bluuebunny/crossref_metadata_2025_split huggingface dataset:
Sung Songs nos. 4 and 5 (1971) Barbara Pentland (horn 1912) Translation by Clara M. Cadlin
Authors: Manning Jane 
Published: November 2023

Abstract
This distinguished Canadian composer is one of the early pioneers of the 12-note technique in her country. Her sensitivity to the voice is apparent in these songs. They are the second of two groups of Chinese settings, and more advanced stylistically than the earlier set (Three Sung Songs, 1964). They contain some musical difficulties but are extremely rewarding to a skilful and painstaking artist.
At the Edge of Time (1982) Brian Elias (born 1948) Text by Mervyn Peake
Authors: Manning Jane 
Published: November 2023

Abstract
The composer’s beautifully bold handwriting instantly encourages the performer. The refinement and delicacy characteristic of his music is at once apparent. Such meticulous details of nuance and accent and flexible and subtle rhythms demand dedication from the singer, who will be amply rewarded. Bar-lines are omitted in the third song and again at the very end of the cycle, but conventional notation is otherwise used. The musical idiom is atonal, but constant repetition of intervals and pitch cells are a good means of orientation for singers worried by intonation problems. The dramatic scope is very wide indeed. This is a superb vehicle for a tenor of high musicianship and powerful presence.
Songs in Praise ofKrishna (1970) George Rochberg (born I 9I 8) Translation from the Bengali, edited by Edward C. Dimock Jr. and Denise Levertov
Authors: Manning Jane 
Published: November 2023

Abstract
This ambitious and masterly cycle of 14 songs is, as the composer says, operatic in concept; it runs the whole gamut of emotions, portraying the love story of the beautiful girl Radha and the god Krishna of ancient Indian legend. It is a rewarding vehicle for a gifted performer as there is every opportunity to display the widest variety of technique and dramatic colouring and mood, without putting any strain on the voice.
Sun, Moon and Stars (1978) Elizabeth Maconchy (born 1907) Text by Thomas Traherne
Authors: Manning Jane 
Published: November 2023

Abstract
Elizabeth Maconchy’s enchanting and lyrical short cycle of four perfectly contrasted songs is written with complete mastery and integration of style. Tone colours and placing of the voice are heard very keenly. The text is beautifully set to make the voice glow with bright resonance. The writing shows craftsmanship, control and delightful spontaneity.
Who Wrote Ninot’s Chansons?
Authors: Litterick Louise 
Published: November 2023

Abstract
During the late fifteenth and early sixteenth centuries, a number of new secular styles began to appear in chanson sources. One that came to prominence in the first years of the sixteenth century is generally referred to as the four-part popular arrangement, a designation that reflects the assumption that pieces in this style are built on pre-existent popular melodies and their associated texts. The texts appear to be free combinations of various borrowed elements. They evoke a pastoral context rather than a courtly one, and they tend to be irreverent, sexually nuanced, and playful.
The Orchestra in Germany
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
The orchestra was born in Germany into a political and social environment quite different from that of Italy or France. The German-speaking lands in the seventeenth and eighteenth centuries were a patchwork of principalities: kingdoms, dukedoms, free cities, ecclesiastical states, and others-over 300 distinct political entities in all. Except for the free cities, each of these principalities was ruled by an individual sovereign-an emperor, king, prince, duke, or bishop-surrounded and assisted by family, nobility, bureaucrats, artisans, soldiers, and servants, organized into a court (Hof). A large court, like the Imperial court at Vienna in the mid-eighteenth century, could encompass as many as two thousand people; a middle-sized court, like Mannheim during the same period, numbered five hundred to a thousand; a small court a few hundred.
Placement, Seating, and Acoustics
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
Queen Christina of Sweden, having abdicated her throne and announced her conversion to Catholicism, was welcomed to Rome in 1655. Her arrival was celebrated at the carnival of 1656 with a spectacular Giostra delle caroselle outside the Barberini palace, as shown in Plate XII. In the center Don Matteo Barberini and two other Roman noblemen pose as Amazonian Indians in feathered headdresses. Parade floats carry mythological and allegorical figures: Hercules and a monster, a winged Cupid, the sun, and the four seasons.A contemporary account describes the music for this gala occasion: In the great courtyard of the palace ... were constructed two spacious grandstands capable of holding up to 3,000 persons.
Orchestral Performance Practices
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
Roger North, the English lawyer, parliamentarian, and musical amateur, in his manuscript notebooks written at the beginning of the eighteenth century, proposes a startling theory of instrumental ensemble: [With] violino’s set to play the same lesson, if perfectly in tune with one another, it is better music when one goes a little before or behind the other, than when they play (as they zealously affect) to a touch together. For in that, nothing is gott by the doubling, but a litle loudness; but in the other way, by the frequent dissonances there is a pleasant seasoning obtained. And let anyone say why a consort of severall parts, performed by diverse hands, makes a better harmony than when the same accords are heard out of one and the same instrument, unless it be allowed that the various movements by reason of different manners of handling, intersperseth some dissonances which makes a seasoning to the consort.
The Eighteenth-Century French Cantata
Authors: Tunley David 
Published: November 2023

