bluuebunny/crossref_metadata_2025_split huggingface dataset:
Four-Voice Motets
Authors: Finscher Ludwig 
Published: November 2023

Abstract
Four-Voice counterpoint was established as the compositional norm, at least in sacred music, by Josquin and his contemporaries. Not surprisingly therefore, four-voice compositions form the nucleus of Josquin’s motet oeuvre. The shift from three-part to four-part writing has not yet been investigated thoroughly. Four-part polyphony had been reserved for exceptional works, both in mass and motet composition, in the later fourteenth and early fifteenth centuries, both on the Continent (Machaut and the following generation) and in England (Dunstable and the music of the Old Hall manu script). It remained exceptional and confined to these genres until about 1450, but with a tendency to spread within these genres, a tell-tale case being the three-voice motets by Ciconia to which someone, very probably the compiler of Bologna Q 15, added a contratenor, roughly between 1425 and 1435 (in Utte peromnes/Ingensalumpnus, which is for three voices in Bologna Q 15, the compiler of Oxford 213 did the same at about the same time, and in the Veneta as well). Around 1450, four-voice writing was firmly established and became quickly dominant in the new (and in that sense again exceptional) genre of the cyclic mass, perhaps the first example being the anonymousMissa Caput, which proved to be decisively influential on the Continent.
Odes
Authors: Holman Peter 
Published: November 2023

Abstract
BY and large, Purcell’s odes have received short shrift in modern times. The texts are routinely dismissed as inept and embarassingly sycophantic, and attention has largely been confined to the three works currently available in miniature score: Welcome to all the pleasures’ 2339, Hail, bright Cecilia’ Z328, and Come, ye sons of art, away’ 2323. The original volumes in Works I containing the odes were published between 1878 and 1926, and have been out of print for decades. They are only now being replaced by volumes in Works II, and some first-rate pieces are still virtually unknown. Purcell’s odes are important because nearly all of them can be dated precisely-unlike most of the music discussed so far in this book.
Recognition
Authors: Kennedy Michael 
Published: November 2023

Abstract
Recognition, of a kind, was not far away. Novello’s accepted another part-song, ‘O Happy Eyes’, to Mrs Elgar’s words, in March 1894, and Elgar composed a ceremonial piece for brass, organ, and strings, Sursum Corda, for the Duke of York’s visit to Worcester in April. Holidays in Sussex and, for seven weeks, at Garmisch in the Bavarian Highlands, are a sign of more relaxed nerves. But the greatest tonic is success, a sign that one’s work is wanted, and the interest shown in Elgar by Hugh Blair, rewarded by the dedication of The Black Knight and by orchestrating Blair’s Advent Cantata for him, was enough to stimulate further creative efforts. In July 1894 Elgar turned again to Longfellow and began work on Scenes from the Saga of King Olaf In doing so, he was not only setting a favourite poet of his and his mother’s—while in Heidelberg in 1892. he had sent her a letter describing a students’ torchlight procession, adding, ‘I must send a line from here about which we have read & thought so much ⃛ it did remind me of Hyperion & the beer scandal etc etc’—but he was, if unconciously, following a fashion for Scandinavian lore which can also be traced in William Morris’s Icelandic Sagas, in Delius’s Fennimore and Gerda, and in Schoenberg’s setting of Jacobsen’s Gurrelieder. At the same time, on returning from Garmisch, he worked on a suite of six part-songs of Bavarian Dances, to words which Alice had written in imitation of Bavarian folk-songs.
‘Variations’, and the ‘Friends pictured within’
Authors: Kennedy Michael 
Published: November 2023

