bluuebunny/crossref_metadata_2025_split huggingface dataset:
City of God
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
THE concept of ‘sacral Venice’ ensues from the union of two historically fixed points of authority—secular state and sacred church.1 Venetian scholars, such as Paolo Prodi, assert that the Venetian idea of a unified church and state with its sacral concept of power was a principal mark that distinguished Venice from the rest of Christianity.2 The union of state and church gave a double axis to the Venetian civilization and an ellipsoidal, or ovoid, quality to its form of government that appears to have passed unnoticed by historians.
Internal Musicians: Figlie del coro
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
WHEN the time came for maestro di coro Legrenzi to request permission to leave the Mendicanti, he stated pointedly to the governors that he had devoted himself for seven rears to devel¬ oping the talent of each musician in the coro there. When maestro di coro Porpora at the Derelitti wished to have adult women musicians accepted into his coro, as was already being done in other ospedali, he reassured his governors that the change in procedure would not damage the carefully honed image of ‘angelic messengers’ that had been assigned to the coro as part of the self-dramatization of a nation that dared to boast that it had been born on the Day of the Annunciation.3•
Music in the Jewish Community of Palestine 1880–1948
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
This book presents a social history of the music of the Jewish community in Palestine from the beginnings of Jewish immigration to Palestine in 1880 to the declaration of the State of Israel in 1948. The story is a fascinating case study of a small society of immigrants and refugees who established an internationally recognized professional musical establishment against the backdrop of two world wars, the absorption of successive waves of immigrants, local skirmishes, and a full-scale national war. Though under Ottoman and later British rule, Jewish society in Palestine was virtually autonomous in cultural matters; its musical culture struggled for a balance between a transplanted European heritage and a powerful, ideologically driven desire to find inspiration from the East. Professor Hirshberg opens with a description of music in Palestine under Ottoman rule, and then proceeds to chart the momentous history of the next 70 years in a broadly chronological framework. His final chapters centre on the broad array of ideological and social polemics which dominated the musical scene for the entire period. As such, his book will be of interest not only to music historians (especially those interested in national schools and in twentieth-century music), but also to social historians, cultural anthropologists, and historians of contemporary Jewry.
Sources: Important Solo and Ensemble Repertoire with Recommended Editions
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
The transverse flute acquired one of the largest repertoires of any musical instrument in Western art music throughout the eighteenth century and into the early nineteenth. Not only is it extensive-many thousands of works were written for it during this period of approximately a hundred and twenty-five years-but the greatest composers of that era created flute works of enduring beauty. J. S. Bach, Handel, Telemann, C. P. E. Bach, Gluck, Haydn, Mozart, Beethoven, Weber, Schubert, all gave the fruits of their talents to the writing of music involving the transverse flute. In particular, J. S. Bach and Mozart explored many different aspects of the flute and bestowed upon it qualities of dignity, humanity, and nobility which have never been surpassed. These were the finest moments of the flute in terms of its repertoire.
Verdi And The World Of The Primo Ottocento
Authors: Budden Julian 
Published: November 2023

Abstract
The primo ottocento (a term loosely used to cover the first half of the nineteenth century in Italian music) has up to now received scant attention from scholars; nor does it form any part of the ordinary music student’s education. Most professors, with the authority of Berlioz, Schumann, Mendelssohn and Wagner to support them, have been content to dismiss it as a provincial backwater, an era of decadence in taste and craftsmanship. (They might do well to remember, however, that ‘Wop-bashing’ was always a favourite occupation of Germans-the result of two centuries of artistic subjection.) Even so staunch a champion of Italian music as E. J. Dent describes the period as, comparatively speaking, a desert, ‘golden only in so far as it is glittering’.* It is not the purpose of this chapter to challenge such a view: rather to try to explain the aims and values of an age which formed the background of one of music’s supreme geniuses.
Characteristics Of The Early Operas
Authors: Budden Julian 
Published: November 2023

