bluuebunny/crossref_metadata_2025_split huggingface dataset:
Some Historical Considerations
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
Of all the musical instruments which we call ‘modern’, perhaps none has changed more radically from its historical precursors than the transverse flute. To begin with, a visual comparison alone offers striking differences. The modern flute is usually made of metal and has complicated fingering mechanisms soldered to the tube. Renaissance, baroque, and classical flutes, on the other hand, are made of wood or ivory and are notable for their simplicity of design and comparative lack of mechanical devices. For much of the first half of the twentieth century (especially in the period between the two World Wars), the old-style flute was generally considered to be a historical curiosity and a museum piece. These were the years when the Boehm-style flute achieved virtually universal acceptance by professionals.
The Baroque Flute
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
The baroque flute emerged around 1670 and gradually evolved through several stages before becoming the classical flute in the second half of the eighteenth century. While it is easy to describe this evolution in general terms, it is more difficult to be very explicit about its development. Almost no surviving baroque flutes are dated. No baroque flute-maker’s diary is known to exist. No patents were issued. We must depend almost entirely upon known working dates of makers, iconography, and a few written commentaries to trace this development.
Buying an Instrument
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
The acquisition of a good instrument is an important and necessary step in undertaking the study of the traverso. No single instrument will play everything equally well; experienced players generally have a variety of instruments for use as the nature of the music requires one playing quality or another. A typical collection of a professional player might include a three-piece French baroque instrument of the Hotteterre type, pitched at A=392; a four-piece baroque flute suitable for Bach and Handel, modelled after originals by Bressan, Stanesby, jun., or Scherer, with a pitch of about A=415; and a classical flute of from one to eight keys based upon original designs by Heinrich Grenser, Kirst, or Tromlitz, playing at a pitch of around A=430 and suitable for Haydn, Mozart, and Beethoven. Some of the replicas of mid-eighteenth-century instruments by makers such as C. A. Grenser or Rottenburgh can serve to play music of both the baroque and classical eras; in this case, modern makers provide corps de rechange to enable the instrument to play at different pitches, as required.
Oberto Conte Di San Bonifacio
Authors: Budden Julian 
Published: November 2023

Abstract
A certain air of mystery surrounds Verdi’s first published opera. It is the only one whose literary source cannot be traced; and recent scholars have been in some doubt as to whether or not it is remodelled from an earlier one. In the biographical summary that he gave to Giulio Ricardi in 1879 Verdi is quite explicit. During his student days at Milan he had been introduced by his teacher Lavigna to the Philharmonic Society, one of those associations of aristo cratic dilettanti that formed the chief basis of concert life throughout Austria during the years that spanned the decline of the private musical establishment and the rise of the professional orchestra. At the time they were rehearsing Haydn’s Creation. One day, in the absence of one of their regular maestri, the director, Pietro Massini, asked Verdi to accompany from the piano, feeling unequal to the task himself.
I Lombardi Alla Prima Crociata
Authors: Budden Julian 
Published: November 2023

Abstract
Nabucco was, essentially, the beginning of Verdi’s star career. It was also the end of Giuseppina Strepponi’s. Although she was not yet thirty, ten years of unremitting stardom (interrupted by no less than three childbirths) had reduced that golden voice to a thread and now threatened the singer with consumption. She was in no position to do justice to the part of Abigaille. ‘Even that Verdi of hers didn’t want her in his opera ⃛’ wrote Donizetti after she had given a very feeble performance in his Belisario.* ‘That Verdi of hers’—prophetic words! But in 1842 they probably mean no more than ‘that Verdi she’s always talking about’. In other words she was one of Verdi’s earliest supporters, and after her partial recovery the few appearances that she made were nearly all in operas by him. As a star, even though on the wane, she was able to give him practical help.
Attila
Authors: Budden Julian 
Published: November 2023

