bluuebunny/crossref_metadata_2025_split huggingface dataset:
On revient toujours: Satie’s Last Ballets
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
On 23 January 1920 Louis Aragon, Andre Breton, and Philippe Soupault-directors of the new avant-garde review Littérature hosted an event to honour the arrival in Paris of Tristan Tzara, the Romanian Jew who, four years earlier, had helped to found Dada at the Cabaret Voltaire in Zurich and who was now, for the moment, the uncontested leader of the movement.
Vivaldi
Authors: Talbot Michael 
Published: November 2023

Abstract
Vivaldi has emerged during the last decades as a truly major composer of the early eighteenth-century. Taking account of recent research, to which he himself has made important contributions-including the discovery in 1973 of an unknown set of violin sonatas-Michael Talbot examines the life and works of this remarkable musician in their Venetian, Italian, and international settings.
The instrumental music
Authors: Talbot Michael 
Published: November 2023

Abstract
Vivaldi’s music for instruments falls into three broad genres: sonata, concerto and sinfonia. If one takes the catalogue of works in Appendix B as the basis of computation, discounting variants and excluding lost and incompletely preserved works, one arrives at a total of 92 sonatas (including two works with lute entitled ‘Trio’ and the Sinfonia al Santo Sepolcro, which is generically a sonata), 474 concertos and 14 sinfonias. This count includes some works recognized by many as spurious and – perhaps rather artificially – sinfonias not preserved independently of the larger vocal work to which all, presumably, originally belonged. By and large, I have followed Ryom’s system of classification, but a word of warning is needed: Ryom’s criteria of authenticity are bibliographical rather than stylistic, which means that provided that at least one original source names Vivaldi as the composer, the attribution is likely to stand regardless of any musical incongruity, unless another composer’s name appears in a concordant source whose reliability is thought at least equal. Without doubt, several unauthentic works are listed by Ryom as genuine. Conversely, one concerto (RV Anh. 91, for violin and cello) is regarded by Ryom as of uncertain authorship despite its evident (to me) genuineness. For statistical purposes, however, I shall treat as genuine all works presented as such in the most recent Ryom catalogue.
Playing in tune
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
In this chapter we consider the reasons why specific intervals and scales are used as the basis for musical composition in most Western music and also the significance of tuning variations in musical performance. We have already seen that pitch is essentially determined by frequency, although loudness also plays a minor role. The question is, why do certain combinations of frequencies sound more pleasing to the ear than others? This whole subject is one which is still quite unsettled and it is known that the answer as to whether a particular interval sounds consonant or dissonant to a listener is very much a question of musical training. However, in the Western world at least, certain intervals, namely the octave, perfect fifth, and major and minor thirds, are generally considered as consonant provided that the notes are tuned within certain limits.
Bowed and plucked stringed instruments
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
In this chapter we shall study the bowed and plucked members of the chordophone family. By far the most important group in this section is the violin family, so this will be considered first in some detail. The violin family originated in Italy during the Renaissance (1400–1600) alongside another similar group of instruments known as the viols. The violins did not evolve from the viols, but rather the two groups emerged from similar sources, the violins coming about a century later. In the early years the great composers wrote prolifically for both groups of instruments and there was keen rivalry between them. Gradually the violins, with their more powerful sound, found increasing favour amongst composers and virtuoso performers until eventually they reigned supreme for symphonic music.
The Nameless Hero: Reflections On A Child Of Our Time
Authors: Bowen Meirio 
Published: November 2023