Abstract
The first edition of this book is the classic study of one of the most popular musical forms in early eighteenth-century France, not only because it documents and examines its considerable repertoire for the first time, but also because it places the genre in the wider context of both French and Italian baroque music styles. In uniting the two national styles the cantata was one of the major influences in transforming the seventeenth-century French classical tradition in music into a style that owed much to the Italian baroque, yet retained a distinctive gallic expression. As well as its musical interest, the French cantata provides an arresting example of the influence of society upon music, and the book commences with a chapter that views the emergence of the form in its social setting. Cantata texts enjoyed a vogue as poetry and this literary aspect is also dealt with in a separate chapter. This new edition incorporates research by the author and other scholars over the twenty years since the first edition, reflecting today's growing interest in French baroque music. It also features a new chapter dealing with the French cantata in performance.
The Early Cantata Composers (ii) Bernier And Battistin
Authors: Tunley David 
Published: November 2023

Abstract
Like Charpentier, Nicolas Bernier (1665-1734) studied in Italy, and on Lhis return held positions at Chartres Cathedral, and in Paris at St. Germain-I’ Auxerrois and Ste. Chapelle.1 He belonged to a circle of musicians associated with the Duchess of Maine, whose celebrated Nuits de Sceaux provided a number of opportunities for music of a semi-dramatic nature, and for some years he was musical adviser to the Duke of Orleans who, it will be remembered, was also the employer of Morin. Since Bernier’s teacher, Caldara,2 left some fine cantatas, it is not surprising that his French pupil was prominent in the development of the form in his own country. One of the most prolific cantata composers in France, Bernier published forty works of this kind, all but one appearing in a collection of seven volumes, and such was their popularity that, according to D’ Aquin de Chateaulyon,3 they were still being eagerly bought thirty years after the appearance of the seventh volume in 1713.
The French Cantata in Performance
Authors: Tunley David 
Published: November 2023

Abstract
The aim of this chapter is to describe what French composers themselves have said about performing their cantatas-either on their scores or elsewhere-and where possible through the evidence of the music itself to find answers to questions that might be posed by today’s singers and instrumentalists interested in performing some of this repertoire. It is taken for granted that such performers already have a general knowledge of baroque performance-practice. Contemporary interpretation of baroque music has undergone subtle changes since the early years of the twentieth century, when Dolmetsch and others began their pioneering and seminal research into the performance practices of the seventeenth and eighteenth centuries.
Violin Making in England in the Age of Purcell
Authors: Dilworth John 
Published: November 2023