Abstract
Verdi was twenty-six when his first opera was produced at La Scala, Milan, in the autumn of 1839. By the standards of the time it was a late start. The previous three years he had spent as a music-teacher and conductor of the local orchestra in Busseto. The training he had received from Vincenzo Lavigna after the Milan Conservatoire had shut its door in his face was strictly academic :.:1d old-fashioned. Original compositions were corrected in the style of Paisiello. ‘In the three years I spent with him I did nothing but study canons and fugues Nobody taught me orchestration or dramatic technique.⃛’* On the subject of musical education Verdi became perverse in his later years and as usual inclined to exaggerate. Great composers often like to represent themselves as entirely self-taught-as indeed they are in everything that matters; and Verdi was more prone than most to look back in anger.
Falstaff
Authors: Budden Julian 
Published: November 2023

Abstract
At the end of 1890 the seventy-seven-year-old Verdi wrote to that indefatigable scribbler on matters theatrical Gino Monaldi, ‘What can I tell you? I’ve wanted to write a comic opera for forty years, and I’ve known The Merry Wives for_(Windsor for fifty; ... however, the usual “buts” which are everywhere always prevented me from satisfying this wish of mine. Now Boito has resolved all the “buts” and has written me a lyric comedy quite unlike any other. I’m enjoying myself writing the music; without plans of any sort and I don’t even know whether I’ll finish it ... I repeat ... I’m enjoying myself. Falstaff is a rogue who gets up to every kind of mischief ... but in an amusing way. He’s a type. Types are so various! The opera is entirely comic! Amen.’*
The Man
Authors: Harrán Don 
Published: November 2023

Abstract
What is known about Salamone Rossi the man is considerably less than what is not. The sources are too fragmentary and their reading often too uncertain to allow one to construct a running biography. Where blanks exist, and there are many, the only way to fill them in is by relying on circumstantial evidence and, for all its inadequacy, on imagination, stirred by probability. The documentation on early music composers is habitually riddled with difficulties, and here Rossi fares no worse perhaps than his esteemed Mantuan colleagues Giaches de Wert, Benedetto Pallavicino, and Giovanni Gastoldi. Even the biography of the illustrious Monteverdi, in its Mantuan phase, leaves much to be desired; and if there is any consolation from a scholarly standpoint, leaves much to be explored. Rossi, like Monteverdi, has ever been, and will no doubt remain, a promising subject for research.
Music for the Theatre
Authors: Harrán Don 
Published: November 2023

Abstract
While previous chapters dealt with as much as is known of Rossi, biographically, from scraps of evidence in various documents and his works, the present one will piece together, from even fewer scraps, one side of his activity that is largely ‘unknown’: his connections with the theatre. Beyond two concrete instances of theatrical composition, which did not escape the scholars,1 practically nothing remains, musically, to speak for closer ties with the theatre. Yet it is only reasonable to assume that, as the leading musician in the Mantuan Jewish community, Rossi contributed interludes of various sorts to the one or more annual productions of its theatrical troupe. Since the musical evidence for Rossi’s theatrical associations concerns the non-Jewish theatre, it is no less reasonable to assume that Rossi furnished music for productions of non-Jewish companies as well.
Conclusions
Authors: Frogley Alain 
Published: November 2023

Abstract
The manifold insights afforded by the Ninth Symphony manuscripts amply justify Vaughan Williams’s modest statement that in the case of this sym phony ‘it might be useful to show the scaffolding’. It remains to review some outstanding features of this scaffolding, to identify wider patterns in its development, and to consider to what extent its investigation has furthered the goals outlined at the beginning of this study. In the main, a detailed study of the manuscripts confirms the importance for Vaughan Williams of the written stages of composition. Hardly any principal themes or major compositional developments enter the written records fully fledged: the great majority pass through several stages of revision before coming very close to their final form. Even where there is a striking leap, such as in the climax of the first movement, the core elements of the new step are usually present in previous work; in some instances there may be evidence that manuscript material has been lost. Nevertheless, it would be rash to assume that wherever a pattern is broken written work originally filled the gap. For instance, obscurities in the genesis of the large-scale form of the fourth movement may indicate that material has been lost; on the other hand, for Vaughan Williams at least, problems at this level may not easily have lent themselves to resolution through written work.
Liturgical Books and Plainchant Sources
Authors: Hiley David 
Published: November 2023

