bluuebunny/crossref_metadata_2025_split huggingface dataset:
Facsimiles Of Chant Books
Authors: Hiley David 
Published: November 2023

Abstract
In a general sense a great part of the theoretical writing of the Middle Ages is of relevance to the plainchant repertory. For example, much could be made of the place of ‘music’ in the history of ideas in the Middle Ages, in the medieval cosmology. But this is not the place for such a demonstration, and no attempt can be made here to summarize all the possible themes. Instead, the following sections will comment on a restricted number of topics which touch directly upon chant composition and practice.
Plainchant up to the Eighth Century
Authors: Hiley David 
Published: November 2023

Abstract
Therest of this book is a survey which aims to provide a historical background to the previous parts. It is necessarily sketchy, both because of the nature of the evidence and because of the compression of material involved. Particularly for the early centuries, before music was notated, great care is required in considering the nature of whatever plainchant might have been sung. The issues are unusually complicated, much often depending on the interpretation of very brief references, or even single words. There is no space here for a detailed examination, and consequently no room for more than a rough indication of the directions in which recent scholarship has been moving.
Origins
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The small, pear-shaped, round-backed instrument, which was the ancestor of the mandolino, may have been known in medieval Europe from as early as the tenth century. Together with the ‘ud’ (developed later in Europe as the lute), the smaller instrument was one of the many introduced to Europe through western Islamic culture in Spain and southern Italy, legacies of the Arab world which have enriched our own.
Other Instruments Related to the Mandolino
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The soprano lute is a small but fully proportionate Renaissance lute used in the late sixteenth and the beginning of the seventeenth century. It is a rarely encountered instrument, usually having six or more courses which are meant to be tuned to the standard lute intervals of a 4th, a 4th, a major 3rd, a 4th, a 4th.
The Mandoline in France
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The eighteenth century was for France a period of massive economic decline, with the French people becoming increasingly unwilling to foot the bill for royal extravagance and for the disastrous series of wars in which the country was engaged. By the end of the Seven Years War (1756-63) fought against Britain and Prussia, France was virtually bankrupt.But against this backdrop of national insolvency, the elegant life of the titled and wealthy continued unabated, refusing to recognize the mounting economic crisis in France. Art, and in particular music, was eagerly patronized by the privileged strata of society. Opera thrived, as did instrumental concerts, the most celebrated being the regular concerts of the Concert Spirituel in Paris,1 which were held on days of religious significance when opera was considered unsuitable. This patronage encouraged singers and musicians throughout Europe to try their fortune in Paris (and in Lyon which was the second city of France),
The Mandoline elsewhere in Europe
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The mandolino was introduced into Britain early in the eighteenth century when Fr. Conti (see Chapter 3) performed at Mr Hickford’s dancing room in James Street, London, on 2 April 170T ‘The Signior Conti will play upon his great Theorbo, and on the Mandoline, an instrument not known yet’.1 This instrument enjoyed aristocratic patronage in subsequent decades, as Philip Mercier’s portrait of the Royal Family testifies. In this painting (National Gallery, London; reproduced in Tyler 1981a), Princess Caroline is depicted playing the mandolino.
Introduction
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Composers of the kind described as ‘serious’ were inclined to agree with Lord Peter, and even to concede that the fat man might have a point. As ‘long as they stuck to the diatonic scale, the familiar chords, regular bar rhythms and the rest of it, their music had a tiresome way of sounding as though it might have been written before 1900. Try as one might to be modern, one walked in fetters of convention. Such was the predicament of the serious composer. Meanwhile, non serious composers, whose indifference to musical theory often took the drastic form of complete ignorance, continued to use those hoary old formulas, and yet somehow their music was of the twentieth century, No one could mistake a Noel Coward waltz for a Strauss one. Think what one might of Gershwin or Cole Porter, one could not accuse them of sounding like Schubert or Hugo Wolf, Massenet or even Puccini. As for jazz, it was as typical of the 1920s as cloche hats or bathtub gin.
Europe
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
The European musical background presents unique difficulties, partly because it involves unique developments, both musical and social, and partly because anyone brought up in the European tradition is likely to find the very familiarity an obstacle to a clear view. The traditional attitudes of the musical establishment have not helped. To the naive ‘music lover’ there are only two kinds of music that really count. One is classical music, produced by geniuses, invariably isolated, towering figures who are misunderstood by their contemporaries, starve in garrets, and probably die young. The other is folk music, which is mysteriously evolved by illiterate peasants untouched by the nastiness of urban civilization. Nothing else is of any consequence. This view, though admittedly a caricature, is not far from that held in sober earnest by many good people; and it is also not far from that set forth in almost every book on ‘serious’ music up to about 1960.
North America
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
For Over three and a half centuries black and white Americans have been living, working, and making music together, or at any rate within hollering distance of each other. It would be a miracle if there had not been profound mutual influence, and such influence there undoubtedly was. But before analysing this in detail it seems well to look at the social background against which it took place.
Wholeness
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Once we get away from the familiar terrain of the major-minor system the question of what constitutes a musical whole arises. If it seems a simple question, this is because European classical traditions have simplified it for us. In European classical music from the Middle Ages to the twentieth century there is almost invariably a pre-ordained end. The movement executes a design, and once the design is finished the piece comes to an end.
The Blues Mode and the Twelve-Bar Form
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Many of the typical features of the blues can be removed without destroying the basic, unmistakable quality of bluesiness. We can take away the twelve-bar structure, the typical chords, the bent notes, the shuffling triplet rhythms, the half-speaking vocal quality—in fact we can remove the voice part altogether—and still be left with blues. And when we have eliminated the unessential features, what remains? What is the essence of the blues? All blues tunes have two things in common: one is syncopation, and the other is a mode, which is in fact not merely a mode, but a particular kind of modality, dominating and controlling the whole style in much the same way as a particular kind of tonality dominates the Classical style.
The Talking Blues
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Partly because African speech is itself so songlike, the boundaries between speech and song are often vague in Africa. A singer may drop into a speaking tone for a few notes, or work up from speech to song, or regularly alternate between a speaking and singing delivery. Or there may be long stretches of something intermediate between the two, variously called ‘sing song’, ‘recitative’, ‘sprechstimme’, and ‘melodic speech’. There are two aspects to this ‘sing song’, the rhythmic and melodic. If both are slightly regularized, the result is merely a stylized speech; if both are made completely songlike, the result is song. If one is regular and the other free, the result is a delivery which is either rhythmically strict but melodically free, or melodically strict but rhythmically free.1 Both these types are found in Africa, and both have passed into black American usage.
Why twelve bars? Why blues?
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
When W. C. Handy showed the publishers his ‘Memphis Blues’ back in 1912, he found that they were bewildered by the twelve-bar form. It struck them as lop-sided. We can hardly blame them, because this form was something completely new in music. Never before had there been a three-part tune-type, which derived its strength precisely from being in three parts. There had been twelve-bar tunes, but these were consciously asymmetrical. They were satisfying in spite of being in twelve bars; the phrasing lent a certain piquant irregularity to the effect. In any case, like the British twelve-bar tunes we have examined, they were probably essentially two-part rather than three-part structures.
Life in London as a Music Critic (1914-1915)
Authors: Smith Barry 
Published: November 2023

