bluuebunny/crossref_metadata_2025_split huggingface dataset:
Study Session 17 Pe.Rspectives On Instrumental Music Of The Late Fifteenth And Early Sixteenth Centuries
Authors: Kmetz John 
Published: November 2023

Abstract
Of the refractory problems facing music historians, none looms so large as that of establishing the actual sound of secular music of the late fifteenth and early sixteenth centuries. After many years of research and heated discussion, answers to several basic questions are still uncertain. One that has solicited especially intense debate is that of the role of instruments and instrumentalists. For example, it is still uncertain what surviving repertory can actually be identified as having been conceived for or, for that matter, even performed by instrumental ensembles. Likewise, music historians are still grappling with such fundamental issues as to what musical features in fact constitute an instrumental ‘style’.
Study Session 18theatrical Dance And Music, I 650-I 8 50
Authors: Marsh Carol G 
Published: November 2023

Abstract
The interrelationship between European theatrical dance and music was explored in a series of papers which examined dramatic developments in no fewer than four countries while covering some 200 years of theatrical history. The session was structured around the common goal of assessing the function of dance within specified theatrical genres by observing the possible relationships between dance and text, noting continuities of dance traditions and structures, and exploring the potential connections between musical and choreographic styles.
Study Session 24 The Evolution Of Musical Instruments
Authors: Libin Laurence 
Published: November 2023

Abstract
This session dealt primarily with extramusical influences on the development of instruments. The speakers stressed that instruments evolve largely independently of musicians’ concerns, and that political and economic forces and technological innovation can powerfully stimulate or retard their development. New types of instruments, such as the piano in the eighteenth century, can inspire unpredictable changes in musical style. But, as the piano’s history demonstrates, extension of an instrument’s idiom in unexpected directions (e.g. by Henry Cowell and John Cage) may have minimal effects on its design. Common assumptions about the relationship between musical style and instrument design were thus brought into question. Innovative instrumentmakers do not merely serve composers’ ‘needs’. Rather, the medium precedes the message; the saxophone, for example, developed a distinctive idiomatic voice only after much experiment—some would say, only in the jazz age. As the fate of the once ubiquitous reed organ demonstrates, an instrument’s immediate success in the market-place may bear little relation to the quality of its repertory; but an instrument survives in general use only if it inspires a critical mass of enduring music.
Musicology And Art History
Authors: Seebass Tilman 
Published: November 2023

Abstract
Ever since the beginnings of modern musicology in the second half of the nineteenth century, scholars have been aware of the intellectual context provided by neighbouring fields. After language and literature, art history was closest. Jakob Burckhardt’s and Heinrich Wolfflin’s periodizations were adopted, and an interest in style history as well as a tendency towards Personenkult in the writing of biographies was typical for both disciplines. The twentieth century brought an emphasis on synaesthetic questions and, most recently, reception history.
Study Session 38theorizing Mixed Media
Authors: Cook Nicholas 
Published: November 2023

Abstract
The starting-point of this session was the current state of research across a range of mixed media extending from opera and song to dance, film, and music video. In each of these fields scholars study how media work together, but there is little communication between them. There are no widely accepted theoretical models or even terminologies for intermedia relations that translate easily from one genre to another. (Traditional film critics’ definitions of parallelism and counterpoint, for instance, seem too simple to many writers on opera and song, as well as on film and other audio-visual media.) The session drew together scholars working across a range of genres and from a range of disciplinary backgrounds (musicology/music theory, literature, film studies, and media studies). The aim was to see how far our object of discussion might at least be translatable from one field to another, and to what extent it might be possible to develop an overarching theoretical model, or set of models.
Contexts For Brass: History, Performance, Culture
Authors: Nussbaum Jeffrey 
Published: November 2023

