bluuebunny/crossref_metadata_2025_split huggingface dataset:
Hearing String Sound
Authors: Beamnt Jams 
Published: November 2023

Abstract
The previous chapters have outlined discoveries about the mechanism of bowed instruments, and how that produces the sounds in the air; for much of this we are indebted to a small number of skilled investigators working during the past fifty years. We now have to try to relate those sounds to the sensations we hear. At least one thing is helpful in this. Important aspects of instrument mechanism have been described in terms of pure tone vibrations, and what we have called their sustained pitched sounds are most easily appreciated as sets of pure tone harmonics. Some of the most useful knowledge we have of hearing has also been obtained by exploring with pure tones.
Purchase, Maintenance, and Children’s Instruments
Authors: Beamnt Jams 
Published: November 2023

Abstract
Most products arrive complete with manufacturer’s instructions, though often written in pidgin and always more concerned with protecting the makers against litigation than with helping the user. Violins don’t. There are a few big and many little things which need to be checked when buying an instrument, especially perhaps a small-size one for a child, some of which make all the difference to using it. There are things which have to be maintained, and there are symptoms of trouble, large or small, which will usually get larger if they are not dealt with when they are small. Even so simple a thing as winding a string on a peg has a best way and a way which can do serious damage. This chapter describes some things which ought to be in the instruction snot the maker’s instructions, because it includes things which should make one reject an instrument on sight.
John Zumpe and the English Pianoforte
Authors: Cole Michael 
Published: November 2023

Abstract
AtSome Timeduring the 1730s or early 1740s Samuel Crisp, a gentleman who had spent some time abroad,· returned to England with a pianoforte-according to Burney the first ever seen in England. It had been made in Rome by an English expatriate whom we know only as ‘Father Wood’. In 1747 the instrument was at Wilbury, the country mansion of Fulke Greville, who at that time or shortly afterwards paid Thomas Arne a large some of money to release the young Charles Burney from an indenture so that he could become Greville’s resident music master (in much the same way that Peter Beckford later employed the young Clementi). In one of the few fragments that remain of Burney’s autobiographical memoirs, there is a brief account of his experiences at Wilbury showing that, at a formative period in his life, the future music historian and composer had limitless opportunities for daily practice on this early piano-forte, at a time when very few people had ever seen such an instrument.
After Zumpe: Small Pianos in Europe and America, 1770-1795
Authors: Cole Michael 
Published: November 2023

Abstract
ThePhenomenal Success of Zumpe’s invention catapulted the pianoforte from relative obscurity to a position of considerable cultural significance in the space of only a few years. The importance of music in social gatherings, and the general admiration of anyone, but particularly ladies, who had the skill to provide musical entertainment at the keyboard, induced many harpsichord players to purchase a piano just as soon as Zumpe’s instruments began to appear. And, as Burney noted, by him¬ self Zumpe could not make them fast enough. The manufacture of keyboard instruments was carried out in quite small workshops within ordinary dwelling-houses by methods that made no sense whatsoever in terms of mass production. So the business run by Zumpe and Buntebart from the house in Princes Street was soon replicated by other craftsmen. On the whole, the new piano makers were not master craftsmen already established in harpsichord manufacture, who simply switched their production to a related kind of instrument. Mostly the piano-making workshops were new ventures with no previous history. AB noted elsewhere, harpsichord production was hardly affected by the rise of the piano for at least a decade.
Buying a Pianoforte: Extracts from the Twining-Burney Correspondence
Authors: Cole Michael 
Published: November 2023

Abstract
ThomasTwining Introducedhimself to Charles Burney (by letter) in 1773 after reading of his plans to publish a ‘History of Music’. Twining was an excellent linguist and classical scholar, and had made a particular study of the ancient Greek traditions linking poetry and music; it was his expertise in this area that he offered to put at Burney’s disposal. This friendly, open-hearted gesture was typical of the man. In fact it was only with Burney’s constant encouragement that Twining eventually published something on his own account—a translation and commentary on the Poetics of Aristotle (in 1789). He was a contemporary of Mason at Cambridge, but chose to spend the greater part of his life as a country clergyman at Fordham, near Colchester.
Beyond Zumpe: Improvements to the English Square Piano after 1780
Authors: Cole Michael 
Published: November 2023

