Abstract
When in l 865 a French review greeted the premiere of the second and final version of Verdi’s Macbeth with the remark that the composer clearly did not know his Shakespeare, Verdi was furious-far more so than if the critic had merely said that the opera was a failure. ‘It may be that I have not done justice to Macbeth: but to say that I do not know, understand and feel Shachespeare (sic)-no, by God, no! He is one of my favourite poets. I have had him in my hands from my earliest youth, and I read and reread him continually.’* The ambition to set King Lear recurs as a rondo-theme throughout his life, though it was never to be realized. But a Shakespearian opera was inevitable sooner or later and it would be some thing very special-of that one could be sure. What subject to be given in what theatre at what time would all be determined like everything else in Verdi’s early career by external circumstances.
The Operas of Verdi
Authors: Budden Julian 
Published: November 2023

Abstract
This is the second volume of Julian Budden's monumental three-volume survey of the operas of Verdi. Hailed on publication for its extraordinary comprehensibility, the set has become the classic reference work on its subject. For this new edition the author has made a host of corrections throughout, and updated the text in the light of recent scholarship. Volume 2 covers those works written during the decadence of the post-Rossini period. During this time, Verdi, having exhausted the vein of simple lyricism to be found in Il Trovatore and La Traviata, achieved self-renewal in direct confrontation with the masters of the Paris Opera with his Les Vêpres Siciliennes. A new scale and variety of musical thought can be sensed in the Italian operas that follow, culminating in La Forza del Destino.
La Traviata
Authors: Budden Julian 
Published: November 2023

Abstract
It will be remembered how, in a letter to Cammarano of I 851, Verdi had spoken of ‘another subject which is simple and tender’ to which they could change if II Trovatore did not appeal to him. This is taken by Carlo Gatti to refer to LA Dame aux camélias.* Verdi had by that time no doubt read Dumas’s novel even if he had not seen the play. But the hypothesis is unlikely. For the 1850s the story of Marguerite Gauthier was not so much ‘simple and tender’ as bold and rather shocking, and we may be certain that it would have scared Cammarano out of his wits. But for his next commitment, planned for the carnival season of 185 3 at the Teatro la Fenice, it would seem that Verdi had a prima donna opera in mind, since before signing the contract he showed particular interest in the leading soprano proposed for the season.
La Forza Del Destino
Authors: Budden Julian 
Published: November 2023

Abstract
For two years after the premiére of Un Ba/lo in maschera music seems to have faded from Verdi’s mind, to judge from his correspondence. Friends who asked for signed musical quotations were put off with the excuse that he could not remember a note of his last opera. ‘I fear that Verdi has forgotten everything he knew about music,’ Giuseppina, now at last Signora Verdi, wrote to De Sanctis; ‘in which case it will be up to you to give him some lessons and get him back into practice.’*
The Publications
Authors: Harrán Don 
Published: November 2023

Abstract
All of Rossi’s surviving works are known from early printed editions. There may have been others originally in manuscript and no longer extant, among them those for the theatre. Four of his madrigals for an intermedio by Chiabrera illustrate the problem: the texts remain, but not the music. Since Rossi was active in the theatre, it stands to reason that more was composed than the lone musical example, for a Christian play, to be found in the sources. As for the Hebrew songs, Rossi, we learn, worked, over a number of years, to assemble a collection of them, from which he selected various ones for publication: here, too, it may be assumed that manuscript copies of others were once available.
Helen and Matthew
Authors: Alvin Juliette , Warwick Auriel 
Published: November 2023

Abstract
Helen and Simon were married in 1980. Both were university graduates, trained in biological sciences. They decided that they would not delay starting a family for too long and so Matthew was born in October 1982. Helen decided to give up work after about five months of her pregnancy. Although she thought little of it at the time, her work had involved working with pesticides over a period of six years. She does not know whether this had any effect on Matthew.
The Third Movement
Authors: Frogley Alain 
Published: November 2023

Abstract
The Scherzo gives a new dimension to the compositional concerns of the first two movements. Juxtaposition, although remaining a vital element, is overshadowed by superimposition: as in the Scherzo of the Sixth Symphony, Vaughan Williams revels in piling up his themes in contrapuntal combination, and an idea is rarely repeated without the addition of a new counter point. This tendency was already apparent at times earlier in the symphony, but here it becomes the driving force, pursued relentlessly and sometimes brutally. If the second movement saw a hardening of the juxtapository contrasts of the opening movement, the Scherzo takes this a step further, with contrasting themes now heard simultaneously as well as in close proximity; rather than mediating between contrasts, the vertical combinations on the whole accentuate them. A strong element of mockery also enters the process. As Hugh Ottaway remarks, much of the material is ‘knowingly trivial’, and it seems almost as if the serious exploration of contrast and conflict in the first two movements is now being deliberately debased (note in particular the distorted echo of Themes 2 and 3 of the second movement in the opening semitone clash and martial rhythms).
Salisbury Hardy and Bunyan: The Programmatic Origins of the Symphony
Authors: Frogley Alain 
Published: November 2023