Abstract
When any of you hear A Child of Our Tune for the first time, the most obvious thing to strike you will be the five Negro spirituals, which come at certain important moments in the story. I might call this the folk element in the work—folk-music and folk-poetry. The spirituals are appropriate only because the whole oratorio is not so much the record of an individual or personally peculiar experience, but of a common, or folk experience. What our forefathers might have called, even, a mythological experience. There are indeed ancient myths very similar to the underlying story of A Child of Our Time. Mythological heroes usually had names, though not really personal ones. (Apollo, for instance, probably means the wild apple.) But contemporary myths just have no names. A Child of Our Time, from its very title, has the anonymity of ‘The Unknown Soldier’, on the faceless Cenotaph. There was once a real story behind A Child of Our Time, just as there was a real soldier, whose body is buried at Westminster Abbey. We can never know the Unknown Soldier’s name-and whoever in fact played out the drama of A Child of Our Time to its tragic end, there is no name in the oratorio text.
The Resonance Of Troy: Essays And Comment Aries On King Priam
Authors: Bowen Meirio 
Published: November 2023

Abstract
In 1956, two continental theatrical companies came to London. One was the Berliner Ensemble with plays and productions of Bertolt Brecht. I found this visit exciting. I had read Brecht and his theories about his epic theatre, but had never seen the results on the stage. So it was a rewarding experience. The second company was that of Jean-Louis Barrault, and I saw their production of Paul Claudel’s Christophe Colombe, with music by Milhaud. This also exercised a decisive influence on me at a time when I was still searching for the right material for a second opera.
The Stage
Authors: Bowen Meirio 
Published: November 2023

Abstract
My first direct experience of professional opera was when I was a student in the 1920s and took part as an extra in a performance of Die Meist.ersinger at Covent Garden. Standing there amongst an immense chorus, I was impressed first of all by the sheer size and depth of the stage. What also became imprinted on my memory was the image of the man in the prompt—box-only visible to us performers—continuously conducting and mouthing words. The dimensions of the Covent Garden stage affected my thinking when, decades later, I embarked on The Midsummer Marriage. Maybe I tended too much then to discount the possibilities of those smaller theatres where, as it has turned out, all my operas have since been presented with some success: though; to be fair, regional opera companies in Britain had not acquired the stature they have now.
Madrigals, Songs, and Sacred Music
Authors: Williams Peter 
Published: November 2023

Abstract
Singers improvising music and composers notating it must always have known that they could respond effectively to (attract attention to) a text by introducing notes outside the prevailing mode or key. The later sixteenth century’s printed vocal music—a massive and dominating repertory—developed such chromaticism explicitly and systematically, producing both chromatic lines that wandered through the keys and wandering harmonies that produced chromatic lines. A German theorist of 1600 commenting on chromatics in music of Lassus (seep. 60) was merely identifying expressive out-of mode notes long known about and explored much farther than he knew.
Nineteenth-century Stage Music
Authors: Williams Peter 
Published: November 2023

Abstract
The long, slow falling bass line of C Bb Ab G for the opening chords of Mendelssohn’s Overture to Ruy Blas is archaic enough to signify a period tale, the musical equivalent of ‘Once upon a time .. .’, as too, perhaps, in the ‘Scotch’ Symphony. 1 The harmonies and their portentous scoring in Ruy Blas put one in the right frame of mind for the play that follows, and when Mendelssohn chromaticizes the bass for a dramatic theme later in the overture (Ex. 9.1), he has found what is probably his most original chromatic fourth.
Some Later Reminiscences
Authors: Williams Peter 
Published: November 2023

Abstract
This chapter is something of a scrapbook, a brief selection of unexceptional (if often unique) examples taken from music after Wagner and before 1950. They are offered hesitantly because, more often than is the case with earlier music, not everyone will hear a chromatic fourth in them or agree that it might be there even ‘accidentally’. But I think that the examples in this chapter give at least the glimpse of a musical thread unravelling after more than three hundred years; and with luck, others alerted to the theme will hear better examples than mine, particularly as many areas of twentieth-century music are barely represented here.
Ivanov’s First Ballets
Authors: Wiley Roland John 
Published: November 2023

