bluuebunny/crossref_metadata_2025_split huggingface dataset:
Resjois toi terre de France/Rex pacificus: An ‘Ockeghem’ Work Reattributed to Busnoys
Authors: Lindmayr-Brandl Andrea 
Published: November 2023

Abstract
He image of Ockeghem as the great French court composer and of Busnoys as a lesser Burgundian master has dominated music historiography for generations. Despite their inexactitude, such classifications nevertheless serve to order our impressions, our experiences, and our knowledge. A similarly long-standing music historiographical bias towards works of known authorship has made it much more difficult to survey a repertory of anonymous compositions than a set of works classified as belonging to Josquin, Morton, Dufay, Busnoys, or Ockeghem. A single outstanding composition amidst the mass of anonymous works that still malice up about half the late medieval repertory has little opportunity to draw attention to itself and consequently fades into music historical oblivion.
Simultaneous Conception and Compositional Process in the Late Fifteenth Century
Authors: Wexler Richard 
Published: November 2023

Abstract
By placing each voice in its own individual range, making the voices equal in terms of their overall character and rhythmic values, substituting a paraphrase cantus firmus that migrates throughout the texture for the oldfashioned long-note cantus firmus, and providing a point of imitation at the outset of each phrase of counterpoint, composers of the late fifteenth century formulated what some have called the ‘a cappella ideal’.
Fortepianos and their Music
Authors: Komlós Katalin 
Published: November 2023

Abstract
Eighteenth-century pianos shaped and influenced the music that was written for them. However, although organological studies probe the instrument in ever more detail, and musical criticism focuses increasingly on the musical repertoire, the relationship between the two has not been properly examined. This book concentrates on the keyboard writing of the last third of the eighteenth century, as inspired by the fundamentally different constructions of the German/Viennese and the English pianoforte. The highly articulated languages of Mozart and his Viennese contemporaries, and the more robust, pre-romantic style of Duzzek and his London colleagues reflect the very characteristics of these respective instruments. Beyond the scrutiny of the music, attention is given also to the players. The differentiation between professionals and amateurs is addressed, and contemporary sources help provide a description of late-eighteenth-century performing styles; such a survey offers new insight into the living art of the pianoforte during a most important period in its history.
Choral
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
The first edition, authorized by the composer, states that this is ‘the first choral composition by Janácek’. This is almost certainly true as far as secular choral works are concerned since his appointment as chorus master of the choral society Svatopluk, for which Orání was written, took place on 13 Feb 1873, and Orání was given at the first concert he conducted (see Notes: INCLUSION IN A CYCLE).
Bruckner’s disciples
Authors: Kennedy Michael 
Published: November 2023

Abstract
Mahler entered the Vienna Conservatory in September 1875. The director since 1851 had been Joseph Hellmesberger, violinist, leader of a celebrated string quartet, conductor, and anti-Semite. He was forty-seven. Mahler’s teachers were Julius Epstein for pianoforte, Robert Fuchs (1847–1927)–who had only recently joined the stafffor harmony, and Franz Krenn (1816–97) for composition. Fuchs told Alma Mahler years afterwards: ‘Mahler always played truant and yet there was nothing he couldn’t do.’ That he was already a composer of songs may be deduced from the fact that his fellow students spoke of him as ‘another Schubert’. He also continued privately with his general education, for which he paid by giving pianoforte lessons.
Cassel, Leipzig, Budapest
Authors: Kennedy Michael 
Published: November 2023