Abstract
Although he did not realize it at the time, the war was to have a catastrophic and destructive effect on Philip’s life. On his return from his brief holiday, he lost no time in moving to London and by October 1914 was happily settled in colourful new surroundings in Cartwright Gardens, Bloomsbury, near St Pancras station, where he rented a ground-floor bed-sitter for 17s. 6d. a week. He described the area to Delius as ‘a very jolly part of London …the neighbourhood is thoroughly alive—which is essential, for my liking—and unrespectable: at night the streets swarm with whores and hot potato-men and other curious and interesting phenomena: and the darkness which the fear of hostile aircraft has enforced upon the city, makes everything doubly mysterious, fascinating and enchanting’.
The Compact Disc Systen1
Authors: Pohlmann Ken C 
Published: November 2023

Abstract
Storing audio information places great demands on a digital medium. A 60-minute musical selection, recorded in stereo with PCM (pulse code modulation) at a sampling rate of 44.1 kHz and with 16-bit quantization, generates over 5 billion bits. Error correction, synchronization, and modulation are required for successful storage. The total capacity required is over 15 billion bits (that’s 15 thousand million). In addition, a commercially popular music storage medium requires random access, small size, convenience of use, robustness, low cost, and ease of replication. Clearly, digital audio’s requirements are considerable.
The Land Without Music?
Authors: Kennedy Michael 
Published: November 2023

