bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Idea of a Finale
Authors: Talbot Michael 
Published: November 2023

Abstract
Viewed naively, and of course quite improperly, as a belletristic text, the Ordinary of the Mass reveals many oddities, not to say shortcomings. The start is propitious: three statements of, Kyrie eleison,, three of, Christe elision,, and three more of, Kyrie eleison,. Here, there is economy of utterance and perfect ternary proportion on two levels. Were it not for a Trinitarian scruple that makes the subject of the second, Kyrie eleison, the Holy Spirit, in contradistinction to God the Father in the first, even more composers would have chosen a purely ternary musical structure for the movement. The Gloria is more problematic. Its eighty-four words and lack of simple repetition (although some phrases show parallelism) mean that unless special measures are taken, its length will greatly exceed that of the Kyrie, possibly with adverse consequences for the overall balance. From the Baroque period onwards, the Gordian knot is often cut, in that the Gloria is segmented to become sometimes as many as ten or eleven movements (as against the three of the Kyrie). Most pre-Baroque settings retain the Gloria as a single movement (albeit one often subdivided into sections) and adopt various expedients to cut down its length: severe rationing of melisma and word repetition, homophonic texture or imitation at exceptionally dose time intervals, and in extremis simultaneous presentation of different portions of text.
Mourning the Due d’Orl é ans: Donizetti’s Dom S
é bastien and the Political Meanings of Grand Opera
Authors: Smart Mary Ann 
Published: November 2023

Abstract
The march Donizetti describes here with characteristic wit-and perhaps with a hint of uncharacteristic pride-began life in the third act of his last opéra, Dom S é bastien . Mostly forgotten during the last century, Dom S é bastien has recently reappeared on the stage in performances at Bologna’s Teatro Comunale, where many listeners may have been surprised to hear in this funeral march a single familiar tune, a melody that appears lightly dis guised in the central section of Mahler’s ‘Die zwei blaue Augen von meinem Schatz’, the last song from the Lieder eines fahrenden Gesellen (1883) (see Exx.
England, the Low Countries, and Scandinavia
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
Although English publishers and aristocratic amateurs showed interest in the four-course guitar and its French repertory during the mid-sixteenth century, there is little evidence that the five-course instrument was known in England before the 1640s. Of course, it is likely that the exotic instruments played by the band of Gypsies in Ben Jonson’s 1621 court masque, The Gypsies Metamorphosed, were Spanish ‘guittars’.
Carrying Music to the Masses
Authors: Kildea Paul 
Published: November 2023

Abstract
There is no sign as yet of the one man who is both of sufficient character and sufficient inventive genius to alter the stream of music today definitely and conclusively. This is perhaps only to be expected; nature is not in the habit of throwing up a Titan every 50 years or so ... ... I have completed the Canadian work which I suggested to you a long time ago and about which Heinsheimer has always seemed so keen I dare sayyou will hear from him direct whether he thinks it will suit the American market or not. You see how commercially minded I am growing. The last century was a good time for children of shopkeepers. Politicians, intellectuals, Olympic athletes, and musicians of every kind emerged from behind the most unlikely counters. Edward Elgar, for example, died in 1934, whiskered, well fed, ennobled, and financially secure. His humble Worcester background was usually hidden behind his considerable achievements, although it was given the occasional airing---the gesture of a self-made man. To Siegfried Sassoon, Elgar ‘s appearance was that of a retired Victorian army officer, and his outlook that of an aristocrat-‘the Due D ’Elgar ‘. Although Elgar never became prime minister, the fate and fortune of one woman of background similar to Elgar ‘s, he did once consider becoming a Tory candidate for parliament and he met with Edward VII ‘s warm approval. He was appointed Master of the King ‘s Musick in 1924-a suitably archaic title for a position occupied by this status-conscious composer.
Britten and the BBC
Authors: Kildea Paul 
Published: November 2023