Abstract
Although there is much documentary evidence of the long history of the violin in England, there are very few actual surviving examples of violins made in this country during the lifetime of Henry Purcell and before such as would enable us to know precisely what form of instrument he knew and composed for. Throughout Europe, styles and techniques of violin making, which profoundly affect the sound of the instrument, were diverse, and it was not until the middle of the eighteenth century that makers generally settled on one favoured pattern, that of the Tyrolean maker Jacob Stainer (born c.1617, died 1683). What few English violins of the seventeenth century we do have illustrate well this diversity of work, and give some evidence of the variety of contexts in which they were used. Most significantly, the short years of Purcell’s life, as both composer and keeper of the instruments in the Chapel Royal, mark a certain rise in the status of the violin-maker and his work, a rise which challenged the position of the viol-maker, an apparently discrete occupation in England during the seventeenth century but already an anachronism in Italy, which saw the most important developments in violin making.
Purcell Debauch’d: The Dramatick Operas in Performance
Authors: Burden Michael 
Published: November 2023

Abstract
With the exception of Dido and Aeneas, history has dealt unkindly with Purcell’s operas. Belonging to the short-lived genre of dramatick opera (or semi-opera, ambigue, multi-media spectacular, call them what you will which flourished in the early 1670s, and again in the 1690s and early 1700s, they are works with whose form the majority of later critics have failed to come to terms. The central issue is the question of-or lack of-integrated drama, an issue summed up succinctly by J. A. Fuller-Maitland in his note to the libretto of his 1898 edition of King Arthur. ‘The musical numbers are almost entirely incidental, that is, they seldom have anything to say to the main action of the play.’ Not only is Fuller-Maitland’s contention untruethe masques in The Fairy-Queen, for example, have everything to say about the action of the spoken dialogue-but his very language betrays a complete lack of understanding of the genre of the opera he was busily reorganizing. To refer to the score as consisting of ‘musical numbers’ suggests, rightly or wrongly, that Fuller-Maitland is treating the work as a ‘number opera’, which is, obviously, a totally different aesthetic concept; while to describe the spoken dialogue as ‘the play’, suggests with equal force that he sees the piece as incidental music to spoken drama, as opposed to spoken drama written or reorganized expressly for the purpose of dramatick opera.
Of Costume and Etiquette: Staging in the Time of Purcell
Authors: Eva Ronen Ruth 
Published: November 2023

Abstract
Although we have some idea of how Purcell’s operas sounded and how the music fitted into the plays for which it was written, we have little notion as to what the productions actually looked like, for there is a paucity of direct pictorial evidence. Further, we have lost much in the reading of the dramas, because we have little understanding of the etiquette of movement and gesture as they encode personal and social relationships of the time. The few illustrations we have of costumes for opera and ballet are at least one step away from the English Restoration. On the one hand, there are a large number of superb court masque designs by Inigo Jones, but these are works which predate the period. On the other hand, designs survive which are associated with contemporary opera productions staged not in England, but in France, although they were operas which influenced performances in London. However, both these groups of designs provide points of reference for the Restoration stage. In the discussion that follows I will examine the evidence that survives for both costume and etiquette, and will consider the possibilities these suggest.
L’arbore di Diana: a model for Così fan tutte
Authors: Link Dorothea 
Published: November 2023

Abstract
REPEATED attempts at finding a literary model for Cosìfan tutte have so far produced not a single source but several plausible ones, each of which lends a component to Da Ponte’s libretto. The wager theme, the Ovidian tale of Cephalus and Procris and the quartet of mismatched lovers have been traced to a number of other works.1
‘ ... new and altogether special and astonishingly difficult’: Some Comments on Junia’s Aria in Lucio Silla
Authors: Mahling Christoph-Hellmut 
Published: November 2023