Abstract
One of the inconveniences that Verdi had to endure after the success of Ernani was the importunity of Giovannina, wife of the publisher Francesco Lucca, Ricordi’s chief rival in Milan. Her husband, it seems, could not sleep for thinking of all the money he was losing through not having an opera of Verdi’s to publish. ‘When we are in bed,’ she told the composer, ‘he does nothing but sigh and groan all night.’* At the time Verdi got rid of her by a coarse joke. But by January the following year Muzio was able to announce that ‘the editor Lucca has at last got the ownership of an opera of the Signor Maestro’s; it will be the one for Venice for carnival next year.
I Masnadieri
Authors: Budden Julian 
Published: November 2023

Abstract
I Masnadieri, like Macbeth, originated in the convalescent holiday that Verdi spent with Andrea Maffei at Recoaro after the production of Attila in 1846. With Maffei at hand as librettist it seemed the most likely priority for Florence next year; so Verdi set to work on it in the autumn, and appears to have composed a good part of the libretto before he heard that the tenor Fraschini would not be available for the part of Carlo. He then postponed it for what promised to be a more momentous occasion: his first premiere outside Italy, to be given at that ancient stronghold of Italian opera abroad, Her Majesty’s Theatre, the Haymarket, London.
La Battaglia Di Legnano
Authors: Budden Julian 
Published: November 2023

Abstract
Verdi’s next two operas have a mutually entangled history. At the time of the production of Alzira Verdi had signed a contract to write another opera for Naples in the summer of 1847.* He then spent the next three years trying to withdraw from it on one pretext or another, partly because of the attention he received from the Neapolitan columnists, partly because, as he told Count Arrivabene, ‘the censor ship is too strict to permit interesting subjects’.t The events of 1848 gave him the excuse he wanted. After five days of street fighting the Austrians were driven from Milan by the citizens in revolt; Venice threw out its Austrian governor and proclaimed a republic; the Duke of Parma fled into voluntary exile; the King of the Two Sicilies was obliged to grant his people a constitution. In the general turmoil the management of the San Carlo Theatre changed hands, and Verdi, receiving no word from the new impresario, regarded his contract as null and void.
Formation of the Mature Style
Authors: Budden Julian 
Published: November 2023

Abstract
By 1850 Verdi enjoyed one material advantage over his colleagues: he was a man of property. He could, like Rossini, have retired from the theatrical world altogether as he had so often talked of doing- and was so to talk to the end of his career. In fact he merely accommodated his rate of output to the incidence of inspiration. Luisa Miller inaugurated a period of astonishing fertility that came to an end with La Traviata. Then the pace slackened; yet each successive opera was to encompass an ever widening range and depth of ideas so that poor Basevi, whose discovery of Verdi’s ‘second manner’ in 1849 has provided all subsequent writers with a useful point of reference, was driven to discover two further manners* in a study which stops short of Un Ba/lo in maschera.
Les Vêpres Siciliennes
Authors: Budden Julian 
Published: November 2023

Abstract
To conquer the stage of the Paris Opera at some point in his career was a necessity felt by every Italian composer who aspired to international fame. The advantages it presented have already been mentioned in Vol. 1 - a greater variety of musical forms than were available at home, a wealth of choral and instrumental resources, more interesting libretti free from the shackles of the Italian convenienze, and above all an audience eager for novelty. It represented a challenge, similar tp that of the symphony for the German romantic, and on the same analogy not to be undertaken lightly or without due preparation. Verdi had chosen the cautious approach of Rossini and Donizetti.
Simon Boccanegra
Authors: Budden Julian 
Published: November 2023

Abstract
At the beginning of 1855 while rehearsals for Les Vêpres Siciliennes were in progress Verdi twice refused an invitation to compose a new opera for the Teatro la Fenice, Venice, for the following year. ‘Various future plans stand in the way; but ifl am to be frank the chief obstacle is my unshakable determination not to bind myself any more to a definite period for either the composition or the production.’*
Aroldo
Authors: Budden Julian 
Published: November 2023