Abstract
Your tweeny maid or cook-general may be addressing a meeting at the Albert Hall on ‘How I would Govern Asia. ‘ ... You are enjoying, after long inductional training, an organ sonata by Sorabji. You cannot play it very well, as it is a trifle tricky, but you are revelling in a broadcast version from an organ with saxophones as pipes, and a jacquard-loom mechanism as interpretative artist. Your maid comes back tired, in spite of the ovation she has received, and says: ‘Ere, I can ’t abide that stuff; carn ’t yer switch over to Leipsic and get “Wink yer eye, Molly “ which is real good music? ‘ According to the democratic ... idea, she is just as good a judge as you are, and there is no such thing as an educated musician, or a musician at all.As broadcasting goes on, the technique of special composition for wireless will be explored more fully; but however thoroughly this art-in some aspects an entirely new one-is developed, the same root principles will always lie at the bottom of the best broadcast music: strong melody and simple texture. When Swinburne presented his socialist reverie to the Musical Association in December 1926, the British Broadcasting Company had only twenty-four days to live. The Crawford Committee, established in 1925 to evaluate the first few years of Britain ‘s broadcasting monopoly, recommended in March 1926 that the Company become a Corporation, and that it be granted a ten-year charter. Evidence presented to the Crawford Committee by interested parties listed the many objections to broadcasting: fewer people attended fewer concerts; popular songs endured less than six months where once they had lasted twelve; orchestras in hotels were being replaced by wireless sets; and performers were fast becoming consumers---content to sit and listen to the radio rather than practise their art.
Aldeburgh ‘s Court Composer
Authors: Kildea Paul 
Published: November 2023

Abstract
And yet-there was something absurd about travelling so far to win success with British operas that Manchester, Edinburgh and London would not support. The cost of transporting forty people and their scenery was enormously high: despite packed houses in Holland, despite financial support from the British Council in Switzerland, it looked as if we should lose at least three thousand pounds on twelve Continental performances. It was exciting to represent British music at international festivals, but we could not hope to repeat the experiment another year. ‘Why not, ’ said Peter Pears, ‘make our own Festival? A modest Festival with a few concerts given by friends? Why not have an Aldeburgh Festival? ‘ The above account of the Aldeburgh Festival ‘s origins, if not apocryphal, is not without mythical tinges. Like most classical myths, it has appeared in many guises since its first publication in 1948-its portentous words given more significance as each year passed and the Festival ’s achievements increased in number and scale. Like many myths, the delineation between good and evil is clear: the artist on one side, an indifferent society on the other. And although protestations of modesty underpinned Pears ’s suggestion, the idea of a festival in a town without an opera house, in a county without extensive rail networks, and in a country then with few motor cars was almost hubristic-with Pears as the self-styled Icarus, joining feathers together with wax before flying towards the sun. Where once Arachne had spun herself into hubris, Pears and Britten countedseats and measured the stage of Aldeburgh ‘s Jubilee Hall; this done to their satis faction, and the economic rationale for a festival in place, the revenge of the insulted goddess (Athene) was surely only a season away.
Editorial Problems in Mendelssohn’s Organ Preludes, Op. 37
Authors: zappalà Pietro 
Published: November 2023

Abstract
Felix Mendelssohn Bartholdy’s Three Preludes and Fugues for Organ, Op. 37 were published either in the last days of 1837 or at the beginning of 1838. As was customary at the time, the collection appeared simultaneously in two editions, by Breitkopf & Härtel in Germany and by Novello in England. A close comparison reveals that the two editions differ in many places, and although most variants are relatively minor and concern matters not particularly essential to the musical text, there are enough of them—more than one hundred in the preludes alone—to raise some important questions: Why are there so many differences between the two editions? How did these differences arise? Which edition offers the more reliable text? The editorial problems posed by Op. 37 preludes are exemplified in the primary sources.
Mendelssohn’s Cycles of Songs
Authors: Seaton Douglass 
Published: November 2023

Abstract
In the history of the lied it is generally understood that Felix Mendelssohn did not compose song cycles—unlike a number of his immediate predecessors and his contemporaries, most notably Franz Schubert and Robert Schumann. Nevertheless, the issue of cycles among Mendelssohn’s songs is one worth opening, and some phantom cycles might be detected from the evidence of the manuscripts, the song texts, and the music itself. The following discussion considers some of the grounds for regarding certain groupings of Mendelssohn’s songs as cycles. It begins by taking some straightforward cases among the composer’s part songs as models and then proceeds to examine some more problematic cases among his solo Lieder.
Music, Politics, And Patronage In Spanish And Portuguese Dominions In The Early Modern Period
Authors: Stein Louise K 
Published: November 2023