Abstract
The books in which the plainchant has been recorded since Carolingian times are diverse in nature and complex in content. This is chiefly because different books contain material for different parts of the liturgical round and for the use of different personages involved in the celebration. The possible combinations are quite numerous, and at different times and places a multitude of different selections of material have been made. Some important distinctions which should be borne in mind are: between books containing texts and music to be recited or sung, and books of instructions as to how the liturgy is to be celebrated;
Practical Information about the Mandolino for Players and Makers
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
Needless to say, for sources of four-course music, only the highest four notes are required; for five-course sources, only the highest five notes. The only exception to this tuning in the mandolino repertory occurs in the Contini and Sauli manuscript (CS-CSSR:Pu II KK 36) in which items 2–7 require the fourth course to be tuned a semi-tone higher to f’.From its earliest history, gut strings have been used on the mandolino, as they are still used on the Milanese mandolino today (though the modern instrument normally has six single strings). These were plain strings of different thicknesses, and, even when overspun or wound strings came into use in the second half of the seventeenth century, they were generally used only for the sixth and possibly for the fifth course(s). Modern nylon strings are a reasonable substitute for gut, and nylon does have the advantages of being readily available and lower in price.
Vocal Music
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
If anything, American vocal music is even more tangled, more maze like, than American instrumental music. In instrumental music one has only the tunes to worry about; in vocal music there are the words as well. When Newman White wrote of black American song, ‘Generally speaking, practically any stanza is at home in practically any song,’ he was hardly exaggerating. In 1845 it was remarked that Tunes show the same protean quality. The same tunes often did service for work songs, spirituals, and other purposes. British folk tunes might be transformed into blues. Instrumental and vocal tunes changed places. Take, as an example, the tune of ‘Pretty Polly’ (Exx. 18 and 82). It originated as a slightly Africanized version of a British ballad. In this form it may be sung either completely unaccompanied, in the traditional British way, or with a banjo accompaniment.
The Matrix
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Ernest Newman wrote of Beethoven that ‘a great deal of his work can easily be shown to be a series of variations upon some ten or twelve protoplasmic cell-formulae; and the same holds good of all other composers’. This is true, and it is all the truer of music which is content to follow traditional lines and aims for neither novelty nor variety. In folk music, which is so much more a natural growth than composed music, the biological metaphor comes that much nearer to being a literal truth.
More About Primitive Harmony
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
A Regular back-and-forth motion like the swinging of a pendulum is one of the fundamental matrices of music. It is found at its most basic in simple chants like Ex. 92, to be heard at sports stadiums. This is a melodic example. Harmonic forms are equally possible, as in the regular swing between tonic and dominant so familiar in the Classical style, or the alternating discords of Debussy or Stravinsky. In fact it is such a simple idea that it can take almost any form, melodic or harmonic, diatonic or chromatic, consonant or dissonant. Some of the oldest harmonic progressions take this form, and here the most ancient and fundamental interval seems to be, not the fourth or even the minor third, but the tone.
Friendship with Van Dieren (1916-1917)
Authors: Smith Barry 
Published: November 2023