Abstract
When Ralph Vaughan Williams was born at Down Ampney on 12 October 1872, English music was still drifting down the years of the Victorian era, leaderless and bereft of a sense of purpose. Music in England, on the other hand, was thriving. August Manns, at his Crystal Palace concerts, and Charles Halle, at his Manchester concerts, were introducing new works and had changed the nature of symphony concerts from a miscellaneous selection of music of varying types into a more selective and substantial evening’s listening. Christine Nilsson, Emma Albani, Trebelli, Santley, Reeves, and Tietjens-these were among the singers at festivals and the opera. London was still a vital port of call for all the great celebrities of the day. Joachim, von Bulow, and Rubinstein were among the frequent visitors from the ranks of the virtuoso instrumentalists. Anton Bruckner played at the inauguration of the Royal Albert Hall organ. If the Germans’ jibe that England was the land without music ever had any truth it can only have accurately referred to the state of our native creative production. To understand the background of Vaughan Williams’s youth, it is necessary to look closely at the generation of composers which preceded him.
1872-1895
Authors: Kennedy Michael 
Published: November 2023

Abstract
Vaughan Williams has written, inimitably, his own account of his musical upbringing. No great composer ever had a stranger one. His first composition, which still exists, was a four-bar pianoforte piece called ‘The Robin’s Nest’. This was shown to some musically inclined visitors to Leith Hill Place, one of whom inquired whether Ralph had learned any thorough bass. Shortly after this, his aunt-his ‘very maiden maiden aunt’ as Frances Cornford put it-Sophy Wedgwood, instructed him in this mystery from The Child’s Introduction to Thorough Bass in Conversations of a Fortnight between a Mother and her Daughter aged JO Years Old (1819). Next was Sir John Stainer’s Harmony and, when he was eight, he took a correspondence course in music at Edinburgh University and passed two examinations. He was taught the piano, which he did not like, and the violin. His first violin lessons were from ‘a wizened old German called Cramer’ and they were continued at his preparatory school at Rottingdean by the Brighton teacher W. M. Quirke. Pianoforte lessons continued from a visiting teacher, C. T. West, to whom Vaughan Williams was always grateful for the gift of Novello’s Bach Album, Bach was not played at Leith Hill Place. At a concert at Rottingdean, Ralph played Raff’s Cavatina, but it was Bach’s music which must even then have filled his mind.
1953-1958
Authors: Kennedy Michael 
Published: November 2023

Abstract
The Sinfonia Antartica was played for the first time at a Halle Concert in Manchester on 14 January 1953. At the last minute it was discovered that the spelling ‘Antarctica’ was incorrect in Italian and was amended. The occasion attracted wide publicity and the hall was full. As Richard Capell succinctly wrote in the Daily Telegraph’. ‘The composer was present, and when his tragic but uplifting music was over he received one of the great ovations of his long career.’ On the whole the critical verdict was favourable, although there was much debate whether it was a symphony. Colin Mason, in the Manchester Guardian, forthrightly called attention to the work’s ‘masterly and completely unified symphonic form’ and stressed the originality of its design and the symphonic logic of the treatment of the material.
Performing Rites
Authors: Frith Simon 
Published: November 2023

Abstract
Who’s better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren’t merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distil our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What’s good, what’s bad? What’s high, what’s low? Why do such distinctions matter? Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement as his subject - and discusses their place at the very centre of the aesthetics that structure and colour our lives. Taking up hundreds of songs and writers, Frith insists on acts of evaluation of popular music as music. Ranging through and beyond the twentieth century, Performing Rites puts the Pet Shop Boys and Puccini, rhythm and lyric, voice and technology, into a dialogue about the impact of popular aesthetics on our lives. How we nod our head or tap our feet, grin or grimace or flip the dial; how we determine what’s sublime and what’s `for real’-these are part of the way we construct our social identities, and an essential response to the performance of all music. Frith argues that listening itself is a performance, both social gesture and bodily response. From how they are made to how they are received, popular songs appear here not only meriting aesthetic judgements but also demanding them, and shaping our understanding of what all music means.
Masses Based on Popular Songs and Solmization Syllables
Authors: Blackburn Bonnie J 
Published: November 2023

Abstract
When Petrucci produced his first publication devoted to a single author, the Misse Josquin printed on 27 September 1502, five masses of the master suddenly became available in the form of part books. Hitherto the customary format for masses was the large church choirbook, sometimes very large indeed, that allowed all singers to read from the same book, placed upon a lectern. The new format, with a small oblong booklet for each voice part, first began to appear in manuscript anthologies of mostly secular music towards the end of the fifteenth century. In deciding to issue Josquin’s masses in partbooks Petrucci made a very shrewd calculation, for it meant that the music could easily come into the hands of small choirs and even individuals. The books could be used for rehearsal and carried to different locations. And the music could be performed with whatever combination of voices and instruments was at hand. (There were, however, drawbacks, for important aspects of the original notation were lost, as will be demonstrated below.) Petrucci’s turn to partbook format for sacred music marked the threshold of a new era, in which professionals, amateurs, and connoisseurs had equal (or at least easier) access to notated music.
Masses Based on Polyphonic Songs and Canonic Masses
Authors: Bloxam M Jennifer 
Published: November 2023

