bluuebunny/crossref_metadata_2025_split huggingface dataset:
Recording a Reputation
Authors: Kildea Paul 
Published: November 2023

Abstract
Uncle Matthew was no respecter of other people ‘s early morning sleep, and after five o ‘clock one could not count on any, for he raged round the house, clanking cups of tea, shouting at his dogs, roaring at the housemaids ... and all to the accompaniment of Galli Curci on his gramophone, an abnormally loud one, with an enormous horn, through which would be shrieked ‘Una voce poco fa ’-‘The Mad Song ’ from Luda--‘Lo, here the gen-tellar-ha-hark ’-and so on, played at top speed, thus rendering them even higher and more screeching than they ought to be.1Nancy Mitford ’s ‘Uncle Matthew ’ is the patriarchal English squire personified. Above the chimney-piece in the hall of his large country house he proudly displays the entrenching tool with which he bludgeoned to death eight German soldiers in the First World War. Blood and hair has never been removed from it lest the story be doubted, the verismo undermined. To him Oscar Wilde is a ‘ sewer ’, clearly not a literary criticism, since the only book he has ever read is White Fang--a work he found so impressive that he has never bothered to read another. He sits-and more frequently sleeps-in the House of Lords, protesting once from the floor that Peeresses should be kept out of the chamber since, once in, they would be certain to use the Peers ’ lavatory. He speaks of ‘writing paper ’ not ‘notepaper ’ and is finnly against the education of women. But this rich, prejudiced, and deeply uncultured person nonetheless knows parts of the ‘ Mad Scene ’ from Lucia di Lammermoor-not usually a trophy of the ignorant. Moreover, ‘ Uncle Matthew ’ (in reality Mitford ‘s own father) has catholic, seasonal tastes: Luda is eventually replaced by ‘Thora ’ ( ‘I live in a land of roses, but dream of a land of snow ’), who lasts a full winter.
The Programme of Mendelssohn’s ‘Reformation’ Symphony, Op. 107
Authors: Dinglinger Wolfgang 
Published: November 2023

Abstract
The notion that part of Mendelssohn’s ‘Reformation’ Symphony fails to follow a clear programme is central to the conventional wisdom concerning this composition, and despite several excellent recent attempts to answer this question the situation has changed little. The problem lies in an ostensible discrepancy in the programme between the outer movements and the middle ones. The assertion that there is a gaping hole in the work’s programme, encountered even in recent studies, differs but little from that of Hermann Kretschmar, who declared already a century ago that the work was a ‘halfserious contribution to programme music’.
Similarities and Differences in the Artistic Development of Fanny and Felix Mendelssohn Bartholdy in a Family Context: Observations Based on the Early Berlin Autograph Volumes
Authors: klein Hans-günter 
Published: November 2023

Abstract
We know very little about the domestic and musical atmosphere in the Mendelssohn household when Fanny and Felix were children. However, we may assume that this very atmosphere decisively influenced the musical development of the two siblings, apart from their lessons with the house tutors Stenzel and Heyse and from the training in playing musical instruments that Fanny and Felix received. That the stimulation leading to the development of the two artistic personalities had its source in family life can easily be recognized in the area of vocal composition when we know of personal contact with a particular poet or of certain literary works the Mendelssohn children were reading. By investigating the verse Fanny and Felix favoured and parallel settings of verse where these are extant, we arrive at a further level of investigation.
Felix Mendelssohn and his Place in the Organ World of his Time
Authors: little Wm. A 
Published: November 2023

Abstract
Most biographers of Mendelssohn correctly portray him as one of the greatest organists of his time, yet the achievement of that distinction came neither easily nor quickly. From earliest youth Mendelssohn was drawn magnetically to the organ, and throughout his life he evinced a fascination with every aspect of the instrument, its music, and its players. Comments and observations on organs and organists abound in his correspondence, overshadowing by far any similar preoccupation with either the piano or pianists. For Mendelssohn the piano was the obvious and eminently practical instrument; the organ, however, was his instrument of choice.
Epigones of an Epigone? Concerning Mendelssohn’s String Quartets—and the Consequences
Authors: Krummacher Friedhelm 
Published: November 2023