Abstract
Mahler said in later life that if he had won the Beethoven Prize he could have avoided ‘this hellish life in the theatre’, by which he meant conducting opera. He was romanticizing. He had begun his career as a conductor before he even finished Das klagende Lied. He had been given a post at the health resort of Hall, Upper Austria, in the summer of 1880 to conduct musical comedies and to perform such chores as tidying the pit after the performance. What remains unexplained is why he was advised to try conducting when he had hitherto shown no inclination in that direction. According to Paul Stefan,1 the publisher Rattig advised Mahler to see an agent. Through this agent the Hall engagement was offered and accepted against the advice of Mahler’s parents but on the advice of Epstein, his mentor and pianoforte teacher. Up to this point it might have been expected that Mahler would become a concert pianist. Accounts of his playing indicate that it was exceptionally compelling, especially of Beethoven and Bach. Friedrich (Fritz) Lohr, another member of Mahler’s student circle in Vienna, spent a summer holiday with him at Lohr’s home in Perchtoldsdorf in 1884 when Mahler played for many hours.
Prelude, in canon
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Some seven years before his death, Brahms published a set of thirteen Canons for female voices. Its opus number, 113, is misleadingly high. These miniatures of the contrapuntist’s art, setting aphoristic texts by arch-Romantic poets such as Eichendorff and Rückert, or treating some of his favourite folk-melodies, mostly date from his youth and early manhood, from the 1850s and 60s. The exception is no. 13, the last (and most elaborate) of them, which sets the little poem by Rückert given above..
Young Kreisler (1833-53)
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Twenty years after Brahms’s death, when many critics still maintained that, whatever his greatness as an ‘absolute’ musician, he had possessed no sense of instrumental colour, it fell to the Marxist philosopher Ernst Bloch to place within his first culture-spanning magnum opus, Geist der Utopie, an elegant characterization of Brahms as a master of the orchestra: He does have colour: his orchestral sound has been compared, not unfavourably, to the North German heathland, which appears from a distance like a broad, monotonous expanse, but whose greyness, as we enter, suddenly dissolves into a myriad little blooms and specks of colour.
In his homeland
Authors: Samson Jim 
Published: November 2023

Abstract
On 14 October 1894, a Chopin monument was unveiled at the com¬ poser’s birthplace in the tiny village of Zelazowa Wola, some thirty miles due west of Warsaw. The initiative came largely from the Russian composer Mily Balakirev, and at a celebration concert in Warsaw three days later Balakirev himself performed the Lento con gran espressione in C sharp minor. The concert, organized by the Warsaw Music Society, ended with an arrangement for chorus and orchestra of the Polonaise in A major, Op. 40 No. 1.
Several very different modes of reception are highlighted by these events. First there is the Chopin cult, of which Zelazowa Wola has since become the principal shrine, though it has several rivals. Before the erection of the monument little had been made of Chopin’s birthplace, a modest cottage which formed part of an estate belonging to the Skarbek family.
The wonderchild (1811-27)
Authors: Watson Derek 
Published: November 2023

Abstract
The genius of Liszt is by its very complex nature hard to define. Claims made for his greatness as pianist, composer, teacher, writer, champion of music old and new, and most generous musical spirit of the nineteenth century are legion. Born in Hungary and yet much nearer to Vienna than to Pest, at home and at work in France, Germany and Italy - he can be claimed by a handful of nations as their son. From Lisbon to Moscow and from Dublin to Constantinople the records speak of his versatility and his victories. The reaction created by genius is, as Marcel Proust put it, ‘like those extremely high temperatures which have the power to disintegrate combinations of atoms which they proceed to combine afresh in a diametrically opposite order, following another type’. The traditional opening for the biographer is to explain genius by way of geography.
Years of pilgrimage (1828-39)
Authors: Watson Derek 
Published: November 2023

Abstract
Anna Liszt joined her son in Paris and they set up home in Montmartre. A decade later Liszt described his revulsion for the career of the travelling prodigy: When death robbed me of my father and I returned to Paris alone, I began to foresee what art could become and what the artist must become; and I was overwhelmed by the awareness of insuperable obstacles all around me which barred the direction that my thoughts led me.
The Heroic style II, 1806–1809
Authors: Kinderman William 
Published: November 2023

Abstract
After he put Fidelio aside, Beethoven’s major artistic preoccupation became the set of three ‘Razumovsky’ string quartets in F major, E minor, and C major of op. 59, composed mainly between April and November 1806. This trilogy stands at the centre of a splendid series of masterpieces from that year, including the Fourth Piano Concerto op. 58, the Fourth Symphony op. 60, and the Violin Concerto op. 61. An orchestral ambition surfaces in the imaginative sonorities and enhanced scale of some movements of the ‘Razumovsky’ quartets, from the broad opening Allegro of the F major Qyartet to the nervously emphatic finale of the C major.
The Gaalitzin’ Qurtets 1824–1825
Authors: Kinderman William 
Published: November 2023