Abstract
IN the Mozart literature there is virtually no indication that Wolfgang Amade, on his travels with his father before 1770, appeared not only as a violinist and pianist but also as a singer. While he apparently received systematic instruction in the piano and violin, there is no report, from his father or any other source, of any specific training in singing. In Nissen there is merely a mention that he had enjoyed singing as a child. The sole references to singing lessons come from the time of his stay in England, from April 1764 until July 1765, when he had instruction from the renowned and celebrated castrato Giovanni Manzuoli. Here the young Mozart would have become familiar not only with Italian singing technique, including the practice of ornamentation and the shaping of cadenzas, but also with the aesthetic attitudes governing the art of singing. Manzuoli would probably not have taken on a pupil who did not already have some singing skills; so it may be assumed that Leopold had his son instructed in the basic requirements of singing in the course of his general musical training.
‘II Compositore deluso’: the Fragments of Lo sposo deluso
Authors: Dell’Antonio Andrew 
Published: November 2023

Abstract
BETWEEN the composition of Die Entflihrung aus dem Serail and Le nozze di Figaro, Mozart started work on two comic operas that he never finished. The first of these, L’oca de! Cairo K.422, to a libretto by the Salzburg cleric and poet Gianbattista Varesco, can be dated with some certainty between August 1783 and the first months of 1784, on the basis of the extensive references to the opera in the correspondence Wolfgang exchanged with his father, Leopold, who was acting as intermediary between composer and librettist.
hier wird es besser seyn-ein blosses Recitativ zu machen ... ‘: Observations on Recitative Organization in Idomeneo
Authors: Rushton Julian 
Published: November 2023

Abstract
‘Here it will be better to have a mere recitative, well supported by the instruments.’1 In this justly celebrated letter to his father (rs November 1780) Mozart referred to the end of Act 2 of Idomeneo, where the monster has come from the sea to threaten Crete, amid ‘noise and confusion on the stage ... and a thunderstorm, which is not likely to subside during Herr Raaff’s aria, is it?’. In saying a ‘mere’ recitative Mozart was not of course aware of the his¬torical precedence of recitative over aria. Rather he must have assumed the precedence of measured music in opera of his own time, despite the example of the late operas of Gluck.
Percussion instruments
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
The earliest records of musical activity show performers exploiting the range of sounds obtainable when different objects are struck or rattled together. The ensemble described by the Old Testament psalmist apparently includes two types of cymbal with distinctive musical properties, as well as some kind of drum; composers of the present day occasionally call for a percussion section containing more than fifty different instruments. Despite their musical importance, percussion instruments have received relatively little attention from acousticians; although the general principles which govern their behaviour are well understood, many questions of musical significance remain unresolved. In this chapter, we offer a brief review of the present state of knowledge concerning that section of the orchestra known affectionately as ‘the kitchen’. Most of the references to historical developments and playing techniques are drawn from the volume Percussion Instruments and their History, by one of the greatest of modern orchestral percussionists, James Blades (1984).
Organs
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
In this chapter we shall be concerned with the traditional pipe organ, or church organ as it is sometimes called, and also a group of instruments which can loosely be classed as reed organs. This covers the regal, harmonium, American organ, accordion, concertina and harmonica. The acoustic principles on which these operate are in the main the same as for the woodwind instruments and these have already been described in Chapter 8. Despite the similarities, however, there are many special features which will need to be discussed as they arise.
Arnold Schoenberg
Authors: Whittall Arnold 
Published: November 2023

Abstract
On 7th December 1917, slightly less than two months after his forty third birthday, Arnold Schoenberg (1874–1951) was finally discharged from the Austrian Army. His first period of military service had lasted from December 1915 until October 1916 and this second short spell had begun in September 1917. The disruption to his creative work was considerable.
The Spread of Serialism
Authors: Whittall Arnold 
Published: November 2023

Abstract
The irony of Stravinsky’s adoption of twelve-note technique is often remarked on, since it came so soon after Schoenberg’s death. A deeper irony lies in the failure of Stravinsky’s late conversion to win yet more converts to serialism. In both America and Europe the possibilities of ‘total’ serialism had begun to be ventilatcil even before Schoenberg’s death.
The Radical Aesthetic
Authors: Whittall Arnold 
Published: November 2023

