bluuebunny/crossref_metadata_2025_split huggingface dataset:
Conclusion
Authors: Elm Susanna 
Published: November 2023

Abstract
During the fourth century the Roman Empire underwent a transformation which is among the most decisive in the history of what was to become Europe in the West and Byzantium in the East. Inaugurated by Constantine’s recognition of Christianity, and made manifest by Theodosius’ famous edict defining orthodoxy for ‘cunctos populos’ in 380, the Roman Empire became the Christian Roman Empire. Neither Christianity nor the Roman Empire remained the same, and although the changes often consisted of little more than subtle rearrangements and reinterpretation of already existing concepts, structures, and institutions, yet they compounded into a fundamental and far-reaching metamorphosis.
Afterlife in the Homeric Poems: Text and Belief
Authors: Sourvinou-Inwood Christiane 
Published: November 2023

Abstract
The extent and the ways in which it is legitimate to use literary texts as evidence for ancient beliefs is a problem that needs discussing. As far as religious practices are concerned, the texts must clearly not be treated as though they were documents containing straightforward information which can be simply extracted. For the ancient authors manipulated ritual stuff according to their aims and writing modes, which determined their selections, and thus the ways in which the material out of which the texts were created was shaped. This material sometimes included cultic knowledge functioning as a point of reference, as a given, the manipulations of which were registered by the contemporary audience (in which I am including the notion ‘readers’), who shared in that knowledge, as manipulation, distortion, polarization, or reversal.
Austerity, Excess, Success, and Failure in Hellenistic and Early Imperial Italy
Authors: Dench Emma 
Published: November 2023

Abstract
My aim in this chapter is to analyse ancient definitions of ethnic identity and military power by exploring the history of uses of images of austerity and decadence in Hellenistic and Roman Italy. In the moralizing rhetoric of ancient Greece and Rome, decadence, along with traits associated with it, such as lust and lack of self-control, is commonly conceptualized as feminine. Austerity and self-control are most usually identified as desirably masculine virtues defined in opposition to these feminine vices. The identification of moral superiority as masculine explains and justifies the holding of power by males in ancient Graeco- Roman societies, and is supposed to guarantee social, political, and military success. Assertion of the unusual susceptibility of women to luxury, lust, and self indulgence may in certain contexts indicate their incapability of holding power. In other contexts, however, it indicates the threat that they may pose to the society’s success, and their need to be controlled in order to eliminate or minimize this threat. In ancient thought, the feminine sphere is frequently elided with other conceptual categories, such as foreigners, slaves, and animals, which, if uncontrolled, may pose a similar threat to society. These masculine virtues and feminine vices are frequently conceptualized as being written on the body of the individual, in the form of clothing, gesture, sexual behaviour, appetites, and physical activity.
Sowing the Seeds of Violence: Rape, Women, and the Land
Authors: Dougherty Carol 
Published: November 2023

Abstract
Helke Sanders opens Mass Rape: The War against Women in Bosnia-Herzegovina (1994), a collection of essays on rape as part of ethnic hostilities in the former Yugoslavia, with a letter to Lysistrata. Since Lysistrata successfully led the women of Athens and Sparta in a sex strike in order to put an end to the Peloponnesian War, He like Sanders wants to know if her strategy ‘would make any sense today in the war zone of the former Yugoslavia’.
The Arabic Alphabet Phonetically Interpreted
Authors: Mitchell T F 
Published: November 2023

Abstract
The Arabic alphabet consists of twenty-eight consonants. These are listed at Table I in Arabic alphabetical order, together with the corresponding roman symbols employed in this book and the names of the letters in transcribed form. There are numerous systems of roman letter-shapes for the transcription/transliteration of Arabic. In contrast with Writing Arabic, the transcription used here is based entirely on resources provided by an everyday typewriter. Capitals have been used for the Arabic ‘emphatics’, and, among diacritics, the hyphen and the solidus or oblique stroke have been used as part of certain letter-shapes. A word should perhaps be said about the relationship between the transcription and the symbols of the International Phonetic Association, some of which appear elsewhere. IPA symbols are used where necessary to indicate greater detail of pronunciation in what is termed a ‘narrow’ transcription. Items (consonants, vowels, words) symbolized in this way are usually·
Hints on the Pronunciation of the Consonants
Authors: Mitchell T F 
Published: November 2023

