bluuebunny/crossref_metadata_2025_split huggingface dataset:
Types and Relationships of Sketches
Authors: Cooper Barry 
Published: November 2023

Abstract
NOT all of Beethoven’s sketchbook entries have precisely the same function in the compositional process, and it is convenient to classify them into a number of different types. Certain broad types keep recurring throughout his work in almost all the sketchbooks, regardless of the pieces being composed, and the relationships between the different types are also fairly consistent. It is therefore possible to give an account of the various types and how they relate to each other; this account will be valid with only minor modifications for nearly all the works he wrote. Altogether there are about eight main types, several of which were mentioned in the previous chapter. They include concept sketches, continuity drafts, variants, synopsis sketches, score sketches, brouillons, piano exercises, and random notations. Nearly all Beethoven’s sketches fall into one of these types, although occasionally there are borderline cases or irregular types.
Planning the Later Movements: String Quartet in B flat, Op. 130
Authors: Cooper Barry 
Published: November 2023

Abstract
AS was seen in Chapter 12, when Beethoven was working on the first movement of the D minor Piano Sonata he had very little idea about what the later movements were going to be, and he was even uncertain how many there would be. Such uncertainty was by no means uncommon, and often while working on an earlier movement he would jot down possible ideas for later ones without being at all sure which of these ideas, if any, would be taken up. (There was, of course, a standard pattern for multi-movement instrumental works, so that he would normally expect to write a slow middle movement, a fast finale, and possibly a minuet or scherzo, but within this pattern there was enormous scope, and there was also always the possibility of breaking away from the pattern altogether.) Thus he was liable to finish the main sketching for one movement while still faced with the problem of what sort of movement should follow.
The Problem of the Joins: Egmont Overture
Authors: Cooper Barry 
Published: November 2023

Abstract
bEETHOVEN’ s overture and incidental music to Goethe’s play Egmont were written as a result of a commission, in the autumn of I 809, from the Viennese Court Theatre. The music was not completed until the following June, with the overture as usual apparently being finished last. The subject of the play concerns Egmont’s struggle against tyranny and foreign domination and his anticipation of ultimate victory—a subject particularly dear to Beethoven and also one of considerable topical interest in Vienna as a result of the French occupation of the city in I 809.
Introduction: Musical Composition and Problem-Solving
Authors: Brown Matthew 
Published: November 2023

Abstract
Many of us are fascinated by the nature of musical composition and by the possibility of explaining some of its mysteries. Musicologists are interested because composition lies at the heart of the musical experience; they care both about the ways in which individual pieces are put together and about the people who created them. Psychologists are also intrigued because composition is one of the most remarkable expressions of human thought. To quote Howard Gardner: ‘The greatest challenge confronting any science of cognition is the task of explaining superior and revolutionary intellectual achievements-the plays of Shakespeare, the symphonies of Beethoven, the scientific system devised by Einstein.’ Through studying composition, Gardner and his colleagues hope to gain new insights about the ways in which people think and act.
Musical Problems and Search Strategies
Authors: Brown Matthew 
Published: November 2023

Abstract
In the previous chapter we saw that, although Debussy took the task of recreating Spanish styles very seriously, he faced far greater challenges in composing Ibéria. Perhaps the most pressing were those of producing a large scale symphonic composition. In particular, he had to decide how to extend his Spanish-sounding themes so as to create three independent movements, and he had to discover how to join his three movements together in order to create a single, continuous whole.
Gesualdo
Authors: Watkins Glenn , Stravinsky Igor 
Published: November 2023

Abstract
Carlo Gesualdo, Prince of Venosa, is equally celebrated as the composer of madrigals of great power and tortured complexity and as the murderer of his wife and her lover in flagrante delicto. His life and compositions are not unconnected. His neurotic sensibility found an ideal outlet in the mannerist tendencies of late Renaissance music and his works are the most extreme examples of those tendencies. Glenn Watkins’s extended study of Gesualdo’s life and works was originally published in 1973. Alongside detailed analysis of Gesualdo’s remarkable madrigals and of the few works in different genres, it contained much new biographical material, particularly on the latter part of the composer’s life. This new edition has been extensively updated by the author and contains a new chapter covering the research of recent years.
Ferrara: 1594–1596
Authors: Watkins Glenn , Stravinsky Igor 
Published: November 2023