Abstract
Known by any other name, such as ‘Lise and Colin’, ‘The Deceived Old Woman’, or ‘Vain Precautions’, and despite local variants in matters of names and staging, Dauberval’s ballet has always turned on the same plot. Girl loves boy, but is engaged by her avaricious mother to a rich but foolish rival. Mother berates daughter for persisting in her love, and keeps her locked up to protect her virtue. This is the vain precaution (in Russian the title is in the singular), for when the mother lets down her guard, which allows the beloved to enter the house and hide, it leads to a tryst. The couple are discovered, and the hint of compromise implicit in their meeting confounds the matchmaking, whereupon girl and boy are al¬ lowed to marry.
The Nutcracker
Authors: Wiley Roland John 
Published: November 2023

Abstract
The popularity of The Nutcracker today is so removed from the negative response to its first production that we do not suspect, let alone are we concerned about, the work’s long road to respectability. The ballet and the mores surrounding it have changed: it has become a Christmas ritual, an idea which had no particular currency in the imperial theatres, and we accept it in versions with significant adjustments in the story.
St Petersburg
Authors: Poznansky Alexander 
Published: November 2023

Abstract
During what turned out to be our last meeting in this world, one that I remember especially clearly, I persisted in renewing a topic of conversation I had already raised repeatedly with Pyotr Ilyich concerning his opera The Maid of Orleans. The charming first two acts of this opera had been a great success in their time, but the second half of the opera was considerably inferior to them and even spoiled one’s general impression of the opera. Neither Joan’s scene with Dunois, nor the scene in the cathedral, nor the Finale with Joan’s execution had been successful. All this I expressed frankly to Tchaikovsky, urging him to rework the second part of the opera. I spoke enthusiastically and warmly of the beauties of the beginning of the opera, and hummed for Pyotr Ilyich the melodies from my favourite passages, such as, for example: the marvellous hymn in the first scene; the lovely song of the minstrels in the second scene, Tn unbroken file we all hasten towards the grave’; the Cardinal’s arioso during the peal of thunder after Joan’s speech at court: ‘One must keep silent before the Word of Heaven!’ Tchaikovsky became interested in what I was saying.
Illness
Authors: Poznansky Alexander 
Published: November 2023

Abstract
Upon returning home early on Thursday morning, Tchaikovsky felt the first signs of a stomach disorder, which continued throughout the night. Not suspecting anything dangerous in the developing illness, which Pyotr Ilyich put down to a simple upset stomach, he took the notorious purgative Hunyadi-Janos, which, according to the doctor, can have an extremely bad effect on the stomach during cholera; this remedy, as it turned out, only added fat to the fire. By morning Tchaikovsky still felt well enough to set out to visit Eduard Napravnik; but before reaching the home of the latter he was compelled to return home in a cab, having begun to feel ill.
Randy Newman’s Americana
Authors: Winkler Peter 
Published: November 2023

Abstract
This essay is a study of the musical style of Randy Newman, one of the most intriguing singer-songwriters in the United States today. Since Newman’s is hardly a household name, let me begin with a biographical note. Born in New Orleans in 1943, Randy Newman moved to Southern California at the age of five and has lived there ever since. While still a teenager he became staff songwriter for a small publishing company, and in 1966 achieved his first commercial success with a song recorded by Judy Collins, ‘I Think It’s Going to Rain Today’. He began recording for Warner Brothers/Reprise in 1968, and has released an album every two or three years since then. Except for one hit, ‘Short People’ (1977), his music has appealed to a relatively small but devoted following. Unlike many contemporary songwriters, Newman is classically trained, and is a skilled orchestrator who writes his own arrangements, as well as arrangements for other artists and occasional film scores.
Popular Music Analysis and Musicology: Bridging the Gap
Authors: Middleton Richard 
Published: November 2023

Abstract
Since their beginnings, popular music studies have conducted an implicit (sometimes explicit) dialogue with musicology. To be sure, the musicological side of this conversation has more often than not been marked by insult, incomprehension or silence; and popular music scholars for their part have tended to concentrate on musicology’s deficiencies. But musicology is changing (more about this later); at the same time, recent work on popular music suggests a new confidence, manifesting itself in part in a willingness to engage with and adapt mainstream methods. I believe each needs the other.
Die Meistersinger: Wagner’s Exemplary Lesson
Authors: Goehr Lydia 
Published: November 2023

