bluuebunny/crossref_metadata_2025_split huggingface dataset:
Between Two Worlds
Authors: A.Diouf Sylviane 
Published: November 2023

Abstract
As The Last Decade of the nineteenth century opened, King Glèlè died after a reign of more than forty years. Wherever they were, in Mobile, Havana, or Rio, the people he had sold away would have rejoiced had they known. Some of the deportees to Brazil had been freed only a year before in 1888. The men and women of African Town who had been taken from his barracoon in Ouidah were now in their forties and fifties, parents and grandparents of two generations who had never feared the king and the soldiers of Dahomey. To these young men and women, the most concrete expression of their parents’ ordeal was the face of an old white man down the road. After retiring from the river because the Negroes had become uppity, Timothy Meaher spent his time running the Bay City Lumber Company and the Mobile Steam Brick Works with his brothers and his sons, James and Augustine. They were still powerful and, as years went by, the family became even wealthier. But the brothers were getting old. Burns, the youngest, was the first to die, in 1880. James followed in February 1885. At seventy-four, he was hailed as one of the oldest steamboat men in the state. One of his pallbearers was none other than William Foster. About a year later Timothy developed paralysis and became housebound.On March 3, 1892, the Catholic priest of St. Francis Xavier Church near Three Mile Creek was summoned to his side. The father gave him the last sacraments, and the captain passed away. It was a peaceful death of old age, at eighty. Timothy Meaher’s passing made the news not only in Mobile, but as far away as New York.
Known Africans Deported to Mobile on the Clotilda
Authors: Diouf Sylviane A 
Published: November 2023

Abstract
On A January Night In 2002, a truck backed up to a statue in front of Union Missionary Baptist Church, north of Mobile, Alabama. One or two people got out, cut through parts of the heavy bronze bust, ripped it from its brick base, and disappeared with their loot. The theft shocked and angered the congregation of pastor A. J. Crawford, Sr. They had just celebrated the New Year and were preparing to commemorate, the following month, the 130th anniversary of the church. Unlike those of the Virgin Mary or George Washington, this statue was the only one of its kind in the country. The theft struck at the very core of a community that will never have any equivalent in North America. Determined to bring the statue back home, the congregation established a reward fund. In case the bust was not found, the money would be used to cast a new one. The wooden model, carved fifty years earlier, was still in town.
Mobile and the Slave Trades
Authors: Diouf Sylviane A 
Published: November 2023

Abstract
It The Time Of The Young Africans’ Arrival, Mobile, their future home, was Cotton City. And it is cotton that brought them there in a tale of two slave trades, one over land, and the other over sea. A tale of migrations, it is the story of white men attracted by fabled economic opportunities; and of black men and women transported against their will. Blacks and whites were two sides of the same story, one group uprooted and exploited so that the other might prosper. And on a particular day in 1859, many fates were sealed on a steamer named Roger B. Taney going up the Mobile River.
West African Origins
Authors: Diouf Sylviane A 
Published: November 2023

Abstract
Eighteen-Sixty Was A Good Year to buy captives in Ouidah. The previous three years had been a boon for slave dealing in Dahomey. Such activity had not been seen for a long time, be- cause, since the early 1850s, when it got involved in the legitimate commerce in palm oil, the kingdom had reduced its slave-trading activities. King Ghezo had been firmly encouraged down this new path by Great Britain, and, parallel to diplomatic exhortation, London had blockaded the Dahomian ports for six months in 1851–1852 when it had become apparent that the kingdom had not renounced the transatlantic slave trade. Finally, on January 13, 1852, Ghezo had reluctantly agreed to sign a treaty abolishing the “export of slaves to foreign countries” and promising to punish severely any person who broke the law. Deprived of the revenues brought by the trade in people, the kingdom was to receive instead the income generated by the export of oil needed by the European industries.
Chronology of Verdi’s Life and Operas
Authors: Parker Roger 
Published: November 2023

Abstract
Born at Roncole, near Busseto, in the Duchy of Parma, northern Italy, to Carlo and Luigia Uttini Verdi Baptized Giuseppe Fortunino Francesco Begins musical studies in Busseto Becomes organist at the church at Roncole Sponsored by the merchant Antonio Barezzi; begins studies with Ferdinando Provesi, director of the municipal music school in Busseto Moves to Milan, initially applying to attend the Milan Conservatory; when he is rejected, enrols for private study with Vincenzo Lavigna, maestro concertatore at La Scala
Nabucco
Authors: Parker Roger 
Published: November 2023