Abstract
IT would be a mistake to accept the dramatic events of Gesualdo’s life before r 590 as his ‘story’. Only a single composition of his had been published before that time, and although it can be safely assumed, as we shall see later, that he had written all the madrigals of the first two books before his second marriage in 1594, their conservative style shows that the most important influences lay ahead. Of these few were to be more decisive than his association with Ferrara, to which he journeyed to take a new wife.
Introduction
Authors: Burrows Donald 
Published: November 2023

Abstract
The subject of this book is Handel’s relationship with the English Chapel Royal—the institution and its individual musical performers—and the musical repertory that he composed in the context of that relationship. Historically the topic is of importance because of Handel’s involvement in the celebration of political and domestic events relating to the British court: his music for the Peace Thanksgivings in 1713 and 1749, for the Coronation in 1727, and even for the return of King George I from his visits to Hanover in 1724–6, contributed to strengthening the image of the court, and brought the composer into prominence as a public figure.
The Chapel Royal before Handel’s Arrival in England: Symphony Anthems and Thanksgivings
Authors: Burrows Donald 
Published: November 2023

Abstract
The English Chapel Royal or household chapel began in Anglo-Saxon times as a body of priests and servants who ministered to the spiritual needs of the sovereign and travelled with the court. The first evidence for the office of Dean as head of the Chapel appears about 1350; in 1483 King Edward IV reorganized the Chapel’s constitution and formally introduced the office of Sub-Dean.
Interlude, 1714–1719
Authors: Burrows Donald 
Published: November 2023

Abstract
The performances of Handel’s music in the Chapel Royal before King George I and his family in September and October 1714 demonstrated that the composer had been accepted by the new regime. The established position of the former Hanover Kapellmeister at the English court was confirmed: a year later, George I (in his role as Elector) even went so far as to grant some retrospective payment for his Hanoverian services.
The Chapel Royal and Handel’s Oratorios
Authors: Burrows Donald 
Published: November 2023

Abstract
Passing mention was made in the previous chapter of the performances of Handel’s Esther initiated by Bernard Gates in 1732, which led Handel towards the introduction of English works into his Italian opera seasons, and ultimately to the creation of the genre of English theatre oratorio that formed the basis of his later career. In 1785 Charles Burney related the history of these performances in two separate sections of his book recording the Handel Commemoration of the previous year.
War and Peace: Commemorations in the 1740s
Authors: Burrows Donald 
Published: November 2023

Abstract
Like his father, King George II paid regular visits to Hanover. The principal function of these visits was to sustain direct contact with the administration of the Electorate, but they served other purposes as well. At Hanover he was well placed geographically to undertake formal and informal diplomatic contacts, on behalf of Britain as well as Hanover, with other European powers, and also to deal with family matters such as the choice of marital partners for his children; in 1736 the visit took on an additional aspect when he acquired a new mistress, the wife of the Hanoverian Baron von Walmoden.
Epilogue
Authors: Burrows Donald 
Published: November 2023

Abstract
The Thanksgiving Service for the Peace of Aix-la-Chapelle in April 1749 was the last occasion for which Handel composed music specifically for the musicians of the Chapel Royal. His concert in the chapel of the Foundling Hospital a month later included a repeat performance of the Anthem on the Peace, in which Bayly and Mence almost certainly repeated their solo roles in the anthem: although the Foundling Hospital Chapel was not yet consecrated, it seems likely that the nature of both the building and the charitable occasion would have removed the inhibitions that normally prevented Priests from the Chapel Royal from performing at public venues such as the theatres.
Orchestral Accompaniment
Authors: Burrows Donald 
Published: November 2023