Abstract
That he would need to alter the final scene of Stiffelio if only for reasons of censorship had been made clear to Verdi soon after its first performance at Trieste; and a performance in Bologna in 1852 seemed to offer the right opportunity. Unfortunately the impresario, Lanari, had already decided to use the already bowdlerized version, Guglielmo W ellingrode, in which the German pastor is turned into a minister of state. Verdi would have none of it.
The Operas of Verdi
Authors: Budden Julian 
Published: November 2023

Abstract
This is the third volume of Julian Budden's monumental three-volume survey of the operas of Verdi. Hailed on publication for its extraordinary comprehensibility, the set has become the classic reference work on its subject. For this new edition the author has made a host of corrections throughout, and updated the text in the light of recent scholarship. Volume 3 covers roughly a quarter of a century, a period which saw grand opera on the Parisian model established throughout Italy, the reform of the Conservatories, and the spread of cosmopolitan influences to an extent that convinced many that Italian music was losing its identity. Verdi produced his four last and greatest operas - Don Carlos, Aida, Otello, and Falstaff - in this period, which ended with the advent of `verisimo', in which a new, recognizably Italian idiom was inaugurated. This volume also includes a new and substantial bibliography by Roger Parker.
‘The Songs of Solomon’
Authors: Harrán Don 
Published: November 2023

Abstract
All of Rossi’s collections are interesting for one or another reason, but ‘The Songs of Solomon’ are unique for being the first know Collection Of Polyphonic works set to Habrew texts. That in itself lends them historical significance. They stand out, further, for having a multipartite introduction of a length and complexity rarely to be encountered in the sacred musical repertory of the sixteenth and seventeenth centuries. In effect, the collection is a composite of apologetics and music, in which the various historical, literary, social, religious, and liturgical problems addressed in the introduction bear directly on the musical contents.
Music 1n Masques and Early Court Spectacle Plays
Authors: Stein Louise K 
Published: November 2023

Abstract
The political circumstances of the early decades of the seventeenth century, the taste and attitudes of the royal patrons, the force of established musical and theatrical traditions, the structure of the court’s musical establishment, and the effect of an austere court etiquette all contributed to the relatively late development of Baroque genres of musical court theatre in Spain.
Calderón’s Early Court Plays for Philip IV
Authors: Stein Louise K 
Published: November 2023

Abstract
The first Spanish dramatist who succeeded in creating a musico-dramatic genre that combined with baroque exhuberance the Italianate visual effects with the dramatic intensity of the comedia, and exploited the affective and associative potential of contemporary Spanish music was Pedro Calderón de la Barca (1600-81).
Opera, Spanish Politics, Spanish Conventions
Authors: Stein Louise K 
Published: November 2023

Abstract
With the court stages dedicated to zarzuelas, semi-operas, and comedias opera was not the genre of choice in Spain in the seventeenth century. However, three operas were produced during the reign of Philip IV. These were exceptional for the seventeenth-century Spanish stage only because they involved a dramatic text wholly performed in song; the element of elaborate spectacle associated with Baroque opera was not a detrimental factor.
Zarzuelas and Other Short Musical Plays for the Court, 1650-1690
Authors: Stein Louise K 
Published: November 2023

Abstract
Zarzuela is the genre most strongly identified with Spanish national musical theatre, and (as opposed to opera and semi-opera) it has survived and flourished beyond the later seventeenth century. The zarzuela was probably invented by Calderon. It originated as a form of court theatre for Philip IV, perhaps as an alternative to semi-opera. The weighty and complex nature of the semi-opera, and the considerable demands that it placed on the performers, may have deterred Calderon from exploring that genre further.
The Musical Legacy of the Hidalgo Era
Authors: Stein Louise K 
Published: November 2023