Abstract
Jeffrey Nussbaum’s preliminary remarks concerned the recent important developments in scholarship and performance practice in all areas of the early brass field, and the satisfaction the Historic Brass Society had at being able to share with the rest of the music community three outstanding representative papers. Further mention was made of the importance of creating a forum for the exchange of ideas between different groups in the cultural and intellectual community.
Recent Mozart Research And Der Neue Kochel
Authors: Zaslaw Neal 
Published: November 2023

Abstract
By way of introduction, Neal Zaslaw, the editor of Der neue Kochel (NK, Wiesbaden and Leipzig, in preparation), explained that it would attempt as complete an account as at present possible of authentic sources and authentic versions of Mozart’s works. This means leaving a complete account of all editions as well as of secondary and tertiary manuscripts to later bibliographical efforts. The numbering of works will return to the first edition of Kochel’s Verz.eichnis, omitting more than sixty works not by Mozart, returning to appendices the sketches, drafts, and fragments that, in the third and sixth editions, were inserted into the main chronology, and prefixing with a bold symbol any Kochel number that no longer meaningfully signifies a work’s position in the chronology. Stanley Sadie was concerned about the fact that, despite the first word of the title Chronologisch-thematisches Verzeichnis, some works would thereby knowingly be presented out of chronological order. Zaslaw responded that every other scheme proposed for cataloguing Mozart’s works had inconsistencies just as great or greater, and involved either an enormous increase in complexity or abandoning the well-known numbering to which everything was already keyed; this was a practical rather than an ideal solution, and the least of several evils.
New Methods, New Visions: Computational Initiatives For A New Millennium
Authors: Vollsnes Arvid 
Published: November 2023

Abstract
Ewa Dahlig gave an update on the Essener Assoziativ Code (EsAC) project, founded by the late Hellmut Schaffrath and now in progress at the Institute for the Arts, Warsaw. EsAC was developed for encoding monophonic music, with some of the particular demands of folk-music research in mind (analysis, printing, sorting, maintenance of related documentation, etc.). The general architecture of the system provides for various data capture/input, manipulation, and output processes. Data can be exchanged with encoding systems such as DARMS, Score, and KERN, as well as TeX, PCX, and MIDI formats. EsAC is used by researchers in Germany, Poland, Lithuania, Italy, and Luxembourg. The repertory of encoded musical works currently numbers about 20,000; the majority of pieces are German and Polish folksongs. The Institute for the Arts would like to build a central database of international data while developing a system for the distribution of software tools, as well as for data collection and distribution.
Session 4: Broadcasting and the Media
Authors: Theresa Rose M 
Published: November 2023

Abstract
Histories of early cinema generally identify a paradigmatic shift between 1907 and 1917. During these years the early ‘cinema of attractions’, which emphasized the exhibition of cinematic technology, gave way to narrative films. As Miriam Hansen has recently stressed, this shift should be understood above all as a transformation in relations between film and spectator. With the newer modes of narration, the spectator was offered new positions of understanding and subjectivity, not so much as part of a particular exhibition or technological event, but rather from a space within the fictional worlds of specific films. Spectatorship became part of the film itself, as a point of address, a textual entity that worked to standardize cinematic consumption. Important to this shift in modes of spectatorship were the new genres of the historical film, the literary, and, especially, the operatic adaptation. This paper offers a preliminary exploration of the impact of operatic practices scenography, narrative, musical-on cinema during this crucial period.
Session 5: Early Polyphony
Authors: Ferreira Manuel Pedro 
Published: November 2023

Abstract
This paper addressed a central question underlying modern research on medieval musical sources: how to recognize early polyphony. Taking as its subject the versus for St Martial written at the Aquitanian monastery of Saint-Martial de Limoges by Ademar de Chabannes (F-Pn lat. 909, ff. 202-205), it showed that most of the criteria that have been invoked in the past to deny a polyphonic character to this composition are seriously flawed. Yet the alternative interpretation is by no means easily admitted: musical expectations and reliance on extant theoretical sources limit the horizon of acknowledgment. A discussion of the issues raised by this composition leads, if not to the revision of received opinion concerning the role of Saint-Martial de Limoges in the development of early polyphony, at least to a new epistemological awareness of current musicological assumptions.
Session 7: Analysis of Nineteenth-Century Music
Authors: Eitan Zohar 
Published: November 2023