Abstract
Dramma lirico in four acts set to a libretto by Temistocle Solera after Anto nio Cortesi’s ballet Nabucodonosor and Auguste Anicet-Bourgeois’ and Francis Cornu’s play Nabuchodonosor; first performed in Milan, Teatro alla Scala, on 9 March 1842. The cast at the premiere included Prosper Derivis (Zaccaria), Giuseppina Strepponi (Abigaille), Giorgio Ronconi (Nabucco), Corrado Miraglia (Ismaele), and Giovannina Bellinzaghi (Fenena). Babylonian and Hebrew soldiers, Levites, Hebrew virgins, Babylonian women, magi, Lords of the Kingdom of Babylon, populace, etc.
I Lombardi Alla Prima Crociata
Authors: Parker Roger 
Published: November 2023

Abstract
Dramma lirico in four acts set to a libretto by Temistocle Solera after Tom maso Grossi’s poem I Lombardi alla prima crociata; first performed in Milan, Teatro alla Scala, on 11 February 1843. I Lombardi was revised in French in 1847, as Jerusalem. The cast at the premiere included Giovanni Severi (Arvino), Prosper Derivis (Pagano), Carlo Guasco (Oronte), and rminia Frezzolini (Giselda).
I due Foscari
Authors: Parker Roger 
Published: November 2023

Abstract
Tragedia lirica in three acts by set to a libretto by Francesco Maria Piave after Byron’s play The Two Foscari; first performed in Rome, Teatro Argentina, on 3 November 1844. The cast at the premiere included Achille De Bassini (Francesco Foscari), Giacomo Roppa (Jacopo), and Marianna Barbieri-Nini (Lucrezia). Members of the Council of Ten and the Giunta, Lucrezia’s maids, Venetian women, populace, and masked figures of both sexes Walk-on parts: II Messer Grande, Jacopo Foscari’s two small children, naval commanders, prison guards, gondoliers, sailors, populace, masked figures, pages of the Doge Setting Venice in 1457 Soon after the premiere of Ernani in Venice, Verdi agreed to write a new opera with Piave for the Teatro Argentina in Rome.
Giovanna d’Arco
Authors: Parker Roger 
Published: November 2023

Abstract
Dramma lirico in a prologue and three acts set to a libretto by Temistocle Solera in part after Friedrich von Schiller’s play Die Jungfrau von Orleans; first performed in Milan, Teatro alla Scala, on 15 February 1845. The cast at the premiere included Antonio Poggi (Carlo), Filippo Colini (Giacomo), and Erminia Frezzolini in the title role. King’s officers, villagers, people of Reims, French soldiers, English soldiers, blessed spirits, evil spirits, nobles of the realm, heralds, pages, young girls, marshals, deputies, knights and ladies, magistrates, halberdiers, guards of honour Setting Dom-Remy, Reims and near Rouen in 1429 There is virtually no evidence, but it seems that Verdi had arranged to write an opera for the 1844-45 Carnival season at La Scala as early as December 1843, and that soon afterwards he suggested to the impresario Bartolomeo Merelli that Temistocle Solera be engaged as the librettist. Solera was duly hired, wrote a text, and then-with typical exaggeration-made much of the fact that his libretto on the life of Joan of Arc was ‘original’, owing nothing either to Shakespeare or to Schiller.
Attila
Authors: Parker Roger 
Published: November 2023