Abstract
This chapter is concerned with the pronunciation of consonants presented within familiar groups (4.1(i)-(vi)) and the germination or doubling of consonants (4.2). b: Again formed as its English counterpart. Arabic pronunciation is characterized by its vigour, at least among male speakers, and all consonants, including b, are pronounced with greater muscular tension than in English. An English tendency to unvoice voiced consonants in initial position, to pronounce even a weakly articulated p for b, should be resisted, though the stricture applies less to final position, where unvoicing occurs in both Arabic and English (see 6.3).
Vladimir Makanin (b. 1937)
Authors: Laird Sally 
Published: November 2023

Abstract
Vladimir Makanin is a professional outsider: someone who, like many of his heroes, has always lived on borderlines and resisted belonging. A Muscovite with strong roots in the Urals, an intellectual with a pronounced practical bent, Makanin has retained, in his writing, something of the austerity and rigour of his first profession, mathematics. Neither ‘official ‘ nor ‘dissident ‘, at odds with both his own gener-ation of 1960s liberals—shestidesyatniki—and with the younger ‘School of Moscow prose ‘* to which critics, at one time, sought to assimilate him, Makan in was to write for almost two decades before finding a secure place in the literary mainstream.
Viktor Pelevin (b. 1962)
Authors: Laird Sally 
Published: November 2023

Abstract
Viktor Pelevin is one of the most popular young writers of the ‘post-Soviet ‘ era. His first collection of stories, The Blue Lantern (1991), sold 100,000 copies, and in 1993 was awarded the ‘small ‘ Russian Booker Prize for the best collection of the early 1990s. His subsequent novels and novellas have been published in the prestigious monthlies Znamya and Novy mir, and his work has been translated into Japanese and several European languages.
The Making of Illusion: Experiments 1900-19w
Authors: Reed T J 
Published: November 2023

Abstract
We find this type of artistic creation lacking in taste—not to use another, stronger term; for the people concerned are entirely defenceless against such an undertaking and cannot but feel injured when they are described in the novel with their foibles, great and small. The author has duly found little sympathy for the most part among our townspeople. That of course was no reason for not taking a look at him. Injured or no, some Ltibeckers handed Thomas Mann a laurel wreath, complete with bow in the city colours.
Cross-Cut: Gypsy
Authors: Smith Paul Julian 
Published: November 2023

Abstract
By the mid-1990s the themes of the gypsy and of flamenco ( irreducible to and inseparable from one another) acquired unprecedented prominencein Spanish popular culture. No fewer than four major films released in1995 featured this motif: Julio Medem's Tierra (as we have seen) located agypsy community in the bleak stasis of a lunar landscape; Almodovar' s Laflor de mi secreto ('The Flower of my Secret') featured dancer JoaquinCortes in his first dramatic role; flamenco fusion group Ketama were shown performing both in the multicultural London of Fernando Colomo's El efecto de mariposa ('The Butterfly Effect') and in the ethnically diverse Madrid of Chus Gutierrez's Alma gitana ('Gypsy Soul').
The Facts of the Case
Authors: Edwards Rachel , Reader Keith 
Published: November 2023