Abstract
Examining musical repertories as well as data from empirical psychological studies, this paper investigated some structural corollaries of virtual registral direction (up, down, lateral) in terms of Eugene Narmour’s implication realization (1-R) model. The paper studied registrally opposing variants of basic melodic structures (as defined by the 1-R model) in selected musical repertories, comparing their frequency and examining their structural settings. It also re-examined in 1-R terms data from studies of melodic expectancy, comparing the basic melodic structures generated by ascending implicative intervals with those generated by descending ones of a similar magnitude. Both experimental data and melodic analysis indicate that the implications of ascent and descent differ significantly, suggesting that principles involving virtual registral direction should be incorporated into the bottom-up foundation of an 1-R model. To complement the model, a revised rule of proximity taking melodic direction into account was proposed.
Session 9: The Fifteenth-Century Tradition
Authors: Bloxam M Jennifer 
Published: November 2023

Abstract
The impetus and intentions behind cultivation of the chanson Mass, that subgenre of liturgical polyphony that takes as its cantus firms not a plainsong melody but rather the tenor of a secular chanson, have yet to be closely examined. While the cultural historian Johan Huizinga interpreted the phenomenon as a musical symptom of the general decay of late medieval culture, Howard Mayer Brown and others have recently taken a more sympathetic view, recognizing in the chanson Mass a manifestation of the period’s inclination to equate secular and sacred love, and observing the likely use of the chanson Mass in services dedicated to the Blessed Virgin or nuptial celebrations. This paper offered an expansion of the latter view, concentrating in particular on the Burgundian court culture that provided the focal point for the creation of chanson Masses during the first two
Session 10: Baroque Sacred Music
Authors: Summers William 
Published: November 2023

Abstract
This paper was the first musicological study to examine the archival evidence of the archdiocese of Manila, including the bishop’s and the chapter’s correspondence, diaries, historical chronicles, and eye-witness accounts, all relating directly to the cultivation of music in the cathedral during the years 1589-1700. During that period, five bishops occupied the see. Each had a direct impact upon music in the cathedral, and each contributed substantially to the increase in the musical fabric. By the time of Bishop Diego Camacho y Avila (d. 1705), the cathedral boasted a major musical establishment and an extensive music library, and was fitted with two pipe organs.
Session 11: Music and Society in the Nineteenth Century
Authors: Ohrstrom Eva 
Published: November 2023

Abstract
From the late eighteenth century until the late 1820s musical salon evenings modelled on those of Central Europe were cultivated in Sweden. These took place in aristocratic houses, and very often the hostess was central to the proceedings. Since public concert life was still undeveloped, the musical salons were of great importance. A typical example of a musical salon was that of the Countess Margaret a Cronstedt at Karlberg in Stockholm. She herself was a good piano-player, and she invited famous musicians to play chamber music with her and to perform for the society frequenting her salon. Aspects I discussed included: the salon as a scene where women could cultivate their accomplishments and ‘create’ their ‘womanliness’ as well *as their musical skills; the salon as a scene for amateurs as well as professional musicians; and, finally, salon society and its impact on male professional composers.
Session 12: New Music
Authors: Perloff Nancy 
Published: November 2023