Abstract
Apart from the two verse-anthem versions of As pants the hart (HWV 251a and HWV 251d), all of Handel’s music for the Chapel Royal has orchestral accompaniment. The core of the orchestra for his performances was provided by the Royal Musicians, whose establishment consisted of the Master of the Musick and 24 Musicians in Ordinary; the full roll of twenty-four was maintained throughout the period 1700–60.
Buildings
Authors: Burrows Donald 
Published: November 2023

Abstract
The material in this chapter covers the buildings in which Handel performed his Chapel Royal music, and in addition two other relevant locations. The church of St Lawrence, Whitchurch, the site for the original performances of the Cannons anthems and canticles, is significant on account of the reworkings of the same music between the Chapel Royal and Cannons repertories that were described in Chapter 6.
Conductors
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
Costa’s innovations were fortunate in their timing because they were assisted by revolutions in the disparate but equally volatile worlds of London opera and continental politics. The theatrical revolt, which had been threatening to break out for several years, reached a suitably flamboyant climax in 1846. The manager of Her Majesty’s Theatre, Benjamin Lumley, claimed in an open letter that he had offered Costa an increased fee to retain his exclusive services, and that it was impossible for a conductor to serve two masters.
Independence 1877-1890
Authors: Avins Styra , Eisinger Josef 
Published: November 2023

Abstract
In some respects, 1877 is the year Brahms hit full stride. He came to terms with the freedom his financial independence allowed him, and was at the height of his creative powers. He began to travel to Italy, and to spend the better part of his summers in mountainous regions of great natural beauty. He still had almost half of his creative output before him.
Conclusions
Authors: Girdharn Jane 
Published: November 2023

Abstract
It is difficult to evaluate Storace,s achievements without first regretting his early death. Thirty years after it, the Harmonicon expressed the sentiment plainly: Had fortune enabled [Storace] to write at leisure, and not on the spur of the occasion, as was too frequently the case,-had he enjoyed better health, and lived but a few years longer, it is reasonable to conclude that he would have proved his claim to a still higher niche in the temple of fame than is now allotted him.
Legato Tonguing
Authors: Schuller Gunther 
Published: November 2023

Abstract
In essence, tonguing is nothing more than a musical ‘decoration’ of a note. It should not be just a means of ‘getting’ the note. This is most important to remember if one aspires to any degree of sensitivity in phrasing. I feel that gradations in tonguing should be developed as early as possible, since limited tonguing abilities can quickly become a serious handicap, and make the proper performance of a great deal of the repertory well-nigh impossible. A sharp attack will obviously be inappropriate in soft dolce passages. Conversely, a soft ‘mushy’ attack cannot possibly be musically adequate in a strong marcato phrase. I need not labour the point: the entire horn repertory contains phrases requiring not only these two extremes, but the complete gamut of infinite and subtle gradations between the two. Once this fact is fully realized, the necessity for complete tonguing control becomes obvious, and my original point becomes clearer: tonguing is a variable decoration of a note or a phrase, dependent entirely upon the musical context.
Staccato
Authors: Schuller Gunther 
Published: November 2023

Abstract
If the attack of a note is in musical essence decoration, so is the ending of the note. This is unfortunately one of the most neglected areas, not only of horn playing but of all wind instrument playing. As we know from Chapter II, the closing of the larynx is the means by which we properly may stop a note. This can be done in various degrees of intensity and at various points in the duration of the note. When we stop the note almost immediately after starting it, we call this ‘staccato’ playing.
Aspects of Performance: Ad libitum Parts and Sequence of Songs
Authors: Cooper Barry 
Published: November 2023