Abstract
The killings took place on the evening of 2 February 1933, at the Lancelin family home—6 rue Bruyère, in the city of Le Mans. That name generally evokes the celebrated 24-hour Grand Prix car race which takes place on the outskirts of the town, but Le Mans has other claims to fame than motor-racing and murder. It is the capital of the province of Maine, at the point where the Loire country shades off into Normandy and Brittany. It is a major railway junction on the westbound lines out of the Gare de Montparnasse (now only an hour from Paris by high-speed train) and an important centre of the car and food industries, as well as being a university city. Its population has very nearly doubled since the Papin sisters’ day, when it clustered much more tightly around the old town centre-the cathedral of Saint-Julien and the vieux Mans, a handful of higgledy-piggledy medieval streets of wooden houses that still attract the tourists. The rue Bruyere is only a short distance from the old centre, an unremarkable street of terraced bourgeois houses.
Afterword
Authors: Edwards Rachel , Reader Keith 
Published: November 2023

Abstract
This book was about to go to press when we heard from Paris that the Papin affair had made a spectacular return to public attention in France. Two films, both produced by the same company (ARP), were released at the end of 2000—a fictional reconstruction of the crime and the events leading up to it (Les Blessures assassines/Murderous Wounds, directed by Jean-Pierre Denis), and a documentary inquiry into the crime and its aftermath (En quete des soeurs Papin/In Search of the Papin Sisters, directed by Claude Ventura).
‘Ministers of Pastime’ The String Consort 1540-1558
Authors: Holman Peter 
Published: November 2023

Abstract
IN the summer of 1539 Henry VIII was once again preparing for marriage. In June the French ambassador reported that: The King, who in some former years has been solitary and pensive, now gives himself up to amusement, going to play every night upon the Thames, with harps, chanters and all kind of music and pastime. He evidently delights now in painting and embroidery, having sent men to France, Flanders, Italy and elsewhere for masters of this art, and also for musicians and other ministers of pastime. All his peo le think this is a sign of his desire to marry if he should find an agreeable match.
#x2018;Nach Englischer Art’ A ‘Lost’ Repertoire of Elizabethan Dance Music
Authors: Holman Peter 
Published: November 2023

Abstract
IN studying old music it is important not to assume that the musical sources surviving from a particular time and place are representative of its musical activity. The picture will almost certainly have been distorted by the taste of later periods, by the chance survival or non-survival of particular collections, or by the fact that certain areas of the repertoire were wholly or partially improvised. Functional dance music of the sixteenth century-the material actually used by professional dance groups as opposed to copies or arrangements made for other purposes has suffered particularly badly from the ravages of time. Changes of dance fashions soon rendered the music of particular dances obsolete; professional instrumentalists normally played without music at the time, and would have had little incentive to preserve items of their repertoire on paper once they had committed them to memory; their collections, unprepossessing documents for the most part, would have been of little interest to collectors of later times.
‘Infinitely Gallant’ Court Masque and Opera
Authors: Holman Peter 
Published: November 2023

Abstract
Pepys’s diary entry has a triple significance. It seems to be the first reference to the performance of a play at the newly restored court; the play in question was The Silent Woman by Ben Jonson, and was given at the Cockpit in Court, the private theatre in Whitehall Palace.2 It is an early reference to members of the Twenty-four Violins; John Singleton evidently led the group of violinists who were ‘appointed by his Majesty to increase the number of his violins’ at Midsummer 1660, and who formed a ‘private consort’ that played in the Privy Chamber until succeeded by Banister’s Select Band in 1662 (see Ch. 12). It is also the first sign that Charles II envisaged a role for his violinists as theatre musicians.
Life and Work
Authors: Whittall Mary 
Published: November 2023

Abstract
The image of Beethoven that survives in the mind of posterity is a diffuse compilation of impressions emanating from the music and biographical fragments that consist to a great extent of legends and anecdotes. Indeed, the relationship between the works and the life appears all the closer if we place our faith in the revelatory power of anecdotes in which the truth is more symbolic than empirical, instead of relying on documentary testimony that stands up to historical criticism. There is very little documentary evidence for the celebrated scene in Teplitz, in which Beethoven assumes the role of the truculent republican, but any attempt to expunge it from the mind of the concert-going public would be wasted, for it is nothing less than the image that complements the musical gesture of the Fifth Symphony. It persists, in spite of the critical battering it has received, because it testifies to an aesthetic, if not historical, truth.
Theme and Character
Authors: Whittall Mary 
Published: November 2023