Abstract
During the 1950s a group of American composers introduced a new conception of the musical score. Departing from standard notation, they invented graphic symbols which acted as visual guidelines for the performer. This paper argued that in such indeterminate compositions the score becomes an artistic expression in its own right. The grid notation of Feldman, the dashes in space of Brown, the graphs of Cage, and the shorthand symbols of Wolff are visual notations conveying spatialized sound and a lack of hierarchy between parts. Intriguing paradoxes emerge which alter current thinking: how do we reconcile the contrast between the personal, hand-drawn graphic symbols and the composers’ desire to remove intention? Does the preeminence given to David Tudor’s systematic realizations contradict the premiss of indeterminacy? Or is indeterminate music more determinate than we might think? Using music manuscripts at the J. Paul Getty Museum, Santa Monica, California, I demonstrated the critical interplay of sound and visual expression in indeterminate music.
Session 13: Early Theory and Music
Authors: Balensuela C Matthew 
Published: November 2023

Abstract
In the Middle Ages and Renaissance, music and law were closely related, though this area has not received systematic study in modern times. This paper considered the diverse connections between music and law by summarizing past and current research in four areas: laws relating to music, the use of law in theoretical works, the use of legal texts and ideas in musical works, and persons active in both legal and musical activities. Considering law as a sister discipline of music in the Middle Ages and Renaissance can help scholars explain obscure passages in musical texts, clarify ideas in music-theory treatises, and establish a broader perspective of the roles of both music and the law in society.
Session 16: Technology and Systematic Musicology
Authors: Pecquet Frank 
Published: November 2023

Abstract
A methodological reflection on the objectives of computer music composition facilitates the transition from a logical use or a rationalized proceeding of technological tools to the domain of the aesthetic. This paper clarified in three connected axes of thought the development of music composed with computers. The first is the concept of material, that is, the sonic technical phenomenon or ‘operative technical method’; the second is the concept of technique-compositional thought, writing, and notation; and the third is the concept of new relationships between composer and sound.
Session 19: Early Twentieth Century
Authors: Antokoletz Elliott 
Published: November 2023

Abstract
The intention in this paper was to show how two early twentieth-century operas, Debussy’s Pelleas et Melisande (1902) and Bart6k’s Bluebeard’s Castle (19rr), transform the harmonic structures of the traditional major/minor scale system into a new musical language, and how this language reflects the psycho-dramatic symbolism of the Franco-Belgian poet Maurice Maeterlinck and his Hungarian disciple, Bela Balazs. In reaction to the realism of nineteenth-century theatre, many authors began to develop a new interest in psychological motivation and a level of consciousness manifested in metaphor, ambiguity, and symbol. In his plays, Maeterlinck was to transform the internal concept of subconscious motivation into an external one, in which human emotions and actions are controlled by Fate. These operas represent the first significant attempts to establish more profound correspondences between the symbolist dramatic conception and the new musical language. This language is based almost exclusively on interactions between pentatonic/diatonic folk modalities and their more abstract whole-tone and other symmetrical transformations, the opposition of these two extremes serving as the basis for dramatic polarity between the characters as real-life beings and as symbols of Fate.
Session 20: Ethnology
Authors: Qureshi Regula Burckhardt 
Published: November 2023

Abstract
Ma’dan-ul-Mausiqi (Mine of Music), an Urdu treatise written around the time of the Great Uprising (1857), is today widely but selectively used as a historical source. Written by a courtier who had also held a British colonial post, this highly syncretic work is modelled on musicological treatises of past centuries while richly chronicling current oral tradition and musical practice, all with reference to both Hindu-Sanskrit and Muslim-Persian interpretative frames. Mine of Music is also a connoisseur’s personal chronicle of the courtly musical life cut off by the British destruction of the Lucknow court; at the same time it contributes to the British agenda to make classical cultural knowledge accessible through vernacular texts. The goal of my paper was to examine how this treatise and its subsequent dissemination have contributed to the process of constructing an Indian musicology while also problematizing its premisses.
Session 21: Renaissance Source Studies
Authors: Owens Jessie Ann 
Published: November 2023