Abstract
The preceding chapters have focused on describing and documenting the history of music in the seventeenth-century Spanish theatre, the musical conventions operative in the theatrical genres, and the realization of these in extant pieces of music. Less attention has been given to attempting to define the musical profiles of individual composers, or, indeed, their contribution to the development of musical conventions and practices. Theatrical music has been viewed for the most part as a product of contemporary theatrical practice and aesthetics, a deterministic approach to which some readers may object. The reader may well ask how the agency of the busy composers and musicians of the court and public theatres, the actual creators of the music, enters into this textual and historical framework.
Musical and Autistic Behaviour
Authors: Alvin Juliette , Warwick Auriel 
Published: November 2023

Abstract
Music is a field of multifarious experiences which affect man’s mind, body and emotions. It may bring a change in the behaviour of the listener or the player. It penetrates the subconscious and can reveal much of what is hidden there. It can also develop awareness of the environment, whether the individual is so-called normal, or affected by an illness or a handicap. Music in its many aspects is an eminently flexible, adaptable means which can reach an individual at any level of intelligence or education.
Case Histories
Authors: Alvin Juliette , Warwick Auriel 
Published: November 2023

Abstract
Oliver was sent to me for music therapy by a consultant psychiatrist when he was just over eight years old. He had been twice diagnosed at the age of five and later at the age of seven as autistic and mute autistic. He suffered from noise phobia. He had been born with a cleft palate and operated on at an early age. Later on, as he seemed to be deaf, he was tested with a hearing aid. It is possible that his phobia was the result of this distressing experience. When he came to me he could not tolerate any noise, not even the sound of his own voice. He expressed himself with inaudible sounds or gestures. Even the anticipation of a loud noise would upset him and he covered his ears in panicky defence. His mother had observed in him at an early age a number of disturbing features, such as keeping awake the whole night, rocking, breaking windows, keeping his head down continuously, not looking, jumping from great heights without fear, moving objects aimlessly, running his hands over rough surfaces until they bled.
A Research Project
Authors: Alvin Juliette , Warwick Auriel 
Published: November 2023

Abstract
There search project’ which is the subject of this chapter was undertaken under the direction of the consultant psychiatrist of the Family and Child Guidance Clinic, and the Head of a primary school. It was conducted on three autistic boys between eight and eleven years old. The aim of the project was to try to help the boys to integrate into the normal primary situation by means of individual assistance given by home tutors and a music therapist. The parents were involved in the project and received help or even treatment at the clinic. The general aim was: to help the children to recover their spontaneity; to study and develop their individual potentials; to help them to catch up with their delayed emotional maturation. The greatest flexibility of approach and methods was essential to the success of the scheme.
A New Challenge
Authors: Alvin Juliette , Warwick Auriel 
Published: November 2023

Abstract
In September 1984 I began a new venture which was to prove a tremendous challenge to my development as a therapist. Until this time, my experience of autistic children had been in a hospital school where the children had severe learning difficulties in addition to the autistic state. This necessitated a more behavioural approach, particularly in the management of selfinjurious behaviour. I had to adapt my aims and objectives; e.g. music therapy might be effective in reducing the frequency of head-banging, although the expression and sharing of feelings remained at the centre of the therapy.
The Oxford History of English Music
Authors: Caldwell John 
Published: November 2023

Abstract
The Oxford History of English Music, Volume 2 takes the story of English Music from c.1715 to the present day. Apart from discussing the music of the principal composers, it focuses to a certain extent on the work of lesser musicians, and includes developments in light and popular music as well as in serious genres. After seven chapters in which the main events are considered chronologically, a further chapter deals specifically with folk music and popular music of all periods, and a final chapter covers social issues not otherwise handled in detail. There are over a hundred musical examples, illustrating all chapters except the last, and all based on original sources. Volumes 1 and 2 together offer a major survey of English musical history by a single author. British music outside England is not considered except where it is of direct relevance to the history of music in England; it thus differs in emphasis from most other works of the kind since Ernest Walker's History of Music in England, last revised in 1952 by Sir Jack Westrup (OUP).
Handel and His English Contemporaries, c. 1715–c. 1760
Authors: Caldwell John 
Published: November 2023