Abstract
Dramma lirico in a prologue and three acts set to a libretto by Temistocle Solera (with additional material by Francesco Maria Piave) after Zacharias Werner’s play Attila, Konig der Hunnen; first performed in Venice, Teatro La Fenice, on 17 March 1846. The cast at the premiere included Ignazio Marini (Attila), Natale Costantini (Ezio), Sophie Loewe (Odabella), and Carlo Guasco (Foresto). Leaders, kings and soldiers, Huns, Gepids, Ostrogoths, Heruls, Thuringians, Quadi, Druids, priestesses, men and women of Aquileia, Aquileian maidens in warlike dress, Roman officers and soldiers, Roman virgins and children, hermits, slaves Setting Aquileia, the Adriatic lagoons and near Rome, in the middle of the fifth century Verdi had read Werner’s ultra-Romantic play as early as 1844, and initially discussed the subject with Piave. However, for his second opera at La Fenice (a highly suitable subject, dealing with the founding of the city of Venice) the composer eventually decided on Solera, the librettist with whom-at least until then-he seems to have preferred working. Solera set about preparing the text according to his usual format, with plenty of opportunity for those grand choral tableaux found in Nabucco and/ Lombardi; but the progress of the opera was beset with difficulties. First Verdi fell seriously ill, and then Solera went off to live permanently in Madrid, leaving the last act as only a sketch and necessitating help from the ever-faithful Piave. Verdi instructed Piave to ignore Solera’s plans for a large-scale choral finale and to concentrate on the individuals, a change of direction of which Solera strongly disapproved. The premiere was coolly received, but Attila went on to become one of Verdi’s most popular operas of the 1850s. After that it lost ground although recent times have seen several important revivals. In 1846 Verdi twice rewrote the Romanza for Foresto in Act 3: the first time for Nicola Ivanoff, the second for Napoleone Moriani.
Rigoletto
Authors: Parker Roger 
Published: November 2023

Abstract
Melodramma in three acts set to a libretto by Francesco Maria Piave after Victor Hugo’s play Le Roi s’amuse; first performed in Venice, Teatro La Fenice, on II March 1851. The cast at the premiere included Raffaele Mirate (Duke), Felice Varesi (Rigoletto), and Teresa Brambilla (Gilda). Verdi first mentioned the idea of setting a version of Victor Hugo’s drama (with Salvadore Cammarano as the librettist) as early as September 1849, shortly after he had returned to Italy from Paris; but it was a contract with the Teatro La Fenice, Venice, signed in April 1850, that eventually brought the opera into being. Perhaps encouraged by the presence in Venice of the accomplished baritone Felice Varesi (who had created the title role of Macbeth in 1847), Verdi suggested to Piave, the resident poet at La Fenice, that they adapt Hugo’s Le Roi s’amuse, ‘one of the greatest creations of the modern theatre’. He had fears that there might be problems with the censor, but Piave-after seeking advice in Venice-managed to reassure him and the plan went ahead under the working title of La malediz.ione. By summer 1850, however, signs from Venice over the suitability of the subject were not encouraging. Verdi insisted on continuing, saying that he had now found the musical colour of the subject and so could not turn back.
La traviata
Authors: Parker Roger 
Published: November 2023

Abstract
The cast at the premiere included Fanny Salvini Donatelli (Violetta), Ludovico Graziani (Alfredo), and Felice Varesi (Giorgio Germont). By April 1852 Verdi had agreed to write a new opera for the Carnival 1853 season at the Teatro La Fenice in Venice, with Francesco Maria Piave as librettist. But even as late as October no subject had been decided upon: the unusually tight schedule was due in part to Verdi’s continuing work on fl trovatore, the premiere of which in Rome eventually took place less than two months before that of La traviata. By the beginning of November, however, Verdi and Piave had elected to base their opera on Dumas jils’ play, which had first been performed in Paris earlier that year. The working title of the opera, later changed at the insistence of the Venetian censors, was Amore e morte (‘Love and Death’). As Verdi wrote to his friend Cesare De Sanctis on I January 1853, it was ‘a subject of the times. Others would not have done it because of the conventions, the epoch and for a thousand other stupid scruples’. The composer even proposed that, contrary to custom, the opera should be performed in modern costume; but again the Venetian authorities would not agree, and the period was put back to the beginning of the eighteenth century.
Aroldo
Authors: Parker Roger 
Published: November 2023

Abstract
Opera in four acts set to a libretto by Francesco Maria Piave after their ear lier opera Stiffelio; first performed in Rimini, Teatro Nuovo, on 16 August 1857. The first performance of Stijfelio, at Trieste in November 1850, had met with severe problems from the local religious censors, particular objection being made to the final scene, which had to be changed radically and Verdi thought-damagingly. The few subsequent revivals also tended to run into trouble, and in 1854 Verdi decided to collaborate with Piave on rescuing the opera by setting it to a different, less sensitive plot. In 1856 they started work, changing the tale of a nineteenth-century Protestant pastor into that of a thirteenth-century Saxon knight returned from the Crusades, Verdi taking the opportunity to make a number of further modifications. The brilliant young conductor Angelo Mariani directed the premiere at Rimini. The revised opera was a huge success; but revivals fared less well, andAroldo soon disappeared from the general repertory, receiving only the occasional performance. In the discussion below, musical detail will be mentioned only if a passage differs substantially from Stijfelio or is new to Aroldo.
Un hallo in maschera
Authors: Parker Roger 
Published: November 2023