Abstract
Soon after the tenor began the ‘Prize Song,’ I heard a quick drawn breath and turned to my aunt. Her eyes were closed, but the tears were glistening in her cheeks, and I think, in a moment more, they were in my eyes as well. It never really died, then—the soul which can suffer so excruciatingly and so interminably; it withers to the outward eye only; like the strange moss which can lie on a dusty shelf half a century and yet, if placed in water, grows green again.
The Indian Subcontinent
Authors: Fletcher Peter 
Published: November 2023

Abstract
Of all the civilizations that evolved in the wake of the agrarian revolution, that of India has proved the most durable. Hinduism, the glue that bonded India ‘s diversity of peoples and beliefs, had its origins in pre-Aryan times, and is still a major social indeed, in India today, ancient rituals are still to be observed accompanied by chant in the Sāmavedic tradition, dating back to the second millennium BC (see pp. 102–3). Ageing men may still forsake family and worldly goods to become sādhus: eternal wanderers, in search of spiritual, who carry but a bowl, a staff and a blanket. Cows are still venerated to the extent that they have right of way on major roads. Highly intelligent medical men may deny all the science they ever learned to drink the muddy waters of the sacred Ganges and so purify their souls. Today, throughout the world, and in capital cities, exquisite performances of music and dance take place, aspects of which were first described in the Natyāshāstrā, a treatise on drama com piled during the first half of the first millennium AD.
Cultural Mix in Latin America
Authors: Fletcher Peter 
Published: November 2023

Abstract
The appropriation of the Americas by Europeans was one of the most significant occurrences in human history. It marked the first stage of European hegemony over a large part of the planet. It involved the near elimination of urban, agrarian, and hunter-food gathering societies that had evolved over some 2,000 years, in two entire continents. It brought into the same environment peoples of African, Asian, and European stocks. within a period of little more than fifty years, the New World became host to a lasting mix of peoples, the interaction of which-or lack of it-has had profound consequences for the history of humankind. Such interaction has also profoundly affected the subsequent. course of music. The early colonization of Latin America involved an extraordinary degree of serendipity. When Christopher Columbus, an Italian, alighted on the island of San Salvador in the Bahamas in 1492, he believed he had reached the mainland of Asia; he therefore referred to the native inhabitants as ‘Indians ‘.
Africans North of Mexico
Authors: Fletcher Peter 
Published: November 2023

Abstract
It is some indication of the degree of racial segregation that has characterized US history that US Africans are still referred to as ‘black ‘. Throughout Latin America, there was a long history of intermarriage between Europeans, Africans, and American Indians: in Brazil and the Caribbean in particular there developed large mixed populations. In the northern USA, by contrast, marriage between peoples of European and African descent was-·as it has remained-comparatively rare. A survey conducted throughout the USA in 1970 showed that only 1.5 per cent of every 1,000 US marriages were between blacks and whites; in 1990, the figure had only risen to 4 out of every 1,000.1 In the plantation states, during colonial times, a rather different situation developed. Particularly in the area around Chesapeake there was a shortage of women, both African and European: this gender imbalance, coupled with the harshness of frontier life and the need to procreate, caused n1ixed marriages to become more com1non there than in the North. To colonial whites, however, intermarriage between Africans and Europeans threatened the continuance of slavery, for slavery was justified on the presumed inequality of the two ‘races ‘. Early US legislators decided, therefore, that any person with even a drop of black blood should have the same legal status as a pure African.
The Twisted Genius and the Dinkum Aussie
Authors: Bird John 
Published: November 2023