Abstract
The career of Handel in England in many ways anticipates that of a composer such as Mozart in youth or Haydn in his later years in its jettisoning of the constraints of service for the sake of independence and the risks and rewards of catering for the public taste. In this respect Handel’s own predilections coincided with the imperatives of English musical life, where the social and political structure did not allow of congenial long-term employment outside the increasingly humdrum routine of the royal court and chapel and that of the major churches. Handel had experienced a mixture of enterprise and short-term employment (with the marquis Francesco Ruspoli) in Italy, and had subsequently become Kapellmeister to the elector of Hanover, later George I of England. On his first visit to England Handel achieved enormous musical and social success, and this must have encouraged him to return, ostensibly for a second short visit, in 1712. Encouraged by his ready acceptance (he was given a pension by Queen Anne and commissioned to write a The Deum and Jubilate to commemorate the Treaty of Utrecht), he stayed on, only to be confronted, as we have seen, by the accession of George I. But any embarrassment this may have caused was soon dissipated, and Handel came to enjoy the highest official favour as well as considerable public esteem.
The Later Eighteenth and Early Nineteenth Centuries, 1760–1815
Authors: Caldwell John 
Published: November 2023

Abstract
Any chronological subdivision of the long period that separates the death of Handel from the first stirrings of what is generally called the English musical renaissance is bound to be somewhat artificial. There are few clear landmarks by which one might chart the calamitous decline that occurred between (say) the productions of Arne’s Artaxerxes in 1762 and of Sullivan’s Ivanhoe in 1891, to name the most ambitious operatic efforts of two highly talented men of the theatre. The solution adopted here, the last thirty years of the nineteenth century having been marked out as the arena for the conflict between high Victorian cultural values and those of its challengers, is to divide the remaining 11o years, 1760–1870, into two approximately equal halves. In this analysis the third chapter chronicles a gradual change in the threat to musical values from one of aristocratic trivialization to those of commercialism and puritanism in a bourgeois ascendancy.
Modernism and Postmodernism, 1976–1997
Authors: Caldwell John 
Published: November 2023

Abstract
Modernism’ and ‘postmodernism’ —terms used here in their primary sense as defining a culture or a style—do not fully account for the variety of musical language heard in this twenty-year period. There are also the older traditional forms of expression and the more innovative styles of ‘rock’ or ‘pop’, with which serious composers have sometimes attempted a rapprochement. Modernism itself, if it is a valid concept, is essentially a continuation of the old avant-garde—as practised, that is, by English (or British) composers in the 1950s and 1960s. As for postmodernism, it is inherently a cultural phenomenon rather than a technically exact expression: it articulates a sense that the cup of modernism, usually perceived as brutal, artificial, or nihilistic, has been drained to the full, and that the whole experience needs to be put behind one. It implies that truly modernist work—in music, architecture, fine art, or literature—is of limited absolute value, but that the experience of it, in an artist’s own work or in that of others, has had a purifying and liberating effect. Naturally no composer would wish to be associated solely with modernism so construed, and I have preferred the term avant-garde, where it seems appropriate, though more for its historical associations than in any literal sense. Nor do I single out a generation of postmodernists as such. Almost all, a few traditionalists excepted (and they too might contest the label), have been through the refining fire. The outcome is not a return to older norms but a redeployment of all available techniques and materials, often with disturbing effect but always with a sense of liberation.
Chant Genres
Authors: Hiley David 
Published: November 2023

Abstract
In this chapter I describe the chief genres, forms and styles, of chant in the Roman liturgy.The main genres are arranged according to their musical type. I start with the simple recitation formulas for prayers and lessons (11.2), and then go on to psalm tones and the more elaborate recitations for invitatory and responsory verses (11.3). After that I discuss the much more complex chants which retain elements of recitation patterns by marking syntactical units with typical melodic gestures: responsories, graduals, and tracts (11.4-5).