Abstract
The second movement, Andante Sostenuto, seems to have no logical connection between its various themes. This has led some people to think that it must have a programme since apparently programme music need not be logical. It is quite true that the movement started off with a programme, but it got lost on the journey-so now, oh no, we never mention it-and the music must be left to speak for itself whatever that may mean.
Later Victorian Music and the ‘English Renaissance’, 1870–1914
Authors: Caldwell John 
Published: November 2023

Abstract
The collapse of the Pyne–Harrison English Opera Company in 1866 was undoubtedly a setback, but it coincided with the passing of a tradition that had outlived its usefulness. Balfe and Wallace in particular had perfected a style of opera with dialogue that placed a high value on sheer entertainment: their pieces had supposedly serious but in any case romantic plots, and music that was sparkling or sentimental as occasion required. But the often threadbare dramaturgy and the sometimes comically stilted dialogue were beginning to pall, while the mid-century Franco-Italian musical idiom could not be milked forever. The genre offered little opportunity for further development other than through Verdian pastiche; even in France, the vastly more gifted Bizet was initially unsuccessful in his bid to raise the level of opéra comique with Carmen (1875). Similarly, the more Germanic idiom espoused by Barnett, Loder, and Benedict was incapable of further development except through the adoption of thoroughgoing Wagnerism.
Tradition and Avant-Garde, 1945–1975
Authors: Caldwell John 
Published: November 2023

Abstract
If ever a musical event had symbolic importance it was the first performance of Britten’s opera Peter Grimes at the Sadler’s Wells Theatre on 7 June 1945, almost one month after Victory in Europe. The opera was, however, the fruit of a long gestation of fully four years, and initial reactions were decidedly mixed; with hindsight one is in a better position to judge of its significance than at the time, yet the coincidence of material and artistic recovery was rapidly confirmed by the international success of the work in the immediately following years. Indeed a striking feature of the post-war period was the place of music in the regeneration of cultural life, commensurately almost with architecture, which for obvious reasons had primacy at the time. Opera at Sadler’s Wells, Covent Garden, and Glyndebourne (and ballet at Sadler’s Wells) were all revived in forms that proved durable; other festivals were those at Cheltenham (from 1945, devoted to contemporary British Music), Aldeburgh (from 1948,) and, to glance briefly across the border, Edinburgh (from 1947). Britten’s English Opera Group catered for operatic adventures that the established companies could not then be expected to entertain.
Folk Music and Popular Music
Authors: Caldwell John 
Published: November 2023

Abstract
The subject of this chapter is easier to describe than to define. Beside the national body of centrally developed art-music, its style the outcome of a narrowly focused tradition of imitation and innovation, stands a mass of material that lies outside the main stream, related to but not dependent on it, rather as regional dialects may be related to a central standardized language. A regional character is indeed an important facet of what has come to be called folk music, though this does not preclude the transmission of melodies and melody-types across regional and even national boundaries. Just as important is its cultivation and preservation in a stratum of society that exists independently of the ‘higher’ civilization that surrounds it, though this again does not preclude the transference of material across the social boundaries, whatever its origin. But notwithstanding the potential for regional and social migration, it seems important to maintain a distinction between folk music, rural or urban, and the commercially produced variety that we think of as ‘popular’. Even here the distinction is blurred by the fact that so much ‘true’ folk music seems to have originated in the commercial enterprises of towns and cities, for example in the production of single-sheet ballads to be sung to existing well-known tunes.
Plainchant in the Liturgy
Authors: Hiley David 
Published: November 2023

Abstract
Plainchant is liturgical music, music to be performed during the celebration of a divine service. The performance of the music is not, generally speaking, an end in itself but part of a religious ritual. Sometimes music assumes a prominent place within the performance of the ritual, sometimes a very minor one. Occasionally it has been cultivated with an exuberance and extravagance that seems to go beyond the needs of the liturgy; but this is not its normal role. Its function is to add solemnity to Christian worship.
The Italian Mandola/Mandolino in the Seventeenth Century
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The term mandola begins to appear in Italian documents from the late sixteenth century, first occurring in the descriptions of the famous Florentine intermedi of 1589.1 Composed for performance between the acts of Girolamo Bargagli’s comedy La Pellegrina, part of the festivities celebrating the wedding of Ferdinando I de’ Medici and Christine of Lorraine, the intermedi required many voices and instruments, among the latter, a ‘mandala’. According to the descriptions, a ‘mandala’ was used in Christoforo Malvezzi’s sinfonia in the first intermedio, and in his madrigal, ‘O qual risplende nube’, in the sixth intermedio (Brown 1973, 109 and 128). As the mandala is only listed but is not assigned a specific line of music to play, we can only speculate as to how the instrument was employed.
The Irish Year (1917-1918)
Authors: Smith Barry 
Published: November 2023