Abstract
Melodramma in three acts set to a libretto by Antonio Somma after Eugene Scribe’s libretto Gustave III, au Le Bal masque; first performed in Rome, Teatro Apollo, 17 February 1859. By February 1857 Verdi had agreed to write a new opera for the Teatro San Carlo in Naples, to be performed in the carnival season 1857-58. His first idea was King Lear, a setting of which he had planned with the playwright Antonio Somma, but (not for the first time) the San Carlo singers were not to his liking and the project was postponed. By September 1857 the composer was becoming anxious about his approaching deadline, and eventually proposed to Somma and the San Carlo-albeit with some reservations about the libretto’s conventionality-that he set a remodelled and translated version of an old Scribe libretto called Gustave I II, ou Le Bal masque, written for Auber in 1833. Somma and the theatre agreed; Verdi set to work advising his librettist, who had no experience writing for the musical theatre, on the necessary poetic proportions of the subject. The opera was at that time called Gustavo 111.
La forɀa def destino
Authors: Parker Roger 
Published: November 2023

Abstract
Opera in four acts set to a libretto by Francesco Maria Piave after Angel de Saavedra, Duke of Rivas’s play Don Alvaro, o La fuerz_a del sino, with a scene from Friedrich von Schiller’s play Wallensteins Lager, translated by Andrea Maffei. La forz_a del destino was first performed in St Petersburg, Imperial Theatre, on 29 October/ 10 November 1862. The revised version, with additional text by Antonio Ghislanzoni, was first performed in Milan, Teatro alla Scala, on 27 February 1869. The cast at the 1862 premiere included Caroline Barbot (Leonora), Francesco Graziani (Carlo), Enrico Tamberlik (Alvaro), and Constance Nantier-Didiee (Preziosilla). The cast for the 1869 revised version in cluded Teresa Stolz (Leonora), Luigi Colonnese (Carlo), Mario Tiberini (Alvaro), and Ida Benza (Preziosilla).
Don Carlos
Authors: Parker Roger 
Published: November 2023

Abstract
Opera in five acts set to a libretto by Joseph Mery and Camille Du Lode after Friedrich von Schiller’s dramatic poem Don Carlos, Infant van Spanien; first performed in Paris, Opera, on II March 1867. The revised Don Carlos, in four acts (the French text was revised by Du Lode, and an Italian translation was supplied by Achille de Lauzieres and Angelo Za nardini), was first performed in Milan, Teatro alla Scala, on IO January 1884. The cast at the 1867 premiere included Louis-Henri Obin (Philippe), Paul Morere (Don Carlos), Jean-Baptiste Faure (Posa), Marie Sasse (Elisa beth), and Pauline Gueymard-Lauters (Eboli). The cast for the 1884 re vised version included Alessandro Silvestri (Filippo), Francesco Tamagno (Don Carlo), Paul Lherie (Rodrigo), Abigaille Bruschi-Chiatti (Elisa betta), and Giuseppina Pasqua (Eboli).
Otello
Authors: Parker Roger 
Published: November 2023