Abstract
The beginning of Bernard Molique’s String Quartet in B flat major could hardly sound more like Mendelssohn. Ludwig Finscher described this work in 1965 as ‘at the very least a composition on the same level as its model’. Yet Molique, who died in 1869, was seven years older than Mendelssohn; and after an encounter between the two composers in Stuttgart in 1832 Mendelssohn expressed the same admiration for Molique’s violinistic virtuosity that would later be expressed by Schumann. Thus we can hardly speak of a teacher– student relationship, any more than we can speak of personal influences—and in any case Molique’s quartet was not published until 1851.
The Timing Implications of Musical Structures
Authors: Repp Bruno H 
Published: November 2023

Abstract
For the last decade or so, the author has been engaged in empirical research on the small, unnotated variations in musical sound patterns that convey what is commonly referred to as expression in performance. The work has focused on piano performance, in part for methodological reasons and in part because the author is a pianist himself. Among the several parameters of expression, timing (rubato) has received the greatest attention. This paper summarizes the results of recent studies which have yielded four kinds of empirical evidence converging on a single hypothesis: that musical structures have specific timing implications which constrain the considerable variety of expressive timing patterns observed in individual performances.
Response
Authors: Sloboda John 
Published: November 2023

Abstract
All the presenters at this Round Table would, I believe, characterize themselves as experimental psychologists. I would include myself in that category. Therefore I could take a comfortable role as a fellow psychologist, commenting on what I see to be the strengths of and potential problems with each paper from a scientific point of view. If I did this, however, I fear that musicians and musicologists would be eavesdropping on an internal dispute between specialists, which might be interesting as an informal exercise in social anthropology, but would be of little value in illuminating specific musical concerns. I am inclined, therefore, to direct my remarks more widely. First, I will comment briefly on the broad psychological enterprise, and try to situate the papers within that. Then I will raise some general questions about ways in which psychology and musicology might relate to each other.
Second Response to the Respondent:
Authors: Kaden Christian 
Published: November 2023

Abstract
I was very impressed by the results of the studies presented, and especially by the homogeneity of the responses between groups of different musical training and different aesthetic attitudes. Nevertheless, I doubt if this homogeneity is really proof of the existence of perceptual facts in John Sloboda’s sense ‘that they vary least between different people and situations’ and perhaps even are indications of musical universals.
Drowning in Music: Ophelia’s Death and Feminist Hermeneutics
Authors: Hadlock Heather 
Published: November 2023

Abstract
Thoughts and affliction, passion, hell itself, She turns to favour and to prettiness. (Hamlet, Act 4 scene v, II. 191-2) In recent years, questions about ‘female vocality’, female singers, and the feminine qualities attributed to musical performance and to music itself have emerged as a diverse yet coherent body of concerns for feminist literary critics and musicologists alike.1 Much of the resulting work, which I have characterized in my title as ‘feminist hermeneutics’, relies on a psychoanalytical model of creativity according to which the artist consolidates himself (sic) against inchoate matter-sound, colour, or line-and against the existential dread of not-being. The fundamental assumption is that Freudian and post-Freudian models of individual development may be mapped onto the creative process; or (to put it the other way round) that the creative process recapitulates the developmental task of individuation, the subject’s sense of an individual self and of mastery over the Other. The artist’s presumed antagonism against his ‘feminine’ material in this model resonates with narrative paradigms that align ‘Woman’ with obstacles to be overcome-a structural presumption summarized in Teresa de Lauretis’s oft-quoted remark that ‘the hero is always male’.2 The result is a system of identification and projection according to
Statement
Authors: Castelvecchi Stefano 
Published: November 2023