Abstract
Most aspects of performance practice associated with Beethoven’s folksong settings apply equally to his other music, and have been widely investigated in recent years. But the role of the accompanying instruments and the question of the order in which the songs should be published or per formed are specific issues that need closer examination, since a greater understanding of them should result in more numerous and more effective performances than occur at present.
D
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
DACKWEILLER, Paul-Guillaume (b Ubach, Germany, 16 Aug. 1750-d Paris, 13 Sept. 1801). Keyboard instrument maker in Paris. Dackweiller went to Paris to study instrument construction and in the 1770s became an apprentice there of Jean Killien Mercken (q.v.). He was probably already well acquainted with Mercken, for both men were born in Ubach, a town near Aachen, which at that time was under the jurisdiction of Austria.
K
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
KADEL, Karel (Carl, Charles) I (sen.) (b Ehrenbreitstein (now part of Koblenz), Rhineland Palatinate, 1770-d [Amsterdam], after 1833). Karel (Carl or Charles) Kadel I worked first in Am sterdam and re-established his shop in Brussels in 1827. His son Karel (Charles) II (jun.) (b Am sterdam, 1805-d Melsbroeck, 1849) also built pianos in Brussels from 1832 to 1840. (Haine-M/DICT, 231)
M
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
MAAG, Jean Caspar (Hans Kaspar, Jean Gaspard) (b Oberglatt, near Zürich, 30 Aug. 1744-d Hottingen, near Zürich, 16 Nov. 1822). From 1783 Maag lived in Zurich at NiederdorfstraRe 68, later in Riesbach, and from 1810 in Hottingen. He married in 1786. Of his three children, only Johannes Kaspar (Hans) Maag (hap. 20 Nov. 1787-d 17 Nov. 1865) became a piano builder; he worked alongside his father. (Hirt/MEISTER, 478; Rindlisbacher/KLAV, 157)
O
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
OESTERLEIN [Oesterlin], C. H. (d 1792). Grand piano maker in the Salzhofe in Berlin. (Boalch2, 117; Haase/BERL, 67) OHL, Tobias (b Sent, c. 1760-d Vienna, 14 Jan. 1809). Piano maker in Vienna. (Haupt/WIEN, 165) OSBORNE (Osborn), John (b New England, c.1792-d New York, 27 May 1835). One of the finest of the early American makers. A former stu dent of Benjamin Crehore (q.v.) from 1808 until 1814, Osborne would himself be sought after as a tutor. He established his first workshop in 1815 at 3 Newbury Street in Boston. In 1819 he moved the business to 12 Orange Street and in 1822 to 1 Boylston Square. After he became well established, Osborne attracted several outstanding apprentices: John Dwight, Jonas Chickering, and Lemuel and Timothy Gilbert.
U
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
ULDAHL, P. C. (b [Denmark?], 1778-d [Copenhagen?], 1 Mar. 1820). A student of Joseph Wachtl in Vienna, Uldahl never worked independ ently in that city. He established his business in 1809 in Copenhagen, where he built pianos of ex cellent quality. (Hirt/MEISTER2, 463)
Haydn's Keyboard Music Studies in Performance Practice
Authors: Harrison Bernard 
Published: November 2023

Abstract
In this comprehensive study of performance practice in Haydn's keyboard music, Bernard Harrison confronts the important issues facing any performer of Haydn's keyboard music. He deals with the full range of Haydn's keyboard work - concertos, divertimenti, concertini, trios, Klavierstücke, and sonatas - and emphasizes the connection between performance practice and compositional style. He addresses many of the most controversial issues in recent research on the performance practice of eighteenth- century music, and takes a stance on some of the recurring controversies in Haydn research. Haydn's ornamentation is treated in four extensive chapters which range over Haydn's changing notational practices, the large corpus of 18th-century theoretical information on performance, and an examination of the music itself. Other issues in performance are elucidated in wide-ranging discussions, and Harrison presents new evidence on the question of the influence of C.P.E. Bach on Haydn. He surveys broader aspects of interpretation, commenting sympathetically but critically on the phenomenon of ‘early music’.
Questions of Rhythmic Interpretation and Tempo
Authors: Harrison Bernard 
Published: November 2023