Abstract
The cast at the premiere included Francesco Tamagno (Otello), Victor Maurel (Iago), and Romilda Pantaleoni (Desdemona). As the 1870s progressed, Verdi seemed increasingly isolated from current trends in Italian music, in particular by the tendency of both public and composers to look outside Italy (to France and, later, to Germany) for new ideas and aesthetic attitudes. It is against this background that we should examine his reluctance to write new works after the Messa da Requiem of 1874: Verdi was a composer who, after being at the forefront of Italian musical taste for more than two decades, found himself accused of being oldfashioned, out of touch with the times; the fact that he probably felt so himself only exacerbated the situation. Those who sought to lure him out of self-imposed retirement, among whom the prime mover was the new young director of the Ricordi publishing house, Giulio Ricordi, had to tread carefully. Ricordi eventually teamed up with Arrigo Boito, the librettist and composer, who in the 1860s had been one of the most visible of the Italian avant-garde, but whose respect for the old maestro grew with the years and with Boito’s own gradual conservatism. In June 1879 Ricordi and Boito raised with Verdi the possibility of an Otello. Verdi betrayed cautious enthusiasm, and by the end of the year Boito had produced a draft libretto, full of ingenious new rhythmic devices but with an extremely firm dramatic thread.
A Minuet
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
Riepel a rgued that la rge works in the ga la nt sty le—movements from sonatas, symphonies, concertos—were nothing more than expanded minuets.1 While there was some rhetorical exaggeration in his claim, there is also a large measure of truth. Many of the skills needed to write a good minuet could be adapted to the requirements of larger pieces. The same general sequence of schemata used in a minuet could be used in a large movement, though with other schemata added and interpolated. And if one could not write a good minuet, there was little point in attempting a larger format. Riesel’s point is further borne out by our records of eighteenth-century German instruction in composition. Thomas Attwood’s lessons with Mozart, for example, show that systematic training neared its end with assignments to write minuets.2 After students had successfully dealt with the minuet, they could be expected to work on their own to emulate the larger compositions of master musicians.
The Do-Re-Mi
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
the “rising figures” described in the discussion of Solis’s minuet (chap. 5) were each part of a Do-Re-Mi schema.1 The French violinist Jean-Marie Éclair (1697–1764), a famous pupil of Somas, knew all forms of the Do-Re-Mi common in the early 1720s and presented them in his first set of sonatas. Here is his version of the basic type, with do–re–mi (0–@–@) in the melody and do–si–do (CD–®–CD) in the bass:
The Monte
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
whereas the second section of a Font is “one step lower,” that of a Monte (It., “a mountain”) is one step higher. Like the font, the Monte involves a sequential transposition of its first material. Unlike the font, however, it may continue the sequence through more steps. In Riesel’s dialogues, the teacher instructs his student that the Monte can be employed immediately after the double bar in a minuet. That was a common usage, though the Monte was not limited to that position and was not as commoon there as was the font. For a model Monte, Repel gave only a melody, following his custom:
The Meyer along with notes on the Jupiter, Pastorella, and Aprile
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
Giacomo Tritto bega n his Scuola di contrappunto [The School of Counterpoint] by citing his pedigree.1 He had studied “under the direction of the renowned maestro Signore Pasquale Camaro, who was a student of the celebrated Signore Leonardo Leo.” This pedigree, which was impeccable by eighteenth-century standards, meant that he had received a pure form of the largely oral tradition of instruction. Indeed, Triton’s own book contains more pages of pertinent than pages of verbal explanation. When Triton began one of his pertinent simplicity as follows, he was making a clear reference to part of that tradition:
A Cantabile by Simon Leduc
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
as a noted pupil of Gravities, Simon Leduc (1742–1777) had already become one of the premier musicians in Paris when the child Mozart made his first tour there in 1763–64. Mozart’s father, an acknowledged authority on violin performance, wrote approvingly of Leduc’s playing, and given the style of Leduc’s compositions it would be difficult to believe that Wolfgang did not also find much to admire and emulate in Leduc’s elegant melodies. Leduc wrote highly refined music for small aristocratic gatherings in chambers and salons. The fluency and perfection of his style was matched by few others, and almost every one of his phrases features a gallant schema presented in a way that exploits its traditions and expressive opportunities. Take, for instance, the Indigo. He included three different Indigos in the violin sonata that serves as the focus of this chapter.
Summary And Cadenza
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
a European n expert on the music of the Beatles, Tuomas Eerola, made a careful study of their experimental style. He compared the distribution over time of Beatles recordings that feature Indian instruments, tape manipulations, psychedelic or nostalgic lyrics, modal scales, changing meters, and so forth with the distribution over time of the Meyer, as reported in my A Classic Turn of Phrase.1 A graph of his comparison is shown below, with the much longer time scale of the Meyer contracted to match the relatively short period of Beatles recordings:
A Deaf Child in the Family
Authors: Marschark Marc 
Published: November 2023

Abstract
Parents of a deaf child, like the parents of any child who has special needs, want answers to what seem to be some simple and straightforward questions— questions like “What kind of language experience is best for my child, speech or sign language?” “Will my child ever learn to speak normally?” “What kind of school is best?” “Does being deaf affect how smart a child is?” and “Will my child be able to get a good job?” Regrettably, these questions are not as simple as they might appear, and parents may sometimes get contradictory information from professionals who are expected to have the answers.