Abstract
This session brought together a group of scholars who study aspects of early modern Iberian, New World, and colonial music. In her introductory remarks, Louise Stein articulated and amplified the premiss upon which the session was predicated: that our fields of study are in need of renovation through the employment of new methodologies and through the embracing of disciplines beyond traditional music history.
Chant And Palaeography
Authors: Hiley David 
Published: November 2023

Abstract
This session opened with a summary of David Hiley’s keynote paper, which had been distributed in advance and which provided the main focus for discussion. Hiley first articulated the need to separate scientific study of chant notations from the aims of early palaeographers who wished to demonstrate the continuity of melodic tradition from early neumes to later pitch-specific notation. Secondly, he continued, it is important to consider the semantic purposes responsible for the development of various notational types in the context of scholarly debate over the oral transmission of chant. Thirdly, detailed palaeographical studies of the notations of individual regions are needed, especially for those regions where a high number of surviving manuscripts may demonstrate the transition from oral transmission to ‘partial’ (neumatic) notation and finally to ‘full’ (stave, i.e. pitch-specific) notation. Other points made in Hiley’s introduction were examined in greater detail by subsequent papers.
Music Between East And West: The Work Of Lutoslawski, Penderecki, And Gorecki In The Context Of Culture And History
Authors: Tomaszewski Mieczyslaw 
Published: November 2023

Abstract
The three composers named in the title of this session are well known both in Western Europe and in the country from which they come. Although the development of their music followed different paths, all three were shaped by a similar cultural and geopolitical situation. The objective of the Study Session was to present and to provoke discussion about this situation, that of a country in which influences from West and East clashed and in which, during the last half a century, creative activity had to take place in the framework of a totalitarian system.
Study Session 39‘To The Ends Of The Earth’: Refugee Musicians In East Asia And Latin America, 1933 1945
Authors: Weber Horst 
Published: November 2023

Abstract
The exodus of musicians from Europe initially caused by the Nazi takeover in Germany reached not only other parts of the Western hemisphere but also East Asia and Latin America. That migqtion was a very important step in a historical development we call today the globalization of Western music. The countries investigated in this Study Session-Argentina, a country of agrarian structure, and Shanghai, an international free port; Mexico, a left-wing country at that time, and Japan, later the ally of Nazi Germany-were selected for their different ethnic, political, and cultural backgrounds as well as for the different effects the immigrants had on musical life.
Study Session 45 Redefining The Low Countries
Authors: Kogle Karl 
Published: November 2023

Abstract
Musicological research about the Low Countries continues to be heavily influenced by ideas formulated in the early nineteenth century by historians such as Raphael Georg Kiesewetter and Frarn;:ois-Joseph Fetis.1 As a result, it is heavily slanted in favour of complex polyphony, while marginalizing other areas of musical creativity; it tends to focus on the fifteenth and sixteenth centuries at the expense of other periods; it privileges Flanders over other parts of the region; and the incorporation of scholarship from adjacent disciplines such as art history, literary history, architecture, and archaeology has been: minimal. This Study Session challenged the traditional picture by highlighting recent research in a number of hitherto under-represented areas of inquiry. Barbara Haggh pointed out that the majority of music manuscripts to survive from the region are chant books, and that the disciplines evolving around them, such as hagiography, codicology, palaeography, and church and art history, had and still have scholars from the Low Countries among their leading practitioners. None the less, the Low Countries remain marginal to chant research. Disentanglement of the various chant traditions coexisting in the region and an in-depth study of early chant notations from the area are urgently needed and would, in the long run, also enhance our understandingof complex polyphony.
Session 15: Nineteenth-Century Topics
Authors: Strasser Michael 
Published: November 2023