Abstract
Theories of musical form, the origins of which lie in the eighteenth century, depended for their terminology on the theory of affects on the one hand, and on rhetoric on the other. It remains impossible to understand the use of an apparently unambiguous word like ‘theme’—one of the central concepts of instrumental music in its striving for independent status-so long as we disregard the fact that, with varying degrees of emphasis, it represents an aesthetic category as well as a technical compositional one. It would be a mistake to attempt to expunge the ambiguity, because its very ambivalence raises issues, the reconstruction of which provides access to the epoch’s thinking on musical form.
‘Subthematicism’
Authors: Whittall Mary 
Published: November 2023

Abstract
The question of Beethoven’s late style has driven some writers to take refuge in the safe but stale controversy as to whether the composer was ‘classical’ or ‘romantic’; but where the literature has faced up to the issues surrounding an oeuvre that towers up disconcertingly out of the period of restoration following the fall of Napoleon, emphasis has always been placed on the contradictions with which the works are fissured. Moritz Bauer discovered in the late string quartets and piano sonatas a ‘ metaphysical trait’, informing all the music, and a propensity for abstraction, revealed in the recourse to canonic and fugal techniques, but also a ‘striving for vocal expression’, manifested as much in instrumental recitative as in the tendency to give a lyrical, songlike character to the first subject in a sonata movement, as well as to the second.
Interpreting Bach at the keyboard
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
The ever-increasing number of performances of Bach's music is a sign of its enduring vitality. Yet there exists a diversity of interpretation of a magnitude that probably applies to no other composer. Assessing the varying merits of these interpretational approaches, and getting to grips with the sources and documents on which they are based, can be extremely difficult for a modern performer. Paul Badura-Skoda, who has been studying and performing Bach's keyboard music for more than forty years, here presents a host of valuable new insights drawn from his deep knowledge of the sources and of the problems of interpretation. He looks in detail at the various aspects of Bach's music, providing chapters on rhythm, tempo, articulation, and dynamics. He also examines the instruments for which Bach's music was intended, and discusses interpretational issues arising from this, as well as problems of sonority. The second part of the book is devoted to a comprehensible discussion of ornamentation with a detailed examination of the signs and symbols used by Bach. This discussion is prompted not only by its central importance to baroque music in general, but also because the author believes so much of Bach's ornamentation in current performance practice is monotonous and fails to correspond to the baroque style at all. Sometimes contentious, always stimulating, Paul Badura-Skoda's text conveys a passion for an informed interpretation of Bach's music based upon a recognition and respect for Bach's musical and intellectual intentions. Copiously illustrated throughout with music examples, Interpreting Bach at the Keyboard will take its place as a standard work for all students and performers of Bach's keyboard music.
In Search of the Correct Bach Tempo
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
Choosing the correct tempo is a matter of the utmost importance. Mozart once remarked that it is the most crucial thing in music. Yet for a long time I was unable to write about tempos in Bach. It was not that I did not have a clear idea about the speed at which his works ought to be played. However, my research is concerned with facts, not with subjective emotions. True, in Bach’s lifetime various treatises dealt with the question of tempo, though a hundred years before the invention of the metronome they were usually content to give a rough indication of the relative speed, for instance that a certain tempo should be taken at a ‘lively’ pace, and that another should be ‘less lively’. The rare attempts to define tempo in ‘absolute’ terms with the help of time, pulse, or pendulum measurements apply to works which arc stylistically so far removed from Bach that it is not really possible to transfer the results to his music.2 How can I prove that my tempos are more correct than those of a pianist who plays adagio movements and sarabandes twice as slowly as I do? The modern differences in tempo are clearly due to the almost complete lack of precise contemporary tempo indications in Bach’s works.
Problems of Sonority
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
It may be taken for granted that J. S. Bach was intimately acquainted with the rich variety of instruments in use in his time. It may also be taken for granted that Bach was not always wholly satisfied with these instruments, particularly when the ones at his disposal were of poor quality or in need of repair. This may have been one of the reasons why he acquired a rather large collection of instruments, as is shown by the catalogue of his estate.
Problems of Harpsichord and Piano Technique, and of Expressive Playing
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
Because we are concerned with performances on harpsichords, fortepianos, and modern pianos, it seems apposite to describe the similarities and differences between the ways these instruments are played. Common to all of them is a certain resistance in the action that has to be overcome in order to produce a sound. On the harpsichord this resistance stems from the greater or lesser degree of rigidity of the quill plectra and can be quite considerable when all the stops are in use. On the fortepiano, be it early or modern, the reason for this resistance is the (now much greater) weight of the hammer and the ‘aftertouch’, which is similar to that of the harpsichord. In passing it is worth mentioning that on the clavichord there is no escapement resistance until the tangent strikes the vibrating string.
Bach’s Mordent
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
Two factors are characteristic of the mordent: it occurs only in keyboard music (at least in J. S. Bach), and, unlike the trill, it adheres to the main-note beginning even in the early eighteenth century. In view of the fact that it mirrored the (short) trill it should, going by the ‘auxiliary note’ rule, have begun on the lower auxiliary.
The Composer-Audience Relationship
Authors: Schroeder David P 
Published: November 2023