Abstract
ConsideringThe LimitationsofZumpe’s non-escapement action, it is surprising how long a honeymoon period it enjoyed. For almost twenty years this very primitive mechanism was replicated in thousands of square pianos made in the ‘English style’, attracting very few adverse comments. It was not until 1783, when John Broadwood took out a patent for several ‘improvements’, that any significantly better mechanism was made in any quantity. That said, it was still basically Zumpe’s action. Three fur¬ ther years then elapsed before John Geib, in his London patent of 1786, laid the foundations for a truly expressive touch in the square piano, with a very long-lived design for an escapement action.
Johann Andreas Stein and the German Grand Piano
Authors: Cole Michael 
Published: November 2023

Abstract
WhenHe Arrivedin Augsburg as a 21-year-old, during his long, ill-fated journey to Paris, Mozart was about to encounter the developed form of the German fortepiano that was to play such a significant part in his life over the next ten years. Arriving late at night from Munich, one of his major priorities the next day, 12 October 1777, was to visit the organ and instrument maker Johann Andreas Stein. He had not visited Augsburg since he was a small boy, and among other things he was hoping to see the new claviers about which he had evidently heard very favourable reports. Mozart’s father, Leopold, was a native of Augsburg, and tolerably well informed about affairs there. His scheme was that if his son were to stop over for more than a few days, he should try to enlist Stein’s help in organizing an impressive concert before leaving town. In the event, when he approached the town councillors, they declined to support this pro¬ ject. Worse still, Mozart felt humiliated by their condescending attitude and was about to leave the town in a burning rage; but Stein placated the young man, and eventually prevailed upon him to stay until suitable arrangements could be made. Stein himself took the leading role in co-ordinating matters.
Mozart’s Own Fortepiano
Authors: Cole Michael 
Published: November 2023

Abstract
Of All Theinstruments that have come down to us from the eighteenth century, none is more revered and cherished than ‘Mozart’s own fortepiano’, which for many years has been standing in the Geburthaus Museum in Salzburg. The authentication of this instrument runs as follows.When Mozart arrived in Vienna, he did not possess a keyboard instrument of his own. For many months he lived with the Weber family, where he had the use of a harpsichord (which presumably belonged to them); but for concert opportunities during 1781 he was compelled to rely upon the generosity of Countess Thun, who allowed him to use her fortepiano made by Stein of Augsburg. But when he moved out, he needed an instrument in his room. In a letter of August 1781 he writes: ‘Now I am going to borrow a Clavier, for unless (I have one) in the room, I cannot live here.’ This borrowed or hired clavier had to suffice for a time, when he was very short of money, but later he acquired a fortepiano.
Harpsichord, Pianoforte, and Combination Instruments
Authors: Cole Michael 
Published: November 2023

Abstract
ThroughoutThe Eighteenthcentury the majority of musicians brought to their first experience of playing the pianoforte a prior knowledge of the harpsichord. Therefore, while they may have appreciated the advantages of the new instrument, their ears were accustomed to a different sonority, and their skills of hand and mind were adapted to the practicalities of performance on the older instrument, in the repertoire they already knew. The harpsichord’s quick speech and clear articulation were well suited to realization of mid-eighteenth century ensemble music, and also made perfect sense of the all-pervasive Italian style of keyboard writing. In a reciprocal way, perhaps one ought to say that the nature of the available music and musical tastes had been formed by the particular qualities of the harpsichord. So, when Charles Burney first sat down to a pianoforte in 1747, it was with the music of Handel and Arne that he tried out this unfamiliar instrument-not, be it noted, with their keyboard works as such, but with transcriptions of vocal and orchestral items. He found that the light and shade that he was able to impart to some favourite operatic excerpts gave the music a new life that the harpsichord entirely missed, yet he also quickly discovered that the action of the pianoforte did not respond nearly so well to rapid passages, such as were then familiar from the sonatas of Scarlatti. These were continuing problems. Until the very last decade of the eighteenth century the pianoforte was invariably compared with the harpsichord, and too often the proving ground chosen for the comparison was the harpsichord’s own repertoire.
Construction of the Early Piano
Authors: Cole Michael 
Published: November 2023