Abstract
Historians of French music have uniformly viewed the Franco-Prussian War as a turning-point in musical attitudes and style in France. However, the seeds of these changes were planted during the reign of Louis Napoleon. While Paris was preoccupied with lavish spectacle in the city’s theatres, ‘a new generation formed’, according to Romain Rolland, which was ‘serious, reflective, [and] attracted less to the theatre than to pure music’. The composers of this new generation manifested the growing disillusionment of intellectuals with French society. Their attraction to ‘pure’ German music likewise reflected the view, prevalent among many critics of the Second Empire, that Germany offered a virtuous alternative to the decadence of mid-nineteenth-century France. Through an examination of writings by Ernest Renan, Hippolyte Taine, Gustave Flaubert, and others, this paper traced the intellectual origins of the movement toward ‘serious’ music in Second Empire Paris.
Session 17: Gluck and Eighteenth-Century Aesthetics
Authors: Martina Alessandra 
Published: November 2023

Abstract
Le due Iphigenie di Gluck, ‘_vere’ tragedie per musica, costituiscono ii banco di prova ideale per saggiare ii ruolo della retorica nel melodramma e la differenza dai corrispondenti meccanismi della tragedia recitata. Nella scena Ill.6 di Iphigenie en Aulide Clytemnestre immagina di vedere la figlia sull’ara sacrificale. L’inventio (la scelta dei motivi e degli argomenti) étratta dal modello raciniano, ma la disposizione ed elocuzione de! testo risultano alterate: in particolare si privilegiano le figure che rendono tangibile l’immagine evocata (ipotiposi), mentre la disposizione de! testo segue una curva emozionale autonoma. Ne!complesso ii montaggio de! testo serve a costituire un discorso funzionale alia dinamica ed alia gestione musicale dell’espressivita (‘retorica musicale’). Percid vengono inglobati e abilmente miscelati solo i passi di Racine in cui i meccanismi di articolazione del testo sono diretti all’espressione delle passioni.
Session 26: Eighteenth-Century Instrumental Music
Authors: Monk Dennis C 
Published: November 2023

Abstract
The study of the history of music in eighteenth-century Vienna has suffered from the lack of reliable information about composers contemporary with Haydn and Mozart. One such composer is Franz Asplmayr (1728-86), who was well known in his time for his ballets, Singspiele, symphonies, string quartets, and other chamber music. Asplmayr and Haydn were colleagues at the court of Count Morzin, and the former participated as violinist in the first public reading of the latter’s op. 33 string quartets. There is evidence that a significant number of Asplmayr’s string quartets predated Haydn’s op. 9 quartets. This paper, based on a study of the existing manuscripts and prints, presented the most recent information concerning these string quartets. It offered observations regarding the style of the quartets, and concluded with comments on the relationship between Asplmayr’s style and that of Haydn, including the possibility of influence.
A Rubber Band
Authors: Elder Mark 
Published: November 2023

Abstract
The way we might make a bridge between the twenty-first century and a living tradition of music-making so inadequately handed down to us is an enormous topic. But one of the exciting aspects of the search is that our sense of inadequacy gradually becomes diminished. As time goes by we learn a bit more. Julian Budden’s books about Verdi, for example, came out some while ago, yet they still mean a great deal to me and my generation of Verdi performers; for the first time we had a reliable reference book to which we could turn for answers to some of our doubts, to learn more about Verdi’s compositional process and how to tackle performance—things we could apply directly at 10.30 in the morning, in the theatre, faced with singers.
Legitimation Crisis
Authors: Prendergast Christopher 
Published: November 2023

Abstract
Ingres did another portrait of Napoleon. It is a coronation picture of Napoleon seated on the imperial throne (Napoléon ler sur le trône imp érial) (Plate 4). Although we shall be staying with the coronation, it is perhaps wise not to dwell for very long on Ingres’s depiction of it. Napoleon stares out at you as if he were Jupiter (Ingres himself will propose just this analogy, Jupiter’s posture in the later Jupiter et Thétis being an almost exact replica).
The Moment of History Painting
Authors: Prendergast Christopher 
Published: November 2023