Abstract
In an early sketch for this paper I pretended to speak as a linguist from Mars: a visitor to American academia from outer space (that is, from Europe) who explored the language and culture of the so-called New Musicology. Some of the ‘novelty’, I suspected, had to do with the formulation (or reformulation) of ideas in a particular kind of language. I even considered a prank: I would update the language of an excellent article from decades ago, and see if I could get it published as ‘New’. Someone smarter than me, however, had already had a better idea: the physicist Alan Sokal got an article published in the journal Social Text, and later revealed that it was a carefully prepared patchwork of deliberate and demonstrable nonsense.1 Sokal showed how the use of acertain language and the concomitant appeal to a pantheon of intellectual cult figures position the writer within a field morally and politically pre-approved; after this, any absurdity can pass as a ‘demonstration’ of something that is accepted from the beginning.
Response
Authors: Cusick Suzanne G 
Published: November 2023

Abstract
I want to begin by confessing that I wrote not one, not two, but three responses for this Round Table. The first, drafted long ago, sought to pick up one thread in Andrew Dell’Antonio’s paper that he deliberately chose not to develop. I tried to show how current controversies over evidence concealed disputes about who has the right to speak, about whom and what, in our discipline.1 The second, drafted a few weeks ago, was in its way also about evidence. It used data provisionally drawn from a reading of the programme to explain, largely to myself, why the sight of the programme had made me feel alienated, estranged, irrelevant, and afraid even to speak.
Response
Authors: Fauser Annegret 
Published: November 2023

Abstract
Both Stefano Castelvecchi’s and Andrew Dell’Antonio’s statements raise a wide range of issues that lie at the heart of current methodological discussion in musicology. I shall limit my response to three issues: first, the location of Castelvecchi’s ‘Mars’; secondly, the question of ‘newness’ or ‘trendiness’ which Dell’Antonio raised; and finally, the issue of hierarchy within the musicological canon and its meaning for this debate.
Music Historiography, Critical Theory, and Other Tales
Authors: Deathridge John 
Published: November 2023

Abstract
C. F. Abdy Williams’s Short Historical Account of the Degrees in Music at Oxford and Cambridge contains fascinating information about the earliest Elizabethan statutes, dating from 1559, concerning degrees at Cambridge. A few years after that date, Williams tells us, we meet with a curious decree of the Prefects, dated May 8, 1571, referring to Bachelors of Music amongst other graduates. It is to the effect that any student bathing, or washing, in the river or any pond in the County of Cambridge, shall be punished by public whipping by the Vice-Chancellor; and for the second offence he shall be expelled [from] the University. If the delinquent is a Bachelor of Arts, he is to be put in the stocks for one day; [but] if he is a Master of Arts or Bachelor of Law, Medicine, or Music, or holds any higher degree, he shall be punished according to the judgement of the head of his college.1
Collapsing the Dialectic: The Enlightenment Tradition in Music and its Critics
Authors: Strohm Reinhard 
Published: November 2023

Abstract
This article refers to the ‘Enlightenment tradition’ not as a circumscribed period in eighteenth-century European culture but as a large complex of critical initiatives whose trail of consequences reaches our own age and includes, according to such writers as Theodor W. Adorno, Walter Benjamin, and Hans Robert JauB, the dialectic of Romanticism and modernism and the concomitant socio-political crisis of modern industrialized society.1 From Adorno and Horkheimer’s Dialektik der Aufklarung (1947), JauB derives a historiographical view of the roots of modernism in the arts and literature: That the bourgeois enlightenment, with its distinction between nature and civilization, has shown itself to be conscious of a fundamental alienation of social life and has led to a progress of instrumentalized reason which has always also implied regression, because the control over non-human nature had to be paid for with a denial of nature in humans: these famous hypotheses make it inescapable to seek the epochal threshold of our modernist consciousness not in the mid-nineteenth but in the mideighteenth century.2
Music and Cultural Practices
Authors: Martin Peter J 
Published: November 2023