Abstract
InChapter 1we noted that no two of Cristofori’s surviving pianos are exactly alike. In fact, they vary to a surprising extent, though they were made within a span of only six years. Because they were handmade artefacts, produced in small numbers one after another, the maker was free to change his design as often as he liked. If the action parts inside them are taken out for examination, one sees with surprise how crudely they were fashioned, though they work well enough. The finish may be rough, but the maker expended a great deal of effort in free-hand carving on jacks and keys. If one then moves forward seventy years and pulls the action out of a Broad-wood grand from the 1790s, one can only marvel at the astonishing precision of every piece: the uniformity, the neat finish, the intricate design. It is an amazing contrast. One would think that the Broadwood piano had been machine-made, so high are the standards of workmanship. Nevertheless, the English piano is a handmade piece no less than the Italian, for it was not until the middle of the nineteenth century that machinery began to be used for the work to any significant extent. The following pages are intended to give a general picture of the methods and materials used in piano manufacture in the eighteenth century.
At the Keyboard: Touch and Tone in the Early Piano
Authors: Cole Michael 
Published: November 2023

Abstract
A Musician Whohas been trained exclusively at the modern piano may find many things unfamiliar when seated for the first time at a Viennese fortepiano from the classical period. Untutored in the special requirements of an antique keyboard, the modern pianist is likely to find the first touch of the keys either an alarming or a delightful experience-probably both. The keys are so small and so unresisting that, almost before one is aware of having pressed a note, a fortissimo has been sounded.
Fakes, Frauds, and Forgeries
Authors: Cole Michael 
Published: November 2023

Abstract
Fakes And Forgerieshave been produced in every age. For the purposes of establishing a history of the pianoforte firmly grounded in fact rather than fantasy, they need to be identified. We might distinguish four kinds. These are, first of all, fakes or counterfeits made during the same period as the object they copy. Second are frauds in the form of misleading alterations made to the inscriptions on otherwise perfectly genuine instruments (usually falsifying the name of the maker or year of manufacture). Third are material alterations to genuine instruments which significantly change some aspect of the construction or function-for example, redecorating the casework or adding spurious refinements to the action. (Sometimes later changes of this kind may be difficult to distinguish from alterations carried out shortly after an instrument was made, with no fraudulent intent what-soever.) Fourth, in ascending order of culpability, we come to the construction of counterfeit instruments in a later era for the purposes of deception. In this last category one would, of course, include the creative reassembly of otherwise genuine parts to make a fraudulent whole, as was so often done with old harpsichords (by dealers like Franciolini) to arouse the interest of late nineteenth-century collectors. Examples of all kinds will be mentioned below.
Musical Institutions in Bologna
Authors: Crowther Victor 
Published: November 2023

Abstract
Bologna’s prestige as a musical centre in the Baroque era rested upon the reputation of two of the city’s oldest institutions: the cappella musicale in San Petronio founded in 1436, and the Concerto Palatino,2 the town band, whose origins can be traced back to the work of town criers in the thirteenth century. They were state institutions, regulated and financed by Senate. The affairs of San Petronio were governed by a Fabbriceria comprising six elected senators, five serving in rotation whilst the sixth, a president, normally served for life. The constitution and conditions of service of the Concerto Palatino were also determined by Senate, advised by the magistrature.
The Cazzati Era, 1657-1674
Authors: Crowther Victor 
Published: November 2023

Abstract
What we know of the early development of oratorio in Bologna is information gleaned from printed librettos; no scores of full-scale oratorios have survived from the period 1657-74. The librettos contain rubrics signifying arias, sinfonias, and instrumentation, but our only guides to the quality of the music performed in the oratories are scores in closely related genres (e.g. spiritual cantatas, dialogues, etc.) produced by composers of oratorios (see Chapters 6 and 7).
Colonna’s II Transito di S. Gioseppe (1678)
Authors: Crowther Victor 
Published: November 2023