Abstract
In approaching the zenith of Elgar’s creative life and the apogee of his national fame, it will be necessary to abandon strict chronological biographical methods and to follow his progress by means of the personal associations and early histories of some of the works, and by a closer study of his relationships with a growing circle of friends and acquaintances—and enemies. Despite his grumbling to Jaeger and his almost neurotic preoccupation with wider public and material recognition—though, as has been seen, he had in some respects a poor opinion of public taste—Elgar was fully aware that it was only in Worcestershire that he was able to work in the concentrated quiet that he needed. The peace and beauty of the countryside were as necessary a creative stimulant to him as they were to Beethoven, and he found them in full measure at the cottage, Birchwood, among the woods and within walking distance of the British Camp and all the other associations with Caractacus. Alice and he first stayed there on 16 May 1898. When he wrote to Jaeger during the summer of 1898, he would put ‘Birchwood (once more!)’ or ‘Birchwood (in peace)’ or ‘at Forli but just leaving for Birchwood Deo Gratias !’ at the head of his letters. But it was from ‘Forli’, when the woods were ‘decidedly damp and rheumaticky—unromantic just now’, that on 24 October 1898 he wrote to him: ‘Since I’ve been back [from a visit to London] I have sketched a set of Variations (orkestra) on an original theme: the Variations have amused me because I’ve labelled ‘em with the nicknames of my particular friends—you are Nimrod. That is to say I’ve written the variations each one to represent the mood of the “party”—I’ve liked to imagine the ‘party’ writing the var: him (or her) self and have written what I think they wd. have written—if they were asses enough to compose—it’s a quaint idea & the result is amusing to those behind the scenes & won’t affect the hearer who “nose nuffin”. What think you?’
Finale
Authors: Kennedy Michael 
Published: November 2023

Abstract
In 1927 Elgar was seventy. The anniversary coincided with one of the lowest points that his reputation among the arbiters of fashion had reached. A birthday concert at Queen’s Hall was given to a hall no more than half full. ‘I have had some satisfaction & even pleasure in my life,’ he wrote to Charles Volkert who had been head of Schott’s London branch when Elgar was in London in the 188os, ‘but have no pleasant memories connected with music.’ It is a terrifying and tiresome statement, for surely even that year he must have had pleasure from a concert in Manchester on 20 January when, to salute him in his seventieth year, Adolph Brodsky, then seventy-five, had returned to the Halle platform to play the Violin Concerto? Elgar conducted. Froissart, In the South, Sea Pictures, and the Variations were also in the programme. Memories of Richter’s heyday in Manchester and of his own triumphs there, the presence of Brodsky symbolizing the interest of a European generation in his work: was there nothing pleasant in the occasion? On 26 June Schuster, himself now seventy-five, performed his last generous act of homage to his friend, arranging performances of the three chamber works at ‘The Hut’ (by then re-named the ‘Long White Cloud’) by Sammons, Murdoch, Reed, and others.
Coda
Authors: Kennedy Michael 
Published: November 2023

Abstract
Anybody who spends some time among the great collection of letters to Elgar preserved at Worcester will come away with an overwhelming impression of the respect and affection with which he was surrounded and which he and his music inspired. Yet throughout his life, as we have seen, he remained lonely and unsure. When he was old and full of honours, a young couple with Worcester &lt;;onnections spent an evening with him. He was brimming with humour and good stories. He played them records of his music, striding about the room humming. When they had gone, he asked his niece: ‘Do you think they really loved my music?’ Many, like A.H. Fox Strangways, knew him only as a man with an ‘endless curiosity about everyday things and his power of finding fun in chance people and ordinary incidents’. They would never have suspected the dark side of his soul that was bared to Jaeger and Lord Northampton. The intellectuals who despised his patriotism and emotion and found his liking for the racing fraternity an incomprehensible aberration could never have realized the sensitivity that the mask of worldliness concealed. Langford said of Mahler’s music: ‘With his lighter hand he draws us to and with his heavier thrusts us from him.’ These words could equally be applied to Elgar’s personality.
Cross-Currents
Authors: Smallman Basil 
Published: November 2023