Abstract
Convenient categorization of the mass of composers, from Satie to Stockhausen, who are neither consistent upholders of the traditional tonal forms nor totally committed to the twelve-note technique, is virtually impossible. Basic distinctions can still be made between stylistic features and techniques, but in most cases it is the confrontation between different, if not opposing, tendencies which has produced memorable music: increasingly, to be a radical is to be an eclectic.
Towards The Condition of Music
Authors: Bowen Meirio 
Published: November 2023

Abstract
There is a knowledge concerning art, and this knowledge is something quite different from the immediate apprehension of works of art, even from whatever insight we feel we have gained by perceiving and responding to works of art. A simple statement such as ‘Art must be about something’ is innocent enough till we want to give a name to this something. Then invariably we delude ourselves with words, because with our discursive or descriptive words we cross over into the field of writing or talking about art. We have reversed ourselves.
Charles Ives
Authors: Bowen Meirio 
Published: November 2023

Abstract
Charles lves’s music became known in Britain very gradually—mainly through discs and BBC broadcasts. Most of his work has been recorded, and is discussed in many books on music and monographs. One of the best and most influential was Wilfrid Mellers’s Music in a New Found land, which illuminated many connections between American history, literature, and music. What emerges from all this is a sense of lves’s place in the formation of an American tradition, if such a national tradition were thought at all possible or viable in our age. (The problems of an English, or British, national musical tradition in relation to a comparable area to the west, and (to my mind) much smaller, but more intensive region of Europe to the east, are different and, for the moment, much less clear-cut.
Skchor A Modrn Oratorio
Authors: Bowen Meirio 
Published: November 2023

Abstract
This solo is ‘rhythmic translation’, either a sort of recitative, or sung speech, rising to specific points of expression by the slight use of purely musical means. The alto voice is conceived as a personification of the soul, the anima, descended into the deeps of chaos, whence she has drawn the gods after her. The great price paid for the necessary advance in empirical science is the severance of the spiritual union with the anima. Hence the accumulation of unconscious, dark, destructive powers that burst up in man as a disease, war, revolution, and so forth. Man, by bringing the gods down from heaven, has brought them into his own passions and body. As yet he does not comprehend this, and so the ‘Living God’ is a gnawing pain in the vitals. This section is as yet simply a statement of the position; the prologue in heaven.
St Augustine and His Visions
Authors: Bowen Meirio 
Published: November 2023

Abstract
My interest in St Augustine goes back a long way: I probably read his Co,ifessions in my youth. What brought me back to his writings subsequently was reading an essay by Gilles Quispel, one of a series of papers presented at the Eranos meeting of 1951, devoted to the theme of ‘Man and Time’.1 (Since their inception in 1933, these meetings have been held regularly at the home of Frau Olga Frohe-Kapteyn, on the shore of Lake Maggiore, near Ascona, in Switzerland. They were organized in an attempt to bring together a range of scientific thinkers to take stock of the world, away from the pressures of immediate, everyday situations. From the outset, the dominant figure was Jung. From the mid-thirties onwards, I read the annual proceedings, or Eranos Yearbooks, initially published in German; but the 1951 papers appeared in English translation.) In his essay Qµispel sets Augustinian theology in its historical context-noting, however, that every one of Augustine’s important doctrines was based on an error in the translation of the Bible! None the less, what attracted me was his account of Augustine’s theory of visions, which embodies profound psychological insights. Quispe! shows that Augustine’s subjective notion of time and of visions as products of the memory are consistent with the rest of his thinking, all of it with a strong emphasis on inwardness.
Aspects of Belief
Authors: Bowen Meirio 
Published: November 2023

Abstract
Although I speak now as an individual person hoping to convey to you what J believe, and though I must indeed speak with my own particular voice recognizably different from all the other fifty million or so voices of my countrymen; yet it is obvious that I am only a person whose individual characteristics and beliefs are embedded in a tremendous background of given racial and cultural traditions, of special aptitudes and disabilities I share with all the thousands of my musical colleagues, and of particular ways of thinking and feeling forced on me by my psychological type.