Abstract
Librettos of S. Gioseppe were printed in Bologna (1678), Modena (1681), Bologna (1685), and Faenza (1693). Two scores of the oratorio survive, one in Modena (I-MOe, Mus F. 298), the other in Naples (I-NJ, no. 476/ 4). Both performances at Bologna were given in the chapel of the Palazzo Paleotti on via San Donato. At the same venue in the 1660s the Paleottis had hosted Cazzati’s II transito di S. Giuseppe as well as Bernabei’s S. Christina, Cossoni’s Adamo, and Cossoni’s Dina rapita.
Perti’s La Beata Imelde Lambertini (1686)
Authors: Crowther Victor 
Published: November 2023

Abstract
Giacomo Perti was only 24 years old when he composed La Beata Imelde. In the spring of 1685 he had been in Modena, fulfilling a commission from the duke for an oratorio on the life of Moses, and providing an opera, Oreste in Argo, for the carnival season. By January 1686 he was back in Bologna directing two of his operas in the Malvezzi Theatre: L’incoronazione di Dario on 13 January, and La Flavia on 16 February. In March he presented La Beata Imelde as a tribute to one of Bologna’s most distinguished families, the Lambertini (see Chapter 1). It was the first oratorio in the Bolognese repertory to honour a local saint. The venue for the performance is unknown, but it may have been the sixteenth-century Palazzo Lambertini on the strada San Stefano.
Diverging Traditions 2: Europe
Authors: Fletcher Peter 
Published: November 2023

Abstract
The civilization that emerged in Europe was, ultimately, to prove more adaptable to change, and thus to show greater powers of evolution, than ancient civilizations to the east and south that preceded it. It developed, nevertheless, along familiar lines, with the progressive development of farming, pottery, writing, and monumental architecture. Until recently, it was widely accepted that its origin was in Crete, but recent studies suggest that it originated in the ancient civilizations of Egypt and West Asia. A Proto-Indo-European speech spread into Greece and Crete, from southern Anatolia, about 7000 BC, with the spread of farming. the original of Greek itself are still contentious. The view that it ‘arrived ‘ in Greece with Indo- European-speaking Dorian invaders, during the late second millennium, was compromised when the Cretan ‘Linear B ‘ dating from about 1450 BC and deriving from earlier models, were deciphered on the basis of Greek. In fact, invasions on the Greek mainland during the second millennium arrested the development of civilization there, while in Crete civilization was able to flourish.
Disintegration
Authors: Fletcher Peter 
Published: November 2023

Abstract
Many people would still agree today that the eighteenth century embodied much of what was best in the European cultural tradition; that, in that century, reason and order were blended with judgment and taste, to make possible in music, art, architecture and, characteristically, landscape-gardening-outstanding creations that still, uniquely, comfort the mind and the spirit. It can be no accident that the music of Bach and Handel, Haydn, Mozart, and early Beet hoven emerged during the eighteenth century. The musical formulas that generated this music are still to be observed in music produced according to the pluralist temper of the late twentieth century.
Tradition and Change
Authors: Fletcher Peter 
Published: November 2023

Abstract
It is probably fair to suggest that the world has changed more over the past 200 years than it did during the millennia that separated the Industrial Revolution from the Neolithic. This sudden acceleration of change has leant a new slant to the meaning of the word ‘tradition ’. Tradition tends now to be regarded as being antithetic to change—as representing customs that prevailed, before industrialization, urbanization, and electronic communications rendered them largely redundant. Tradition, however—even as thus defined—was never a stasis. Although throughout most of human history continuity was regarded as the touchstone of stability, were seldom stable for long. Changes in climate, for example, natural disasters, and frequent intrusion by one society into the affairs of another caused political and social change. With too slow a rate of change, societies stagnate; with too great or too continuous change, societies disintegrate.
Naming Names
Authors: Maconie Robin 
Published: November 2023