Abstract
FROM the middle of the nineteenth century, for at least a hundred years, works for large keyboard ensembles began increasingly to occupy a central position in the chamber field. One reason for this was certainly the widespread success of Schumann’s inspirational Piano Quintet, which, by establishing what was virtually a new genre, with a specific aura of Romanticism, created an immediate ideal for composers of varied backgrounds to attempt to emulate. Naturally it was those of Austro-German origin who took a leading role, providing a continuing line of descent, which was to survive unbroken at least until the time of Schoenberg and Hindemith. But in other parts of Europe also, after a somewhat tentative start, a significant flow of new works began, often finely crafted and of an engagingly varied character. Links with the central tradition were continually in evidence, not least because many of the composers involved received their basic musical training in Germany; but fresh approaches, frequently inflected by national or folk ‘dialects’, created cross-currents which ruffled, beneficially, the surface of the German ‘mainstream’, both absorbing strength from it and infusing new elements into it. Thus, to take the simplest of cases, the intellectual discipline gained by Dvorak through his immersion in German symphonic ideals was paralleled, obversely, by the rustic vigour imparted to various of Brahms’s works through his predilection for folk music, especially that of Hungarian origin. The synthesis achieved in these and other instances led, naturally, to an increased degree of cosmopolitanism; but this was offset by the prominently nationalist features found in the work of several of the most independent-minded composers of the time—those particularly whose origins lay in countries most geographically distant from central Europe.
Basic electronics and acoustics
Authors: Mornington-West Allen 
Published: November 2023

Abstract
This chapter attempts to summarize some of the electrical and acoustical terms commonly found in the audio industry. There is not the space to cover any one item in depth, though there should be no great inaccuracy as a consequence.
The basic units and symbols which make up the SI system of units (Systeme International d’Unités) are given in Appendix 1. The names of the units have often been derived from the names of past scientists and are in internationally agreed use. The wide range of values which these units may have requires an efficient scheme of notation. For example, the range of sound pressure levels (SPL) to which the human ear is sensitive extends to more than one million to one-from the threshold of hearing to the threshold of pain. Although the SPL at the threshold of hearing could be written as 0.000020 Pa, it is more usually written as 20 µ Pa. The µ stands for ‘micro’ and is a shorthand way of expressing the ratio of a millionth. The range of common multipliers is also given in Appendix 1. It can be seen that they rise in a ratio of a thousand to one.
Mixing consoles: Analogue
Authors: Swettenham Richard 
Published: November 2023

Abstract
In order to cover all the features likely to be met in consoles for recording use, this chapter will describe the units and systems found in a typical console for multitrack recording, considered mainly from the operational rather than the engineering design point of view. By way of illustration, Figures 7.1 and 7.2 show the controls layout and block schematic diagrams for a console having extensive computer-assisted mixing facilities. Plate 4 shows the same console in a 36 channel version.
The main factors of importance here are: source and input impedances, noise in relation to gain, and gain range and headroom. The majority of studio microphones have nominal impedances in the range of 150-300 ohms, and for practical purposes may be regarded as 200 ohms. Almost all capacitor microphones fall into this group, though some have provision for internal connection for 50 ohms. This gives half the output voltage, which is sometimes useful to avoid overloading the input of equipment basically intended for use with low-level dynamic microphones. With the average studio console it is not useful or desirable.
Tape recorders: Analogue
Authors: Ford (Revised by Keith Spencer-Allen) Hugh 
Published: November 2023

Abstract
Magnetic tape is constructed using a base film to support the magnetic layer, or coating. This magnetic coating is applied on one side of the base film, whilst an additional non-magnetic coating is frequently applied to the reverse side. Modern magnetic tapes use polyester as the base film, marketed under a number of trade names such as Mylar from Du Pont or Melinex from ICI. Various grades of polyester, or more properly polyethylene terephthalate, are available from the manufacturers and have widely differing mechanical properties.
Electronic music
Authors: Gibbs (Revised by Peter Howell) Jonathan 
Published: November 2023

Abstract
Since the tentative beginning of electronic music at the turn of the century it has been hoped that the electronic manipulation of sound might, in theory, offer the composer the most glorious opportunities to explore new forms of musical expression. But there have been major stumbling-blocks. The penalties have been the long hours spent slaving over a tape editing block, turning crude physics-laboratory waveforms into pleasing sounds, programming sluggish computers in low-level languages to perform tasks they were not designed to do. For the professional composer of electronic music those long hours have been a significant barrier, because, unlike the composer for conventional instruments, he has to be intimately concerned not only with the music the instruments will play but also with the very design of the instruments themselves. Too often that has meant a struggle, and if it takes him a day to create one really good note it is inevitable that integrity must suffer.
Film
Authors: Hartstone Graham , Spath Tony 
Published: November 2023