Abstract
JosQurn was probably born in the 1450s, the very decade in which Dufay composed theMissa Se la face ay pale, one of the earliest extant cyclic masses based on a cantus firmus extracted from a polyphonic song. By the time Josquin died in 1521, polyphonic songs (including both chansons and motets) had become a favourite source of material for a new compositional technique in mass writing known today as parody or imitation, in which the entire contra puntal fabric of the model is reworked in the mass. Crecquillon, Gombert, and Willaert, all young men at the beginning of their careers when Josquin died, established the parody mass as the principal type of mass composition in the six teenth century. The six masses attributed to Josquin based on polyphonic songs thus span a critical time in the development of the polyphonic mass, indeed in the develop ment of musical composition in the West.
Two Hymns and Three Magnificats
Authors: Sherr Richard 
Published: November 2023

Abstract
The composers ofJosquin’s generation, unlike those who came before or those who would come after, were not much interested in hymns and Magnificats. They leave a few settings of these genres, it is true, but nothing to rival the hymn cycle composed by Du Fay or the cycles of hymns and Magnificats that were to proceed from the pens of Elzear Genet, Costanzo Festa, Adrian Willaert, and many others. The reluctance, at least in the matter of the hymns, may in fact have been due to the success of the Du Fay cycle; in the papal chapel, for instance, the cycle served as the basis of the repertory of poly phonic hymns for about 100 years. Settings of two hymn verses are ascribed to Josquin in Vatican CS 15 in the midst of the large complicated collection of all the hymns of the church year that opens the manuscript. This collection incorporates Du Fay’s hymn cycle but adds many other settings and includes chant so as to provide for alternatim performance of all the verses of the hymns. The new cycle was copied in the late fifteenth century, possibly between 1495 and 1497, therefore very close to Josquin’s time in the papal chapel. It would seem to represent the workaday hymn repertory of the papal singers, providing them with music not only for hymns sung at the few papal Vespers in the Sistine Chapel but also for the daily Vespers that they were required to sing in the smaller chapel in the Vatican palace, the chapel of St Nicholas (later the Cappella Paolina).
Josquin and Musical Rhetoric: Miserere mei, Deus and Other Motets
Authors: Macey Patrick 
Published: November 2023

Abstract
That rhetoric played a central role in Renaissance culture is undisputed. It functioned as one of the agents, along with a new emphasis on philology, for restoring the lost eloquence of classical Latin, the language that provided the vehicle for the revival of learning. In particular the work of Petrarch in the fourteenth century signalled a movement to rekindle the ashes of classical culture, which had gone cold through centuries of neglect during the intervening Middle Ages. In Petrarch’s view, classical Latin had been reduced through the arid dialectical methods of the scholastics to a mere technical tool for demonstrating logical proofs and absolute truths, truths that came to have increasingly little relevance to the everyday experience of people living in the fourteenth century. Petrarch sought to capture in his prose and poetry another reality, the immediate reality of daily experience, with all its confusing variety and paradox; to accomplish this he needed to restore to Latin its classical subtleties and eloquence. By means of this newly honed instrument hegrappled with and articulated the manifold nature of quotidian experience.
Afterword: Thoughts for the Future
Authors: Fallows David 
Published: November 2023

Abstract
My very title looks hubristic. In Josquin studies, as in any research, most people build gently on what has already been done; and that seems the correct recipe. Iconoclastic studies that cut through swathes of unconsidered material are rare, difficult, and unpredictable though everybody wants them. When there are areas that remain relatively untouched that is rarely because nobody has thought of them but rather because nobody is yet in a position to tackle them. Even so, the editor’s invitation to glance at the tealeaves was flattering enough to be irresistible. It is easiest to start on solid ground with the NewJosquin Edition, planned at thirty volumes and likely to take at least another twenty years. Already in tl1e preface to the last fascicle of the Smijers edition (1969), Eduard Reeser had announced that plans were afoot for ‘a new edition of Josquin in which the greatly increased source material will be dealt with anew according to the now customary critical methods’. Two years later at the New York Josquin conference of 1971, there were more detailed discussions; and the project was properly launched in 1973 with the first meeting of the editorial board. Some fifteen years of often difficult activity later, the first volume appeared (1988, but with a copyright date of 1987). Ten years later still, as these words are being written, only three further volumes have been published. With teething problems resolved there is every hope that progress will now become faster; but the task will never be easy.