Abstract
asked to tell the difference between one sound and another, a lis tener today may respond in a number of ways. One high-tech method involves reproducing the field of varying intensities of a sound sample as a contour landscape representing amplitude as height, and frequency and time as longitude and latitude. An alter native is the two-dimensional sonagraph or ‘voice print’ used in language research, forensic acoustics, and studies of birdsong, portraying the shape of a sound as an evolving smudge. Electro cardiogram reports deal in rhythm and line, expressing in visual terms activity that a stethoscope detects as the sound of the heart beat; different medical conditions sampled at different points add up to characteristic patterns of frequency and amplitude, and com binations of waveform. Reading sounds in visual form is an acquired skill. We learn from such examples that sounds that are easy to distinguish aurally are not always as easy to distinguish in the visual domain.
Temperament
Authors: Maconie Robin 
Published: November 2023

Abstract
The idea of dimensioning pitch in equal intervallic steps has logic on its side. In various ways, pitch can be related to length, and as length is a continuum, so one assumes is pitch also. Western stud ies have tended to interpret exotic scales as alternative expressions of equal temperament. A. J. Ellis, the English translator of Helmholtz’s On the Sensations of Tone and an indefatigable annota tor of non-Western scales-as embodied in museum collections of wind and percussion instruments-promoted the view that equal divisions of the octave should be taken as the norm, leading the musicologist Carl Stumpfin 1901 to wonder how the Siamese were supposed to derive an equal-tempered seven-tone scale without the help of logarithm and square root tables (Schneider and Beurmann 1993: 198-9).
Discourse
Authors: Maconie Robin 
Published: November 2023

Abstract
There are those who declare music to be unintelligible. Presumably they find it so. Some make unintelligibility a virtue. In the opening sentences of Music and the Emotions: The Philosophical Theories Malcolm Budd challenges Rameau’s definition of music as the science of sounds, declaring that ‘when music is regarded as one of the fine arts it is more accurate to define it . . . as the art of sounds’, furthermore, ‘the art of uninterpreted sounds’ (Budd 1985: ix). In effect, ‘I do not think that music, considered as an art, ever does convey propositions of a philosophical kind’ (private com munication, 1993). I am sure he is not the only philosopher to think so. I also believe that if music could be shown to convey propositions of a philosophical kind, then that would be sufficient proof, in present company, that music is intelligible.
‘Bubbles’
Authors: Bird John 
Published: November 2023

Abstract
The City of Melbourne in the early 18Sos found itself at the core of one of the most dazzling explosions of affluence ever to hit any city or state anywhere in the world. A decade previously Melbourne, the capital city of the state of Victoria, had been unattractive and undeveloped. Unmetalled streets in and around the centre of the city within minutes of a downpour became oozing rivers of mud, churned up and rutted by the flow of the horse-drawn transport of the day. The stench from the huge open roadside sewers would make the warmer months almost unbearable. In the main streets they were so wide that footbridges had to be constructed to enable pedestrians to cross them unsullied.
‘The measure of my artistic defeat’
Authors: Bird John 
Published: November 2023

Abstract
Grainger’s concert season of 1927/28 took some new musical direc¬tions, and the general picture of his concert-giving was slowly changing. He was now beginning to shun the generally accepted centres of culture and instead was striking out for the smaller cities. He was trying to drop the label of star piano virtuoso. He began to feel at home with music clubs, chamber groups, school choirs, college bands and the smaller music festi¬vals far removed from the recognized cultural centres, and often received more enthusiastic playing from such musicians than from professional organizations.
History of Violin Frauds
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
False labelling of violins appears to be as old a practice as the existence of the violin itself. In the early years of the seventeenth century Matthias Albani’s instruments were consistently copied, with false labels, in his lifetime (1621-1712). In Italy the Hills in their monograph on Stradivari quote a petition to the Duke of Modena from a citizen (Vitali) which is dated in 1685 and con cerns a Ruggieri being labelled Nicolo Amati.1 This poses a very familiar problem of deception.