Abstract
Away from the pressures of life in London and the fear of conscription, Philip was now able to devote considerable energy to his many varied interests. As Jack Lindsay wrote: ‘Ireland gave him a sense of escape from corruption’, with which he now associated London. The novelist, playwright, and editor, Douglas Goldring (1887-1960), recorded his first meeting with his friend Philip when he called at his rooms soon after his arrival in Dublin. Philip was suffering from an appalling cold and, in typically eccentric fashion, was passing the time by reading aloud a translation of the works of Apollonius of Tyana to Puma, whom Goldring described as ‘extremely beautiful’. Goldring’s first impression of Philip was one of ‘abstemiousness’ when, offering him some alcohol at a subsequent meeting, he refused even a glass of sherry.
The Sackbut ( 19I8-1921)
Authors: Smith Barry 
Published: November 2023

Abstract
The manner of Philip’s return to London that summer seems to indicate that he wanted it to be known that he had created a new image whilst in Ireland. Gray recalled meeting him at the station early one hot August morning. Philip was ‘wearing a thick fur coat with the collar turned up, a large, sinister black hat, with the brim turned down, dark blue spectacles and a huge unkempt beard which, though real, looked as if it were false. He looked, in fact, like an exaggerated caricature of a Bolshevik and a German spy combined.’1 If the military authorities had been on the look-out for Philip, they would have had little difficulty finding him arrayed in such garb, but by that time the war was practically over and deserters and draft-dodgers were no longer being hounded with any degree of enthusiasm.
Fundamentals of Digital Audio
Authors: Pohlmann Ken C 
Published: November 2023

Abstract
The essence of digital audio lies in its numerical basis. A digital audio system converts an analog waveform into numbers, stores, transmits, or processes those numbers, and then converts them back to an analog wave-form. These steps may be divided into the digital audio recording of a music performance, the storage of that performance on a compact disc, and the reproduction of the performance with the CD player. The digital audio chain, from the recording studio or concert hall to your living room, is predicated on several basic phenomena. First, the analog waveform must be discrete-time sampled at a precise, unvarying rate. This divides the waveform into discrete intervals. With sampling, the signal must be filtered to prevent aliasing, a form of distortion. Next, each sample must be converted to a number; this is the process of quantization. To minimize an inevitable error associated with quantization, a dither signal must be introduced. In many digital audio recorders/reproducers these steps take place in a linear pulse code modulation system. This chapter examines all of these fundamental elements.
CD Player Design
Authors: Pohlmann Ken C 
Published: November 2023

Abstract
A compact disc player is perhaps the most sophisticated and electronically complex piece of home entertainment equipment to ever reach the consumer. Yet even the most advanced products often have humble origins. For example, when Sony set out to design the first portable CD player, chief engineer Kozo Ohsone made a block of wood about 5 inches square and 1½ inches high and presented it to the design team, informing them that the portable player would be that size. To make sure that none of the wily engineers tried replacing it with a bigger block, he signed his name on the bottom.
The Value Problem in Cultural Studies
Authors: Frith Simon 
Published: November 2023

Abstract
It was my third night in Stockholm, a very cold February night, and I’d gone to have supper with old friends, people I see maybe every two years, usually at conferences. There was one other guest, the professor in the department in which I was a visiting scholar, a man I hadn’t met before. A few years older than I am, I’d guess; just as Johan Forn äs and Hillevi Ganetz are a few years younger. We talked, we ate, and about halfway through the main course, Johan said, “Let me play it to you!” and jumped over to the CD player.
Rhythm: Time, Sex, and the Mind
Authors: Frith Simon 
Published: November 2023

Abstract
What all music offers us is a way of being present; what “music listening” means is the experience of “inner time.” This, argues Alfred Schutz, is “the very form of existence of music”; it is what makes musical communication possible.
The flux of tones unrolling in inner time is an arrangement meaningful to both the composer and the beholder, because and in so far as it evokes in the stream of consciousness participating in it an interplay of recollections, retentions, which interrelate the successive elements.