Abstract
The composition of Beethoven’s last important group of works, the five final quartets, is bound up with a commission from the Russian prince and amateur cellist Nikolaus Galitzin in St Petersburg. Beethoven had already been thinking of composing quartets (and had received an enquiry from Carl Friedrich Peters about one) prior to Galitzin’s request, but the prince seems to have acted as the major catalyst. In November 1822 Galitzin wrote to Beethoven requesting the composition of as many as three new quartets. Beethoven accepted the proposal in January 1823; but the actual composition of the first of these new quartets was delayed for more than a year by other projects, notably the Ninth Symphony.
Opportunities (1817-1819)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
AT the end of January 1817 Schubert attained his twentieth birthday. Already a picture of the composer is emerging. He was short in stature and thick-set, an unassuming, unprepossessing, bespectacled young man who preferred the congenial company of intimate friends to what he judged to be more pretentious society. Reticent even with friends about his own feelings and aspirations, he was to a high degree absorbed in music, both composition and performance; yet his absorption was not exclusive, and he particularly enjoyed both high-spirited companionship and serious discussion about artistic subjects, literature, and politics. With family and friends he was affectionate and generous, warm-hearted, honest, and straightforward. At the same time, he was subject to swings of temperament and mood changes which sometimes restricted his ability to conform to the self-discipline demanded of normal society. He felt a strong sense of vocation to be a composer, and this was entirely in accord with the high-minded principles in art and morality propagated by the Bildung Circle. But here too his temperament, like that of many other great creative artists and writers, sometimes conflicted with his sense of vocation. At times he was unable to compose for days on end; at others he was spurred on to hyperactivity. Professionally he was nai”ve, incapable of planning his career and sometimes of seizing opportunities when they arose.
The Manuscript Tradition: Sources and Notation
Authors: O’neill Mary 
Published: November 2023

Abstract
By comparison with troubadour song, which survives with music in only four main sources, the legacy of trouvère song is relatively handsome: as well as various fragments, there are some twenty substantial extant chansonniers in which both text and music are preserved. As with the troubadour repertoire, there are also a number of extant trouvère sources that record only poetic texts; the focus here, however, will be on that corpus of chansonniers in which both text and music are recorded together. Table 2.1 lists the central sources of trouvère song together with common abbreviations and the standard sigla that will be used for the purpose of reference. While the basis for the study of trouvère song must be the extant chansonniers, a number of limitations with regard to their evidence have to be taken into consideration.
Biographical Notes
Authors: Hillier Paul 
Published: November 2023

Abstract
Although Part was born and grew up in Estonia, any suggestion that his music could be characterized as ‘Estonian’ would be misleading: it makes no use of Estonian themes or motifs,1 and offers no imaginative evocation of anything that might be interpreted as having a national identity; nor, apart from a couple of early cantatas, does the composer choose the Estonian language for his texts. Yet it is unlikely that the composer’s unique musical and spiritual identity could have been created anywhere else. Part has avowed that his musical education is Western, while his spiritual education is Eastern. But the particular significance of these compass points only becomes meaningful if we know the central reference point from which they emanate. In Part’s case, of course, that is Estonia, wedged between East (Russia and the Orthodox Church) and West (Germany and Scandinavia). His ‘Western’ musical training dwelt on the conventional canon of great composers, though it also owed a great deal at a local level to Russian models. However, despite its proximity to Russia, the Estonian capital, Tallinn, has the unmistakable air of being a European city, attached firmly to a cultural perspective that links cities along the Baltic coast and eventually winds round to places like Amsterdam and Copenhagen, and across land to Berlin and Prague; intellectually, this is primarily a Germanic heritage.
After Credo
Authors: Hillier Paul 
Published: November 2023

Abstract
With Credo, P;Ҕrt had written himself into a cul-de-sac: he had reached a position of complete despair, in which the composition of music appeared to be the most futile of gestures, and he lacked the musical faith and will-power to write even a single note. It was from this creative death that there gradually arose in him a search for an entirely new way to proceed.
TeDeum, Stabat Mater, Miserere
Authors: Hillier Paul 
Published: November 2023