Abstract
If Haydn’s consistent objective in his symphonies was to achieve enlightened goals, then an issue of fundamental importance must be the composer’s relationship with his audience. The nature of the effect that the works should have on an audience, however, is not something which the composer determines independently. It is determined within the context of larger social and philosophical aspirations of which the audience is an integral part, and hence the audience itself has a role in determining the nature of the works intended for it, in shaping the creative process of the artist.
Extramusical Factors
Authors: Cooper Barry 
Published: November 2023

Abstract
IT is difficult to assess how much extramusical influence there was on Beethoven’s output, since any answer is bound to involve some speculation; but there is some ti.rm evidence that can be brought to bear on the subject. It is a subject about which a great deal has been written already, but much of the literature has tended to confuse the issue rather than illuminate it. In some cases errors of dating have led to false conclusions about extramusical influence, and three other things have also been allowed to cloud the picture: hearsay evidence, pure speculation, and the notion that Beethoven’s music is a close parallel to his life. It will be best to dispose of each of these ideas first.
The Sketchbooks and their Use
Authors: Cooper Barry 
Published: November 2023

Abstract
IT is not known precisely at what age Beethoven started making sketches for compositions, but it was probably almost as soon as he started composing; he once referred to ‘the bad habit I formed in childhood of feeling obliged to write down my first ideas immediately’. No actual sketches for finished works have survived from before about 1787,’ but certainly by the time he left Bonn for Vienna in November 1792 he was sketching extensively, for no fewer than twenty-one leaves devoted exclusively to sketches are known to date from his Bonn period,3 as well as a number of leaves which contain other material but which have sketches in the empty spaces. When he left for Vienna in 1792 he took with him a portfolio of manuscripts that included both finished works and also these sketches, and the fact that so much early material survives indicates how central the sketching process was to his creativity even at an early age, and how highly he regarded his sketches throughout his life.
The Sketching of Melody
Authors: Cooper Barry 
Published: November 2023

Abstract
SINCE most of Beethoven’s sketches consist of single-line drafts, it is inevitable that they should appear at first sight to be concerned mainly with melodic shape. This impression is reinforced by the way successive sketches for a work nearly always display conspicuous melodic alterations; and such refinements tend to be highlighted when only short extracts from sketches are published. But melodic refinement was only one part of the sketching process and is intimately bound up with other aspects of the music; the sketches were frequently concerned with such things as formal shape, phrase structure, and tonal scheme rather than melodic detail, even if melodic alterations were being made at the same time, and the melodic changes themselves were often dependent on these other aspects.