bluuebunny/crossref_metadata_2025_split huggingface dataset:
Herr Weingartner (1902)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Those who take a pessimistic view of the musical taste of London must have been pleasantly disappointed at the enthusiasm evoked by Herr Weingartner at the Queen’s Hall on Thursday and Friday last week, when two programmes consisting mainly of the most highly organized classical music were received by a large audience with that attention and evident enjoyment that show a know ledge of the right way to listen to music. After all, the right way to listen is the simplest: and the thousand and one wrong ways are all somewhat complex and ingenious.
Luigi Boccherini (1743-1805)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Luigi Boccherini, the Italian composer, son of an Italian bass player, was born at Lucca, and studied at Rome, where he became a fine cellist, and soon began to compose. He returned to Lucca, where for some years he was prominent as a player; and there he produced two oratorios and a cantata. He toured in Europe, and in 1768 was received in Paris by Gossec and his circle with great enthusiasm, his instrumental pieces being highly applauded; and from 1 770 to 1785 he held the post of’ composer and virtuoso’ to the king of Spain’s brother, the infante Luis, at Madrid. He afterwards became ‘chamber-composer’ to King Frederick William II of Prussia till 1797, when he returned to Spain. He died at Madrid on 28 May 1805.
Francois Couperin (1668-1733)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Francois Couperin, the French composer, was the most famous member of a family of musicians which may be traced from the generation born in 1626 to the death of Mlle Celeste Couperin, organist at St Gervais, 1860.
Francois Couperin (dubbed ‘le grand’) is the chief of the many French clavecinists whose ranks include a greater composer, Rameau. The clavecin works and chamber music of Couperin have earned the reward of an art which, undertaking to satisfy natural desires, sets itself the narrowest possible limits and within these limits finishes its work to the utmost perfection.
George Frideric Handel (1685-1759) [Handelian Style, And The Oratorios]
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Noone has more successfully popularized the greatest artistic ideals than Han del; no artist is more disconcerting to critics who expect to follow a great man’s mental development easily. Not even Wagner effected a greater transformation in the possibilities of dramatic music than Handel effected in oratorio, yet Handel was the very opposite of a reformer. Indeed he hardly took the pains to ascertain what an art-form was, so long as something externally like it would convey his idea. But he never failed to convey his idea, and, if the hybrid forms in which he conveyed it had no historic influence and no typical character, they were none the less fit for each case. The same aptness and the same absence of method are conspicuous in his style.
Tomás Luis de Victoria (1548-1611)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Tomas Luis de Victoria (or Vittoria), the Spanish composer, was born at Avila. In 1573 he was appointed as Maestro di Cappella to the Collegium German icum at Rome, where he had probably been trained. Victoria left Rome in 1587, being then appointed to the royal convent of S. Clara at Madrid, a post which he held until 1604. In 1603 he composed for the funeral of the Empress Maria the greatest requiem of the Golden Age, which is his last known work, though in 1613 a contemporary speaks of him as still living.
Performance and Personality (1899)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
There seems to be considerable difference of opinion as to what is the right relationship between a player and the compositions he plays; at least, if we may judge by the catch-words of popular criticism. They seem to range between such eulogies as: ‘Mr So-and-so gave an extremely individual rendering’ (or is ‘rendition’ the better journalese?) ‘of Haydn’s Andante con Variazioni in F minor, imparting to it an expression of which Papa Haydn could never have dreamt’; and, on the other hand: ‘Mr So-and-so’s interpretation is faithful and conscientious; he brings out the intentions of the composer with a clearness which is only matched by the reverent spirit which pervades every note of his playing.’
Appreciation of Joseph Joachim as Composer (1908)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
No great player has left for posterity a record at all comparable to that contained in the small collection of compositions written by Joachim for the most part before his thirtieth year, and published in many cases at a much later period. They show none of the limitations of the music of a player: they are the early masterpieces of a classical composer. And Joachim’s adherence to classical forms is no mere sign of a school tradition; his music depends on no school, least of all on that of Schumann, from which it is often said to be derived.
The Pianoforte of Emanuel Moór (1922)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
A finished work of art is a sensitive thing, and much set in its ways. It has been delicately adapted to the conditions under which, and for which, it was made, and when you try to acclimatize it to new and apparently better conditions, you may display a mistaken sympathy for what you conceive to be its sufferings in its original state. No player can do justice to his instrument unless he is disposed by instinct and training to treat all its limitations as qualities rather than as defects.
Essay before a Chopin Recital (192 3)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Chopin’s music has something more than an unmistakable personal note. If the pianoforte has a soul, Chopin personifies it. Some composers have used the pianoforte effectively to wider musical purpose, rightly feeling that instruments are made for music, and not music for instruments. Other composers, taking the latter view in its narrowest sense, have confined the pianoforte to what is implied in the literal act of striking a string with a hammer, excluding the whole range of ideas which a vibrating string can suggest while the sound is dying away. Chopin’s music moves in the world of imaginative suggestion; and thus his most ordinary conception of the tone of the pianoforte is inherently poetic.
Scales
Authors: Maconie Robin 
Published: November 2023