Abstract
One of the most interesting features of the contributions to this Round Table is the extent to which certain common themes run through them, and I propose to concentrate on these here. As a sociologist with a particular interest in musical activities, rather than a musicologist seeking to add a ‘social’ dimension to the analysis, I wish to argue that the development of a thoroughly sociological perspective on music will have profound implications for many established beliefs and practices in musicology. Not all of these need be seen as challenging or threatening to conventional musicological work: on the contrary, it is possible to clear away some of the misunderstandings that have hindered the effective collaboration of musicologists and sociologists, and to point to examples of recent work which promise much for the future.
Signs and Transcendence
Authors: Tarasti Eero 
Published: November 2023

Abstract
Semiotics and structuralism, together with all their ‘pre-’ and ‘post-’ phenomena, will surely stand out in history as central paradigms of the sciences of meaning in our century. Semiotics has a long tradition, but it solidified into a discipline only in the period c.1880--c.1980. In those years, in both Europe and the USA, a certain unity of concepts and approaches took shape that I refer to as ‘classical semiotics’. In it one can distinguish two main streams. The first is a language-based semiotics that flows simultaneously from the structural linguistics of Saussure on the one hand and the Russian formalist school (including the Finnish school of folklore studies) on the other. One may aptly call this language-based paradigm ‘European semiotics’. The second main stream is ‘American semiotics’, which focuses more on non-verbal communication than on language proper, and takes its inspiration from philosophy and from the behavioural and natural sciences. The father of American semiotics was of course Charles Sanders Peirce, a contemporary of Saussure. These two schools have engaged in stormy battles against each other’s views, but now, from the vantage-point of the end of the century, they seem to have become reconciled in a broader vision of semiotics. One might generalize further, and say that most so-called classical semiotics now accepts the idea that semiosis is equivalent to communication plus signification. The central notions of semiotics-sign and meaning-are not exhausted by mere description of the process of communication as a chain going from sender to receiver.
Music In Tuscany: Past Research And Future Projects
Authors: Gianturco Carolyn 
Published: November 2023

Abstract
Recent research forays elsewhere in Tuscany reveal that Florence was not by any means the only centre of music-making, and that other cities were also training musicians of high calibre and performing music of excellent quality. This strongly suggests that the investigation of the whole of Tuscany could be undertaken with profit. Certainly the level of Tuscan culture in general has been exceedingly high throughout the centuries, and there is no reason to assume that music did not also receive the attention known to have been given to literature, art, and architecture, for example. In order to pool and evaluate information on the musical heritage of Tuscany, each speaker approached his or her particular topic with two specific questions in mind: (1) What is the present state of research in Tuscany on this topic? (2) How could further fruitful investigation on it be carried out? Jean Grundy Finely assessed the municipalities of Tuscany (of which there are almost 300), whose music histories have for the most part not been investigated. Many cities had contacts with the Medici, another avenue of research; patronage by local aristocrats is also largely unexplored. In each of the provinces, a number of cities had at least one opera theatre active before 1900: in the province of Siena, for example, there were 21 such cities, in Arezzo 19, in Pisa 15, in Lucca and Pistoia 13 each, in Grossetto 9, in Massa 8, and in Livorno 7. Moreover, there are 27 Tuscan cities with a cathedral. All theatres and cathedrals offer fruitful areas of investigation. The musical histories of confraternities and congregations are also still to be written, as are those of major abbeys.
5amusicology, Popular Music Studies, And Political Economy ;5b Musicology, Popular Music Studies, And Cultural Geography; 29 Musicology, Popular Music Studies, And The Interpretative Sciences
Authors: Griffiths,Georgina Dai 
Published: November 2023

Abstract
This series of three Study Sessions, all with titles of the form ‘Musicology, Popular Music Studies, and ... ‘, was coordinated by Richard Middleton. The series was plagued by the withdrawal of a number of the contributors who had originally agreed to speak, and a fourth session on gender study had to be cancelled. The substitute speakers were all British, and the sessions unfortunately became rather male-dominated. Even so, the original purpose remained attainable, and, to generally large audiences, a diversity of voices was heard from the floor.
Study Session 7 Portuguese Musical Outreach: Five Centuries
Authors: Stevenson Robert 
Published: November 2023