Abstract
The words of this hymn, thought to have originated early in the fifth century, are among the most venerable of non-biblical texts still in use in the Christian tradition. Part describes them as consisting of ‘immutable truths’, which reminded him of the ‘immeasurable serenity imparted by a mountain panorama’. In his setting of the Te Deum he sought to convey a mood ‘that could be infinite in time, by delicately removing one piece--one particle of time-out of the flow of infinity. I had to draw this music gently out of silence and emptiness.’1 Although Part does not employ the Gregorian melody (also of considerable age), he creates a series of chant-like melodies using the tintinnabuli technique, and it is interesting to see how readily the chant melos floats to the surface (see Ex. 22b). These chanted sections alternate with choral statements and string responses, beneath which for most of the opening and closing sections is heard a wind harp drone, duly reinforcing the sense of endless time and space.
Shorter Works and Litany
Authors: Hillier Paul 
Published: November 2023

Abstract
In earlier chapters the discussion of individual works followed approximately their chronological order of composition, as this usefully portrayed the evolution of Part’s musical language. By the time he arrived in the West, Part had consolidated the tintinnabuli style, so each new work appeared as a fresh manifestation of this strongly centred vision. Each work has a very specific identity, certainly, often using tintinnabuli principles in a manner unique to that work, but to discuss this later music in chronological order would imply that there has continued to be a strong linear development far more than is really the case. I make this observation in a qualified manner, because in certain respects the tintinnabuli style has grown, but this is less a case of development from one point to the next, and more one of expansion of a central concept. I do not mean to imply that Part has stood still, but rather that he has moved around ‘within’ tintinnabuli, stretching certain elements in different ways perhaps, but always able to return (one feels) to the basic tintinnabuli language at a moment’s notice.
Sacred Music: Psalms and Anthems
Authors: Spink Ian 
Published: November 2023

Abstract
LAWE s’s metier may have been as a composer of secular love songs, yet he had been brought up against a background of cathedral music, and since 1626 had been a countertenor in the Chapel Royal. His appointment as ‘pistoler’ —the most junior position—dated from 1 January, and it would have been in that capacity that he sang at the coronation of Charles I on 2 February. Later the same year, on 3 November, he was advanced to Gentleman, for which the pay was £40 a year. The Master of the Chapel was then Nathaniel Giles, and the organists were Thomas Tomkins and Thomas Warwick, the latter in place of the recently deceased Orlando Gibbons. At the time the repertoire of the Chapel was rather conservative, consisting mainly of works by Byrd, Gibbons, Giles, and Tomkins, though by 1635 it included works by modernistically inclined composers such as Richard Portman and Walter Porter, as well as four verse anthems by Henry Lawes and two by his brother William. He was one of those who travelled north to Edinburgh in the summer of 1633 to assist the Scottish Chapel Royal at the Coronation of King Charles, and it seems likely that when the court went to Oxford soon after the outbreak of the Civil War in 1642, he too went there with the Chapel.
Miscellaneous Metropolitan Concerts
Authors: Palmer Fiona M 
Published: November 2023

Abstract
The metropolis offered a cornucopia of musical entertainment to well-to-do members of English society. Such large-scale musical organizations as the King’s Theatre, Ancient Concerts, and the Philharmonic Society were com plemented by the smaller-scale ventures of individual and collective musicians. Among these were benefit concerts put on by solo performers in pursuit of per sonal profit; charitable music-making, such as for the Adult Orphans’ Institution; the concerts of the Royal Academy of Music; the Vocal, City, and Amateur, concerts; and, in addition, the other subscription concerts and private music-making that went on in the homes of the wealthy. Since Dragonetti spent such a long period in England, changes inevitably took place in musical taste and expectation during his time. In his early years, the impact of Haydn’s visits and the predilection for virtuosity were very strong. The taste for virtuosity moved from a diversity of instruments to focus mainly on pianos and vio lins in the last thirty years of Dragonetti’s life. A corresponding shift towards chamber music echoed this changing fashion.
Frock Rock
Authors: Bayton Mavis 
Published: November 2023