Abstract
Even the Greeks must have realized that pitch legislation has its limits. While you could prove a divinity in harmonic relation ships which satisfied the mind and the ear, it was another matter to insist that simple people sing or play strictly in tune with approved pitches of a scale or mode. Melody is by nature dynamic and transitional, driven by impulses and sensations which are not always subject to rational control. We observe the cries of animals and birds, as well as sounds of wind howling, water pouring, wood being sawn and nailed, and a host of mechanical noises associated with dynamic processes, all of which convey direction, intention, and state of completion of action by means of what the synthesizer handbooks call ‘gliding tones’: pitches which are neither here nor there, but in the process of moving from here to there. It is possible to confine gliding tones within a system of exact pitches.
Sharps and Flats
Authors: Maconie Robin 
Published: November 2023

Abstract
Sharps and flats appear early in the history of notation. An accidental does not signify a note, but a change of context. Weather forecasting depicts the approach of a warm or cold front respectively by rounded and pointed symbols. Sharps and flats (the words in French and German also have ‘hard’ and ‘soft’ connotations) are similarly changes in the air. Listeners are not supposed to hear sharps and flats. They are a visual concept arising from the fact that notation establishes a pitch regime within which a music is played. Corrections to a given regime arise when the ear is allowed to override what a written notation dictates. A sharp or flat indicates a correction, that the note given is to be intoned differently. An F sharp is still an F, but bent upwards.
Enclosures
Authors: Maconie Robin 
Published: November 2023

Abstract
What exactly is the relationship between music and architecture? Yes, a musical performance should take account of the acoustic of a concert-hall, and in practice orchestras and soloists do so. The contribution of a suitable environment can add immeasurably to the satisfaction of a concert performance, reflecting and reverberating the original sources in a number of helpful ways to increase the level of sound reaching an audience, and to prolong the reverberation time of a signal, making it appear stronger and more clearly defined to the ear.
The Mozart-Da Ponte Operas
Authors: Steptoe Andrew 
Published: November 2023

Abstract
Mozart’s collaborations with the librettist Lorenzo da Ponte led to the composition of three of the greatest masterpieces in all opera, Le Nozze di Figaro, Don Giovanni, and Cosìfan tutte. The aim of this book is to guide the reader to deeper understanding and enjoyment of these enigmatic works, not so much through detailed musical analysis as through setting the scene for their composition. The author examines the cultural and social context in which they were written, the sort of audience who might have attended, and their tastes and expectations. He considers Mozart’s own intentions and aspirations for these works, composed over a period of rapid intellectual and political change, during which his beliefs, ambitions, and position in society changed radically. At a musical level, Mozart’s work underwent crucial stylistic developments that are manifest in these three operas. We are also given clues to da Ponte’s view of opera and the type of entertainment he set out to create. Finally, the author looks at the practicalities of opera production in Mozart’s time, all of which would have influenced the final creation of these works.
Introduction
Authors: Barclay Robert 
Published: November 2023

Abstract
In order to explore and express to the maximum the music of any period, the mu sician must make himself at home in the composer’s workshop. He must be well aware of what tools the composer had at his disposal; what he could and could not do. It is the obligation of the musician to make every effort to hear and understand the music as the composer did. Of particular importance, the musician must be at home with the virtues and limitations of the contemporary instruments. An adequate realization of the composer’s intentions can only be approached when thorough attention is given to authenticity in instrumentation and technique. This is especially so in the case of early music for the trumpet, whose true renaissance still lies in the future. The modern trumpet and its pre-industrial forebear, the natural trumpet, vary so widely mechanically and acoustically, and require playing techniques at such wide variance, that they might almost be regarded as different instruments.
Conclusion
Authors: Barclay Robert 
Published: November 2023