Abstract
Philip’s life was about to take another new direction. He now returned to Chelsea, where he rented a small two-roomed flat at 14 Whitehead’s Grove on the top floor of an old house surrounded by beautiful lime-trees just bursting into bud. He described it as very light and cheerful, ‘discreet and pleasant, quite un-English or at least un-Londonish with its queer-shaped rooms, full of nooks and crannies and secret cupboards, its casement windows and innumerable, gorgeous cats’1 who dined with him daily. It was scantily furnished with rows of books, two paintings by Adrian Allinson, a Tibetan devil, and a West African carving, features which Lawrence (having doubtless heard of them) would later incorporate into his description of Halliday’s fl.at in Women in Love, where ‘there were several negro statues, wood-carvings from West Africa, strange and disturbing’.
An Infamous Letter (1918)
Authors: Smith Barry 
Published: November 2023

Abstract
Soon after giving his Dublin lecture Philip had sent Taylor a copy of ten of van Dieren’s Dutch Melodies for piano, feeling sure that he would love them. Now, on 13 June 1918, he wrote again, this time asking him to try to find a publisher in London for these ‘exquisite works’. He felt that they were ‘of so delicate a nature that the mere dumb manuscript, left with a not over-intelligent or sympathetic publisher, might easily fail to convey the frail and subtle beauty of the music’. If, however, Taylor were to play them, Philip decided they would then have the best of all possible chances. He hoped, too, that Taylor would find an opportunity to visit the ailing composer and discover more about the man and his music. Although still confined to bed, van Dieren was working at a new string quartet which he was composing without any preliminary sketches or alterations, ‘directly into a fair-copy score, without any rough notes whatever’.
Folk Song and Nationalism
Authors: Kennedy Michael 
Published: November 2023

Abstract
It is convenient to date the beginning of the English folk-song revival from 1843, when the Rev. John Broadwood, who at the time was living in Worthing, published his Old English Songs as now sung by the Peasantry of the Weald of Surrey and Sussex. He had noticed the beauty of the songs sung by the country people at harvesting and other rustic festivities. His volume, which was published privately, contained sixteen songs harmonized by George A. Dusart, organist to the Chapel of Ease at Worthing. Dusart, unused to flattened sevenths, protested that the tunes contained wrong notes, but Broadwood told him: ’Musically it may be wrong, but I will have it exactly as my singers sang it.’ But Broadwood was not the first in the field. In 1812 R.
1914-1924
Authors: Kennedy Michael 
Published: November 2023

Abstract
‘I Feel that perhaps after the war England will be a better place I for music than before-largely because we shan’t be able to buy expensive performers etc. like we did.’ So wrote Vaughan Williams to Holst on Midsummer Day 1916, just before his ambulance unit left for France. ‘We don’t take music as part of our everyday life half enough-I often wish we could all migrate to some small town where there could really be a musical community-London is impossible from that point of view. Goodbye and good luck.’
1925-1930
Authors: Kennedy Michael 
Published: November 2023

Abstract
If we consider Vaughan Williams’s output between 1924 and 1930 and add to it the amount of teaching, conducting, lecturing and studying which was his lot, we can but marvel again at his energy and his powers of concentration. In these seven years, apart from minor works such as songs and arrangements, he began work on three operas-Sir John in Love, Riders to the Sea and The Poisoned Kiss-he sketched the first two movements of a pianoforte concerto and put them aside for six years, he wrote Flos Campi, Sancta Civitas, the Violin Concerto and Job. And he was joint editor of another hymn-book and a book of carols.
1931-1943
Authors: Kennedy Michael 
Published: November 2023

Abstract
The music of Job was played for the second time, conducted by the composer, in a broadcast performance from the London Regional station at Savoy Hill on 13 February 1931. By now British ballet had been born, with the foundation, early in 1930, of the Camargo Society. Geoffrey Keynes and his brother Maynard (whose wife was Lydia Lopokova) were among the leaders of this brave venture, and it was decided-on the insistence of Gustav Holst-that Job should be produced in the Society’s fourth season. The Keynes brothers and T. F. Dunhill bore the expense and Ninette de Valois was invited to be the choreographer. She and Lilian Baylis, of the Old Vic, had already seen and approved the Raverat settings on a model stage which Dr. Keynes and Mrs. Raverat had made in 1927. Miss de Valois studied the whole range of Blake’s drawings in order to gain suggestions for attitudes and gestures.
Common Sense and the Language of criticism
Authors: Frith Simon 
Published: November 2023