Abstract
This is the first ethnographic study of women’s popular music-making. It is based on over 100 in-depth interviews as well as participant observation by the author, a sociologist, who has herself played in various bands since punk. Bayton covers the period from the late 1970s until the mid 1990s, focusing mainly on women instrumentalists in female and mixed bands. Amongst others, interviewees include Skin from Skunk Anansie, Debbie Smith from Echobelly, Candida Doyle from Pulp, Gail Greenwood from Belly and L7, Natasha Atlas from Transglobal Underground, and Vie Subversa from Poison Girls. Although female vocalists have always been common, women playing instruments in bands are still proportionally rare. Frock Rock explores the social factors that keep women from playing and those routes that have enabled women's involvement. The book then examines the everyday worlds of women's music-making from bands just starting up to the professional stage: songwriting, rehearsing, the first gig, getting a manager, record companies, recording, and touring. Easy to read and packed with fascinating quotes, Frock Rock makes an invaluable contribution to the field of popular music studies and will become a key text in cultural studies, media studies, women’s studies, and sociology of culture courses.
Liturgical Compositions, 1723–1732
Authors: Stockigt Janice B 
Published: November 2023

Abstract
From 1723 until the death of Friedrich August I (1 February 1733) Zelenka consistently and diligently composed for the Catholic court church of Dresden. During these years he set several Masses, Mass movements, two or three Requiems, one oratorio (1730), forty-one psalms and several hymns for Vespers, numerous Marian antiphons, two settings of the Te Deum, and at least six litanies. He also composed various small-scale liturgical works and he wrote, or reworked, several ‘Mottetti’.
L
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Lacabra, Joseph (fl. 1845—48). London maker at 4 University Street, Tottenham Court Road. (Harding/ PIANO2, 415) Lacabra,Julian (fl. c.1800--50). Piano maker in Madrid. (M. L. Boehm in EKI i. 366) Lachin, Nicolo (est. c.1830). Piano maker in Padua (Veneto), Italy. (Barbieri/ITALY; Dolge/PIANOS, 443) La Coste, M.A. (fl. 1841). Maker in Brussels. La Coste patented a device called ‘piano crescendo’, which was intended to improve the effect of this dynamic change (Belgian, no. 1990, order no. 190; dated 1841). Controlled by a pedal, a reservoir of air causes a metal strip to be vibrated; thus the effect of crescendo or, one supposes, dimuendo is obtained.
Q
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Quackenbush, John H. (fl: 1834). Piano maker in Albany, NY. (Spillane/HIST, 139) Quakers (Quaquers), F. (fl. 1859—80). Piano maker in Brussels. Qyakers was located at 12 rue d’Orleans. (J. Monnoye-Saintes in Haine—M/DICT, 337) Quandt, Carl Oulius) (b Biitow, Pomerania (now Byt6w, Poland), 11 July 1817—d Berlin, 31 Dec. 1896).
The Role of the Performer
Authors: Bazzana Kevin 
Published: November 2023

Abstract
Gould’S Idealism, however commonplace in principle, was directly responsible for his unusual freedom in realizing works in performance. Believing that a musical work existed apart from performance, he considered the profile of the music in performance-how the music sounded-to be a function of a specific interpretation, not an integral part of the work. Contrapuntal balances, rhythmic nuances, dynamic levels, articulation, tone colour, instrumentationeven where specified by the composer-were all subject to the performer’s will without compromising the identity or status of the work. (This was a matter of principle, and did not depend on how precise the music’s notation was.)
Poetic and Dramatic Schemes in Lutos ławski’s Vocal-Instrumental Works
Authors: Aubigny Beno î t 
Published: November 2023

Abstract
Music expresses this world. But that isn’t its true purpose. I believe it should be organized so as to put certain dramatic principles into effect. This chapter is perhaps less a flawless analytical exercise than an essay in the strict sense, a simple proposition where hypotheses will outweigh certitudes, a memorandum in which the composer’s words will enhance reflection and statements about his work. It is certainly not a pure study, for the very choice of subject matter, three works where music and poetry conjoin, indicates the objective even before the argument: the goal is a utopia, a synthesis of the correspondence between word and tone.