Abstract
The notated rhythms in Haydn's music, and generally in music from the second half of the eighteenth century, do not require a systematic alteration in performance. There is no convention of notes inégales, as is applicable to certain French music, by which notated rhythms are altered in performance according to well-documented conventions governed by the metre of the music; nor is there in Haydn's music any convention requiring the systematic double-dotting of rhythms as has traditionally been claimed for the ‘French overture style’. This is not to say that Haydn's rhythmic notation conveys the rhythmic subtleties requisite in performance, nor that the notation is by comparison with modern notation always accurate. The notated rhythm of Haydn's music is of course subject to manifold subtle alterations in performance for accentual and expressive reasons, chief among which is the agogic accentuation discussed in Chapter 2. It is also true that certain features of modern rhythmic notation were not available to Haydn, or were only adopted by him later in his career, and that features of conventional Baroque notation which are imprecise and require modification in performance continue to occur in Haydn's music, primarily in his early music but also, to some degree, in his late music. The concern of the present chapter is with such problems of notation, with the duality of literal and implied readings of Haydn's notation. However frequently occurring, these problems are essentially matters of reading Haydn's notation and not with the application in any pervading rhythmic style or systematic inequality.
C. P. E. Bach and Haydn: The Question of Influence Revisited
Authors: Harrison Bernard 
Published: November 2023

Abstract
The question of C. P. E. Bach's influence on Haydn is a perennial subject in the literature on Haydn and is addressed in some detail here because of, as I see it, its direct relationship to problems of performance practice discussed in Chapters 6-9. Musicologists have generally accepted that Haydn was influenced by C. P. E. Bach and there is what appears to be a very solid documentary basis for this assumption. The legend of this influence dates from the eighteenth century and appeared first in a review of Haydn's Sonatas, Hob. XVI: 21-32 in the European Magazine and London Review in October 1784. Various other, mostly obscure, references date from the 1780s and 1790s but more precise information is found in two contemporary biographical sketches of Haydn, the Biographische Notizen of Georg August Griesinger and the Biographische Nachrichten of Albert Christoph Dies. Following a description of Haydn's dismissal from St Stephen's and his early life in Vienna, Griesinger's account has the following passage: About this time Haydn came upon the first six sonatas of Emanuel Bach. ‘I did not come away from my clavier till I had played through them, and whoever knows me thoroughly must discover that I owe a great deal to Emanuel Bach, that I understood him and have studied him diligently’.
Epilogue: Beyond the Notation
Authors: Harrison Bernard 
Published: November 2023

Abstract
The emphasis in much of this book, particularly in those chapters dealing with articulation and ornamentation, has been, unashamedly, on the evidence of the notation. Haydn's notation is a series of codes, some of which may be read by the contemporary performer with relative ease, while others involve a more complex process of decoding, mediated by indirect knowledge gleaned from sources other than the composer. In Haydn's notation the pitches which make up a melody and the harmonies which accompany them are generally prescribed without ambiguity, allowing a fairly literal reading of the notation in this regard and, in the interpretative chain suggested by Fig. 10.1, creating a direct link between the composer and the interpretation via the notation. At its most precise Haydn's notation can at various times, although not consistently, be equally unambiguous in prescribing aspects of ‘performance practice’: when in an autograph manuscript Haydn writes out in unambiguous pitch and rhythmic notation the realization of an ornament (an appoggiatura, for instance) the interpretation of this ornament need not be determined by reference to performance-practice conventions which Quantz or any other theorist discusses in relation to the appoggiatura. At the other extreme, the interpretation of Haydn's tempo indications must always be informed by numerous factors.
A Quantitative Look at Discourse Coherence
Authors: Hurewitz Felicia 
Published: November 2023

Abstract
Centering transitions, as a measure of discourse coherence, allow us the means to compare the function of syntactic pragmatic constructions across various styles of discourse. This study demonstrates a way to use centering transitions in a corpus-based quantitative analysis in order to test hypoth eses about discourse structure and speech production.
In a comparison of spoken and written passive sentences to their active counterparts, we find evidence that the passive construction has different uses in the spoken and written form. In conversational spoken speech, passives are reliably more likely to have the CONTINUE transition than a control sample. This effect is not found in written text. On the other hand, written passives tend to be used reliably more often for PARTIAL SHIHS, where the Cb is a subset or functional dependency of elements realized in the previous utterance. Finally, the utterance following written passives, but not spoken passives, are found to SMOOTH-SHIFT more often than the control.