Abstract
Now that we have followed a reasonably detailed description of how a trumpet maker of several centuries ago might have constructed and finished an instrument, we are left with the general question ‘why’? Why should the systematic analysis of early technique be of value to the instrument-maker and player of today? Why should this information be of more than simply academic interest? By illustrating the previous chapter with photographs and drawings of processes recreated in a twentieth-century workshop, there is the quite obvious intention of demonstrating the practical possibility of constructing instruments in a thoroughly authentic fashion. But if this were all this book had set out to achieve, it would conclude half fulfilled.
Women Musicians of Venice
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
This book opens a door long closed on an important era in the history of Venice. It presents, for the first time, an introductory, contextual study of three centuries of musical activity at the four major eleemosynary foundations of the former Republic of Venice: the ospedali grandi. It provides a comprehensive account of the institutional, social, religious, and civic dimensions of these welfare complexes, with particular reference to their musical subsidiaries, or cori. Involving over 300 external professional male composers and music teachers and over 800 internal professional women musicians, the history of the cori also incorporates a vast repertory of over 4,000 original works – sacred and secular, vocal and instrumental, solo and choral – little know today but recognized as key elements in the historical evolution of musical genres. Responsible for this phenomenon through their association with the ospedali and the figlie del coro were such figures as Lotti, Legrenzi, Vivaldi, Hasse, Galuppi, and Cimarosa, to name but six. It is their relationship to the ospedali and the concert series in the churches and music salons annexed to them that Dr Berdes explores. In the process she proves the significance of the cori as reflectors of a range of cross-disciplinary scholarship from the history of art and architecture to the history of culture and social policy, as well as medical care and aspects of women's, children's, and Venetian studies. Amassing a wealth of information from primary sources, this book constitutes a repository of information and references for a multitude of new investigations. Above all, it will facilitate rediscovery, performance, and analysis of the repertoire commissioned for, and first performed by, the women musicians of the cori, a repertoire of unique richness which may be seen as the mirror of a lost Venetian civilization.
Sleeping Beauty The First Production
Authors: Wiley Roland John 
Published: November 2023

Abstract
Tchaikovsky sent the score of each act of Sleeping Beauty to Petersburg as he finished it, where at least two repetiteurs rehearsal scores) were prepared. The holograph score lHol), the one surviving ré pétiteur lRep), and printed piano reductions of the music lPR-1, PR-II) used by Nikolai Sergeyev, régisseur of the Petersburg ballet from 1903 to 1918, are the principal sources from which we can learn about the performance version of Sleeping Beauty.All changes in the music found in these four sources are listed in Appendix H.
The Early Flute
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
With the growing interest in recent years in the use of period instruments for recordings, live professional performances, and amateur music-making, the old-style transverse flutes are experiencing a remarkable comeback. The Early Flute is the first book in modern times to deal exclusively with the flutes used in the Renaissance, Baroque, and Classical eras. The book details the history of the transverse flute from 1500 until the early nineteenth century. Advice is given on acquiring instruments and on their care and maintenance. Additional chapters guide the reader to sources about relevant technique and style, recommend repertoire, and give general advice to the modern player. The text is enhanced by numerous photographs of important historic flutes.
Syntagma Musicum
Authors: Crookes David Z 
Published: November 2023

Abstract
Over the last dozen or so years the musical landscape has been changed significantly by the revival of early instrumental music. People are now making and playing many Renaissance and early baroque instruments which until recently were not even mentioned in standard dictionaries. Praetorius's De Organographia, first published in 1618, can be called the book behind the revival. While it has long been an essential tool for musicologists, it is now exercising a wider, more popular appeal as the growing multitude of instrument makers and players seek to base its efforts on this documentation Praetorius has provided. De Organographia is beyond argument the most important period book on musical instruments ever to be written. No comparable work gives us the wide range, the clarity of description, and above all the scale drawings that we find in Praetorius.
Aida
Authors: Budden Julian 
Published: November 2023

Abstract
One of the more pleasant by-products of Don Carlos was, as we have seen, the warm friendship that sprang up between the Verdis and the du Lodes. In the years that followed the Parisian premiere du Lode never despaired of tempting Verdi back into another collaboration. But the late 186os were difficult times for the composer, with one misfortune following another: the death of his father, then of his father-in-law and benefactor Antonio Barezzi, and the stroke which condemned his faithful librettist Piave to eight years of a vegetable existence.
Songs Of Mortals, Dialogues Of The Gods
Authors: Stein Louise K 
Published: November 2023