Abstract
In Chapter 1 I suggested that value judgments are the common currency of popular culture. Anyone who’s any sort of pop fan is used to the arguments involved—that’s a good song, a good tune, a good sound, a good beat —but such judgments have been of surprisingly little interest to cultural theorists. What’s going on when these remarks are made? What’s being described? What’s being inferred? What’s the point of making this judgment of this record in these terms at this moment?
Toward a Popular Aesthetic
Authors: Frith Simon 
Published: November 2023

Abstract
The academic study of popular music has been limited by the assumption that the sounds somehow reflect or represent “a people:” The analytic problem has been to trace the connections back, from the work (the score, the song, the beat) to the social groups who make and use it. What’s at issue is homology, some sort of structural relationship between material and cultural forms. From this perspective musical meaning is socially constructed; our musical pleasures are defined by our social circumstances. Marxist and Weberian musicologists alike argue that music is a form of ideological expression, not just in broad institutional terms (how it is played and heard), but also aesthetically, through the expressive dependence of the organizing principle of the music as a structure of willed sounds on the organizing principle of society as a structure of power.
Introduction
Authors: Sherr Richard 
Published: November 2023

Abstract
Rima la musica e poi le parole. According to Friedrich Blume, part of the ‘genesis of modern historical musicology’ itself is due to the music of Josquin des Prez. He tells a charming little story of how a ‘very young man’ came up to him one day in 192 7 full of enthusiasm (more strongly, actual ‘love’) for theMissa Pange lingua, the first mass by Josquin desPrez to appear in modern edition (in volume 5 of Ambros’s Geschichte derMusik ).The young man begged Blume to allow his students to sing the work, which he had ‘copied and mimeographed’, that is, copied by hand onto those purple-finger-staining sheets that some of us still remember, in a true ‘labour oflove’ (emphasis on the labour). That performance, born of youthful enthusiasm for the music, was, according to Blume, the fansetorigo of the torrent of words and editions that has appeared in the seventy years since, not merely about Josquin but about all of ‘early music’. The effect of singing the 400-year-old work was such that it awakened in Blume and his students a burning desire to know more, to hear more, to sing more of the music not only by Josquin but by his contemporaries. As a direct result of his experience with bringing the music ofJosquin to life, Blume founded the series Das Chorwerk, to allow more Renaissance music to be brought to life in modern edition. Countless editions and scholarly studies have followed, intending to bring more music and even the composers of that music to ‘life’. The flow is now subsiding under postmodern pressure, but it still has not been completely stifled.
Who Was Josquin?
Authors: Wegman Rob C 
Published: November 2023

Abstract
For all his legendary fame, Josquin desPrez remains a surprisingly elusive historical figure. Administrative records that refer to him with certainty are few, and give us no more than the sketchiest outline of a career, with little or no unusual detail to suggest a musician of unusual talent. Were it not for the quality of his music (whose distribution began in earnest in the 1490s), and for written evidence of the adoration of his contemporaries (surviving piecemeal for the 1510s, but proliferating rapidly thereafter), Josquin’s documented career would hardly have seemed of special historical interest. As a result, we are left to see the composer largely through the admiring eyes of his later contemporaries. It is through their hands that his music has reached our time. It is their image of Josquin the creative artist, the human being, that complements the skeletal image that emerges from the documents. Yet modern scholarship has learnt not to trust Josquin’s contemporaries-at least not unconditionally. They appropriated his music enthusiastically, made it their own, and perpetuated his memory, yet it is unclear whether their image of the composer may not be more revealing of contemporary pressures and concerns than of the man himself They reinterpreted his compositions, omitting or adding voice-parts, changing rhythmic and melodic details, retexting, re arranging, and revising them.