Abstract
Robert Stevenson pointed out in the opening paper of this session that, despite the fact that Vicente Lusitano was declared winner in a debate with Nicola Vicentino staged at Rome on 4 June 155 r in the presence of the latter’s patron, Ippolito d’Este II (1509-72), cardinal of Ferrara, the mulatto priest born at Olivern;a has been consistently snubbed in all recent textbooks. Omnipotent Grout and his kind salute Vicentino, but ignore Lusitano. Canonized period histories, such as H. M. Brown’s Music in the Renaissance (Englewood Cliffs, NJ, 1976) and The Age of Humanism 1540-1630, ed.
Feminist Epistemologies In Ethnomusicology
Authors: Tolbert Elizabeth 
Published: November 2023

Abstract
This Study Session addressed the intellectual and political issues that have shaped, and which will continue to inform, the directions of ethno musicological research on gender and sexuality. Panellists’ topics included a consideration of the constraints and forces that have kept feminist theories on the margins of ethno musicological research, the promise of feminist pedagogy for teaching ethnomusicology, suggestions as to what feminist epistemologies might have to offer recent debates concerning ethnographic writing, and the ways in which ethnomusicologists and musicologists differ in their use of feminist methodologies.
Opera Orchestras In Eighteenth-And Nineteenth-Century Europe
Authors: Petrobelli Pierluigi , Piperno Franco 
Published: November 2023

Abstract
This Study Session was devoted to introducing the International Research Project planned and directed by the Instituted National di Studio Verdiani, Parma, and headed jointly by Pierluigi Petrobelli and Franco Piperno, which is part of the larger-scale research project ‘Musical Life in Europe, 1600-1900’ sponsored by the European Science Foundation (Strasbourg).
Study Session 12 The Early Violin
Authors: Walls Peter 
Published: November 2023

Abstract
New research in the last two decades has greatly refined our understanding of the early violin and its history. Advances have been made in the study of its origins, in understanding its role in musical life, in identifying its early repertory, and in rediscovering its playing techniques through practical experiment as well as scholarly research. This Study Session brought together scholars from three continents who are at the forefront of this new research. It covered organology, source studies, archival evidence for social history, performance practice, and iconography. It was pleasing that, in addition to other IMS members attending the Congress, a number of Renaissance and Baroque violinists attended the session and contributed helpfully to the discussion.
Chant And Liturgy: Compositional Planning In Liturgical Chant
Authors: McKinnon James 
Published: November 2023

Abstract
The session began with an introductory paper by James McKinnon, whose research has revealed traces of structurally homogeneous, pre-planned sections in the chant repertory and liturgy of the ecclesiastical calendar. A starting-point for McKinnon’s study was the observation that the texts of the communions for ferial days in Lent are derived from Psalms 1-26 in numerical order. Not only this section of the liturgy, but the communions of the whole of the Temporale are constructed on similar schematic principles. Other components of the Mass Proper behave in a comparable fashion, especially during the periods of Advent and Christmas. The scholarly significance of an investigation of this phenomenon lies in the fact that it might provide indications about chronological layers in the development of a group of chants.
Music Lconography: Transmission And Transformation Of Symbolic Images
Authors: Buckley Ann 
Published: November 2023

Abstract
This multidisciplinary session addressed various aspects of the visual representation of music-making. A diverse range of materials was presented, including neolithic carvings from the East Mediterranean, medieval and Renaissance manuscripts, engravings of Paris street musicians, nineteenthcentury paintings, and gramophone sleeves from recordings of Indian music.
Repertory And Canon: The Dynamics Of Canon Formation, 17oo-R 870
Authors: Weber William 
Published: November 2023

Abstract
William Weber began this Study Session with a discussion of the evolution of repertory and canon. During the last two decades scholars in a variety of fields have been using the term ‘canon’ to identify the intellectual frameworks that have defined ‘classics’ in the arts and letters. The term has come into increasing use recently among music historians analysing the values and musical practices that surrounded the works of great composers. Yet the concept has still to obtain a common definition or application, and some scholars are still unconvinced of its utility.