Abstract
This is the first comprehensive survey of seventeenth-century Spanish theatrical music to be written in any language. While particular aspects of the field have been explored before, no previous single study has succeeded in defining the place and function of music in the Spanish theatre, and the nature of the extant repertory. This book explains the development of the various musical-theatrical genres of the period (such as the semi-opera, opera, court plays), details the origins of the zarzuela, and looks at the anomalous production of three operas during the seventeenth century. It is based on a thorough study of the primary sources (musical sources, text of plays, archival documents), and the author combines history of music, history of theatre, politics and literary and musical anlysis to build a complete picture. In addition the book answers questions concerning the nature of the Spanish musical baroque and its relationship to European musical and theatrical developments. As such, it will be welcomed by musicologists, hispanists, students of Spanish culture, and historians of the arts and ideas.
Music Therapy for the Autistic Child
Authors: Alvin Juliette , Warwick Auriel 
Published: November 2023

Abstract
Music Therapy for the Autistic Child was first published in 1978, and was the first book of its kind to analyse the effect of music therapy on the whole development of the autistic child. It contained detailed accounts of the music therapy techniques found to be effective with different types of autistic children, and it illustrated these with case-studies drawn from the author's original research. This second edition retains all the text of the first and adds three new chapters, reflecting the depth of research music therapy has received over the last ten years and its important position within the whole therapy of autistic children. Written by Auriel Warwick, herself a music therapist and student of Juliette Alvin, these chapters describe how mothers can be involved with their autistic children in the therapeutic process, and illustrate the problems and rewards found in the musical and personal relationships which evolve.
The Early Mandolin
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
This is the first book to be devoted exclusively to the two main types of early mandolin - the mandolino and the Neapolitan mandoline. It illustrates the rich and varied musical history of these instruments and the full extent of their repertoires, which include music by Handel, Vivaldi, Alessandro Scarlatti, Beethoven, and by Sammartini, whose recently discovered sonata for mandolin is published here for the first time. The book aims to provide the basis for an understanding of the nature and historical performance practice of the instruments and thereby to enable players of today to achieve satisfying performances of the music.
The Compact Disc Handbook
Authors: Pohlmann Ken C 
Published: November 2023

Abstract
This is a new edition, in paperback, of Ken Pohlmann's classic survey of the compact disc world, The Compact Disc: A Handbook of Theory and Use, and celebrates the tenth birthday of possibly the most successful consumer electronics product ever introduced. The phenomenal success of the compact disc-currently over a billion copies are sold each year-has encouraged rapid development of compact disc technology and spawned entirely new applications for it. The text of this new edition has been thoroughly overhauled to take note of all these developments; in addition there is more information on the laboratory origins of the compact disc and the principles underlying the format. It remains a comprehensive and authoritative handbook by an acknowledged expert on digital audio and related topics.
Genre Rules
Authors: Frith Simon 
Published: November 2023

Abstract
There was a program on a college radio station in Ithaca when I was living there in early 1991 which described itself as “Pure American folk from singers who defy labels;” and this self-contradictory statement can stand as the motto for this chapter, in which I will examine the role of labels in popular music and consider the seemingly inescapable use of generic categories in the organization of popular culture. These are so much a part of our everyday lives that we hardly notice their necessity—in the way bookshop shelves are laid out (novels distributed between romance, mystery, science fiction, horror, popular fiction, contemporary fiction, classics, and so on); in the way TV program guides classify the evening’s entertainment (sitcom, game show, talk show, crime series, documentary); in the ways films are advertised and videos shelved (comedy, Western, horror, musical, adventure, adult); in the way magazines are laid out at newsagents (women’s, children’s, hobby, general interest, fashion, computers, music).
Masses on Plainsong Cantus Firmi
Authors: Planchart Alejandro Enrique 
Published: November 2023

Abstract
Introduction Contemporary sources attribute five masses based upon plainsongs to Josquin des Prez: Gaudeamus, Ave maris stella, De beata Vi’1;gine, Da pacem, and Pange lingua. The first three were published by Ottaviano Petrucci, one each in his Misse Josquin (Venice, 1502), Missarum Josquin fiber secundus (Venice 1505), andMissarum Josquin fiber tertius (Fossombrone, 1514). Da pacem was pub lished in 1539 by Johannes Ott with an ascription to Josquin, but the earliest source (Munich 7) ascribes it to Noel Bauldeweyn, and Edgar Sparks showed that it is a work of Bauldeweyn. Pange lingua is ascribed consistently to Josquin. Gaudeamus appears to be the earliest of these masses. It looks back to the style of a previous generation, although its earliest source is Petrucci’s publication of 1502, followed closely by the copy in Vatican CS 23, copied between 1503 and 1512.Ave maris stellais probably a later work; it was published in 1505 and the early manuscript sources date from approximately the same time.