Abstract
To speak of the ‘moment’ of history painting is potentially to speak of many things, to move between several levels of reference and meaning. One is external, the moment of history painting in the historical sense, though here the meaning will oscillate between singular and plural-the plural designating the history of history painting as a series of moments (periods), the singular designating rather the idea of a privileged moment, the high point, the period when the cultural conditions most favourable to the genre are in place. Another level is internal and concerns the moment in history painting, the moment of action (or inaction) selected for representation.
Painting War (I)
Authors: Prendergast Christopher 
Published: November 2023

Abstract
If the Napoleonic period is short on cultural coherence, it certainly leaves us with a plethora of curiosities attesting to its dynamic inventiveness, especially of the sort that confound the distinctions and taxonomies from which a sense of cultural coherence is normally built. A particularly telling example of the cultural bric-à-brac of Empire was created on the heels of that other extended exercise in symbolic bricolage, Napoleon’s imperial investiture: in the week following the coronation ceremonies at Notre-Dame and the Invalides, Napoleon attended a gigantic and protracted reception at the Louvre for the armed forces.
Art and the State
Authors: Prendergast Christopher 
Published: November 2023

Abstract
During the Revolution, Vivant Denon, future director of the Musée Napo léon, found himself in the company of Robespierre-who had just emerged from a lengthy meeting of the Comité de Salut public--discussing David’s drawings of the revolutionary costumes that were to be used in the great public fêtes (Denon himself had been commissioned to produce some engravings of these drawings).
Introduction: The Earliest German Ramism
Authors: Hotson Howard 
Published: November 2023

Abstract
Ramism was rediscovered as a major cultural force by Samuel Eliot Morison in a trilogy of stout volumes published to celebrate the tercentenary of Harvard College in 1936. The thorough integration of this hitherto little-known philosophical tradition into the curriculum of the young college was seized upon as a highly distinctive feature of the American intellect in its infancy; and three years later Perry Miller gave Ramism a central place in his sympathetic and enormously influential account of The New England Mind.1 After tracing the transmission of Ramism back through William Ames to Cambridge Puritanism, American scholars, like their colonial predecessors, were happy to regard Ramism like Puritanism as a more or less self-contained, Anglo-Saxon phenomenon.
Acting Between the Lines
Authors: Richtarik Marilynn J 
Published: November 2023

Abstract
Acting Between the Lines is the first full-length study of Northern Ireland's Field Day Theatre Company. Since its creation in 1980 by actor Stephen Rea (The Crying Game) and playwright Brian Friel (Translations, Dancing at Lughnasa), Field Day has established itself as one of the most important elements in contemporary Irish culture. From its base in Northern Ireland, the Company has brought challenging drama to the entire island, 'from Coleraine to Kerry'. With the addition to its board of directors of poets and critics such as Tom Paulin, Seamus Heaney, Seamus Deane, and broadcaster David Hammond, Field Day has ventured into the realm of the more explicitly political with a controversial pamphlet series. Marilynn Richtarik has written a fascinating introduction to Field Day, providing a senstive analysis of the complex interrelationship of Irish history, politics, and culture.
Decadents and Wagnerites: Beardsley and Wilde
Authors: Sutton Emma 
Published: November 2023

Abstract
The publication of Wilde’s Dorian Grayin 1891 has become a landmark in histories of British decadence.2 The novel’s preface was a manifesto of amoral anti-utilitarian art; its pages were littered with references to French decadent literature; and its protagonist was an effete hedonistic aesthete. It became one of the most contentious British novels of the decade, and an exemplary ‘decadent’ work. A seminal text from many critical perspectives-aesthetic, biographical, sexual, and legal-its centrality rests both on its subject and stylistics, and on the crucial part that it played in Wilde’s trials of 1895.
King Charles’s Inheritance II: The Matter of Religion
Authors: Woolrych Austin 
Published: November 2023

Abstract
So large did religious differences and fears loom in the course of Charles’s reign that it may come as a surprise to find how relatively stable the religious situation was when he came to the throne, at least in England and Scotland. James had inherited a Church of England which had won the loyalty of the great majority of the English people, and thanks to the firm measures of Elizabeth’s later years it had little to fear from either catholics on the one side or Presbyterians or separatists on the other. That was still true when he died.