Abstract
This chapter looks at the many aspects of film sound, from recording and mixing through to the finished soundtrack as it is exhibited in the cinema. Almost all high-quality film soundtracks today are mixed for a stereo variable-area optical soundtrack that can reproduce four channels of sound in the cinema, Left, Centre, Right, and Surround (LCRS). By far the most widely used system for this is Dolby Stereo. Therefore this chapter mainly describes the stages used in the production and exhibition of Dolby Stereo soundtracks. Digital soundtracks are now a reality in cinemas, and these are also discussed, although it will be very many years before they reach the world-wide saturation of analogue optical soundtracks on 35-mm film. Compatible digital/analogue prints will therefore be with us for the foreseeable future.
Chamber Music
Authors: Musgrave Michael 
Published: November 2023

Abstract
Important as was Brahms’s Requiem in projecting his name to a wider public, it only placed him in a perspective of a certain kind, one relating directly to the inherently conservative world of the choral society and religious music. His instrumental compositions were still only known to a limited entourage focussing on the circles of Joachim and Hellmesberger in Vienna. The numerous performances of the Requiem, which quickly went the rounds of the choral societies after its first full performance in 1869, were in no way matched by the works which became central pillars of his reputation, the piano variations and chamber and orchestral works. Indeed, it was the popular piano and vocal works, the Waltzes and Hungarian Dances, which were best known after the Requiem, as Wagner’s various barbed comments reflect.
Five Summer Songs (I972) Ronald Perera (born 1941) Text by Emily Dickinson
Authors: Manning Jane 
Published: November 2023

Abstract
The songs show considerable delicacy and flair in the clear texture and skilful vocal writing. A flexible, light-toned mezzo-soprano or baritone would perhaps be best suited to them as too much heaviness might limit the range of dynamics. The songs form a nicely balanced group with good contrast and the accompaniments are varied and fluent.
Five Lyrics of the T’ang Dynasty (I947) John Beckwith (born I927) Translation by Witter Bynner
Authors: Manning Jane 
Published: November 2023

Abstract
This brief cycle by John Beckwith is a gem. One rarely finds such assurance and panache combined with natural musicality and a perfect dovetailing of voice and piano. The music’s appeal is immediate. A variety of contrasting moods is displayed during the cycle’s short span. The singer should feel completely comfortable throughout.
Five Songs (I978) Andre Previn (horn I929) Text by Philip Larkin
Authors: Manning Jane 
Published: November 2023

Abstract
These fluent and pleasing songs, by a composer of wide-ranging musical tastes and experiences, show great flair and an innate feeling for vocal timbre. American composers seem to excel at setting texts in a relaxed way so that they are delivered without exaggerated accents. As in the simpler songs of Ives, the message is conveyed calmly and clearly with complete vocal comfort, and there is no danger of losing the words in the music. The accompaniments are delicately judged and the whole effect is unusually sensitive and simple. The songs would not tax the technique of a comparative beginner since they lie so smoothly in the voice and the timing of the phrases follows the natural flow of the text. The musical idiom is fresh, tuneful and instantly appealing, with gently shifting tonality.
Bucolics op. 28 (I968) James Wilson (horn I922) Text by John Clare
Authors: Manning Jane 
Published: November 2023

Abstract
These three songs have a wonderful freedom and naturalness, and the rhythm of the texts is most delicately and expertly handled. The words fit the music supremely well. As in all good vocal writing, there is physical enjoyment to be had in the action of enunciating and, in some cases, lingering over the expressive syllables of the resonant texts. The whole effect is fresh and exuberant. The drama flows with the music, as do the dynamics which are entirely appropriate at all times. The vocal range is comfortable for the singer, causing no strain or pinching on high-lying words. The musical idiom is straightforward and it has a strong individual character although the composer’s touch is light. The piano figurations are attractively varied.
Twelve Moravian Songs (I957) Karel Husa (born I92I) Translation by Ruth Martin
Authors: Manning Jane 
Published: November 2023