Abstract
Ferruccio Busoni was in his thirty-seventh year when he encountered Grainger. Italian born and German influenced, this charismatic figure was already being accorded respect and often awe in cultural centres as widely separated as Boston and Moscow. As a composer he has never been given the recognition that some have considered his due, but as a pianist it is generally regarded that he took his art to unprecedented heights. His career as a touring virtuoso had brought him to England in 1903.
Shostakovich’s Literary Style
Authors: Savenko Svetlana 
Published: November 2023

Abstract
The writings of composers represent material of enduring interest. As is well known, Schumann, Wagner, Tchaikovsky, Scriabin, Prokofiev, and a whole host of other musicians were also active as journalists, philosophers, poets, or librettists, and their literary legacies have traditionally been made the subject of scholarly enquiry along with their musical compositions. It is also hard to overestimate the importance of personal writings such as letters and diaries for establishing a rounded picture of the creative personality. It should be noted, however, that composers’ writings are usually treated as biographical material rather than as works of art in their own right, and are only rarely subjected to scholarly analysis—of the kind which attempts to make a connection between the everyday, mainly colloquial, language of personal documents and the elevated style of deliberately artistic expression. Not all letters and diaries can sustain this level of close study, but in certain instances it can yield interesting results, and Shostakovich’s writings certainly fall into this category.
Shostakovich, LASM, and Asafiev
Authors: Fay Laurel E 
Published: November 2023

Abstract
Biographers have tended to tread gingerly around the issue of Shostakovich’s relations with the Association of Contemporary Music (ASM). While many history books routinely include his name in a long list of ASM’s members, his activities as a member and the extent of his allegiance to the ideals of the organization—at least as those ideals came to be articulated ex post facto in the mid-1930s—are frequently minimized; the fact of his membership in ASM is mitigated by his contributions to the proletarian cause, chiefly through his work in the Teatr rabochei molodezhi (TRAM). That this subject remains shrouded in confusion and misunderstanding, however, is demonstrated by the unequivocal declaration in a recent study that Shostakovich ‘was never an ASM member or even a close associate’.
Performance Practice and Rhythm in Hindustān-music
Authors: Clayton Martin 
Published: November 2023

Abstract
Rhythm in North Indian music is generated by the application of a variety of idiomatic processes or techniques of development, either precomposed or (more commonly) realized in extemporized performance. Rhythm is generated at a local level, although shaped by a sense of progression both within improvised ‘episodes’-within which particular musical ideas are stated and developed, and which must lead back to the fixed composition-and more loosely, over the performance as a whole. Any formal scheme which may be identified by means of synchronic analysis implies not so much an overall structural plan, as general tendencies in the performance process-typically of episodically organized development, expansion, increase, and intensification.
Damnation and After
Authors: Rushton Julian 
Published: November 2023

Abstract
Early biographers identified a writing block between Les Nuits d’étè and the major change in Berlioz’s life brought about by the success of his first tour in Germany as an advocate for his own work. Adolphe Boschot called 1841–2 ‘les annees mystérieuses’.1 This period is treated cursorily in the memoirs, whereas the reprinted ‘open letters’ from Germany, supplied to the Paris press, cover the first two tours in as much detail as one could desire. Marital breakdown and his affair with the singer Marie Récio, whom he eventually married after Harriet’s death, may explain his reticence about what, when he began to compile the memoirs, was still recent history. As he insisted, he was not writing confessions.
Architecture, Patriotism, and the End of the World
Authors: Rushton Julian 
Published: November 2023

Abstract
Berlioz sought employment in the theatre and the Conservatoire, but never in the Church, and his pronouncements about religious music are the aesthetic views of an increasingly unbelieving outsider. The Messe solennelle is one of three large-scale liturgical works in Latin, completed at twelve-year intervals. It shows signs that his taste was already developing in directions he later maintained. But his attitudes were not yet fully formed, although they were: hardly novel and had a direct source; for Jean Mongrèdien, Berlioz’s first article on religious music (1829) ‘seems almost to have been dictated by Lesueur’.