Abstract
Until the past decade, scholarship on compositional process for music before 1600 was based partly on instinct (‘composers must have used scores’) or intuition about musical style. But the discovery of manuscripts that composers actually used for sketching, drafting, and revising their music has opened up new avenues for understanding their working methods and certain aspects of the music itself. More than 100 such manuscripts by over thirty composers have been identified so far, and others will surely surface. These autographs range from fair copies in choirbooks to very rough scribbles added to the blank staves of manuscripts used primarily for other purposes. This paper, in addition to presenting a checklist of autograph manuscripts, explored the methodology for identifying and authenticating manuscripts as autographs, in part by drawing on work in the cognate disciplines of art history and literary history.
Session 22: Opera around 1700
Authors: Cetrangolo Annibale 
Published: November 2023

Abstract
La opera llega a Iberia y America conflictivamente, creando problematicas de autoidentificacion cultural. Es un area muy diferente a la italiana originaria, ya que los escenarios estan ocupados por formas dramaticas locales desarrolladisimas. Algunos generos musicales-villancico y prezepe-ya proponian situaciones dramaticas, pero solo gracias al nuevo poder (Madrid, 1701), la opera italiana y la tragedia francesa entran en la carte. En esta comunicacion se demostro el rol determinante de ciertas familias de nobles-funcionarios en el primera circulacion de la opera como puente con la Europa del progreso. Estos nobles patrocinaron personalmente otro genero derivado y util al encomio del monarca, como es la serenata vocal, asi como formas (concerto grosso) e instrumentos (violin) considerados como emblemas de lo italiano. En este sentido resulta ejemplar el rol de los Spinola protectores de Facco, quienes promovieron su musica tanto en el centro como en la periferia del poder: Mexico.
Session 23: Twentieth-Century Topics
Authors: Roman Zoltan 
Published: November 2023

Abstract
Since a fruitful and promising burst of activity in the 1970s and Sos, musical scholarship has seemingly given up on the conundrum presented by (musical) Jugendstil (art nouveau, etc.). The premiss of this paper is that Jugendstil (etc.) is both a useful interdisciplinary concept for embracing the ‘transitional’ on either side of 1900 (or between Impressionism and Expressionism), and a flexible, work-specific hermeneutical (as distinct from an exclusively technical-analytical) tool. Following the establishment of the operative cultural and historical parameters, the bulk of this paper was devoted to a comparative examination of literary, visual, and musical artefacts selected (for practical reasons) from the German-Austrian orbit. Mainly in an attempt to escape the acquired burden of past exploration in the ‘mainstream’ music of the period (for example, Mahler, Strauss, and the Second Viennese School), musical examples were drawn from the ‘peripheral’ artsong literature (for example, Liszt, Zemlinsky, Szymanowski, and Braunfels).
Session 24: Jazz and Pop
Authors: Kernfeld Barry 
Published: November 2023

Abstract
A preliminary definition of jazz fleshed out from the perspective of sound and practice contrasted ritualistic elements live and on record, considered the relative weight of musical building-blocks, and summarized distinctive aspects of instrumentation, timbre, rhythm, and the creative process. Without denying that jazz, as music, intertwines and overlaps in complex ways with other twentieth-century genres, this paper argued that a distinctive musical identity resides in the combination of these characteristics. But from other perspectives, including racism, technology, dance, entertainment, gender, canon, film-each considered in relation to the musical life of performers and audiences-jazz appears to be an artificial creation. The better one understands its contextualization, the more one wonders if there is such a thing as jazz.
Session 27: Nineteenth-Century Opera
Authors: Gallo Denise P 
Published: November 2023

Abstract
Vincenzo Bellini left Sicily as the hope of his fellow Catanese, and when he returned in 1832 he was hailed as the hero who had demonstrated their artistic spirit to the world. His death three years later catapulted him into a new realm: that of patriotic symbol. At a time when Sicilians needed a standardbearer in the face of Bourbon tyranny, Bellini’s name and music became, as one liberal demanded, ‘a war cry’. This symbolism was perceived so clearly that pro-Bourbon forces employed Bellini’s music against Sicilian patriots.