Abstract
Karel Husa, a Czechoslovakian composer now resident in the USA, has a most distinguished and varied output. These folksongs from his native land are a fine example of his sensitivity and expertise. The r 2 brief items are properly balanced in mood and style to provide plenty of contrast, despite the overall simplicity of the vocal lines.
A Garland for Marjory Fleming (I969) Richard Rodney Bennett (born I936) Text by Marjory Fleming
Authors: Manning Jane 
Published: November 2023

Abstract
Richard Rodney Bennett’s cycle is an ideal and most tempting introduction to the repertory for a young singer. The unaffected, poignant charm and natural wit of the texts by Marjory Fleming (1803-u), a Scottish child, contribute to the piece’s entertaining and enchanting effect. Misspellings in the text are left uncorrected except, as the composer says, when it would affect correct pronunciation.
The Pensive Traveller (1981) Donald Crockett (born 1951) Text by Henry David Thoreau
Authors: Manning Jane 
Published: November 2023

Abstract
The outstandingly attractive, clear and simple appearance of this printed score gives it an immediate advantage. Other signs of enterprise and thoughtfulness are found in the excellent layout and the concise information given on the back page beside the full text. The publishers are to be congratulated, and it is to be hoped that singers will respond to their efforts.
Beautiful Lie the Dead (I954) Jeremy Dale Roberts (born I934)
Authors: Manning Jane 
Published: November 2023

Abstract
Each of these brief but finely wrought songs is dedicated to a distinguished figure from an older generation: the composers William Alwyn, Gerald Finzi and Howard Ferguson respectively. Beautiful Lie the Dead fits perfectly well into the English song tradition, and it has a fresh, distinctive appeal. The composer shows a good command of style, combined with an instinctive feeling for graceful vocal lines and the shaping of words.
Songs from the Thousand and One Nights (1959, revised 1967) Richard Steinitz (horn 1938) Translation by Powys Mathers
Authors: Manning Jane 
Published: November 2023

Abstract
This is a most striking and imaginative cycle of five songs, the third of which is especially arresting. A strong personality is evident in the voice part, to which the piano accompaniment is particularly suited. The music is flexible and there is a sense of constant flux in the changing tempos and moods which are occasionally mercurial and always colourful.
Mirages (1970) William Alwyn (1905-85) Text by William Alwyn
Authors: Manning Jane 
Published: November 2023

Abstract
This fine and consistent composer, whose work is widely admired yet unwarrantedly neglected, will be greatly missed. Mirages, a substantial and passionate cycle, is a superb example of Alwyn’s assurance, musical depth, refinement and warm conviction. Almost every song is a tour de force in itself: the baritone’s resources will be fully stretched and the invigorating piano parts are similarly testing.
The Seven Deadly Sins (1979) Robert Beaser (born 1954) Text by Anthony Hecht
Authors: Manning Jane 
Published: November 2023

Abstract
It is a pleasure to find a work so attractively presented with an admirably clear and helpful set of performance notes in the score. The notes contain a succinct guide to the symbols used; the insight they give into this American composer’s conception of the interpretation will greatly benefit both singer and pianist. Subtle vocal inflections and changes of timbre are suggested in readily understood terms. Both tenor and baritone versions of the vocal part are printed in the score. The methods of notation used vary according to the characteristics of each song, but all possible questions are answered in the introduction for the composer has considered all practicalities. In particular, the more avant-garde features, most of which are now standard practice, are lucidly explained. All the composer’s markings in the text show meticulous forethought and are to be observed carefully.
Voices of the Prophets op. 41 (1952) Alan Bush (born 1900)
Authors: Manning Jane 
Published: November 2023

Abstract
This inspired and substantial work from one of our senior composers deserves a prominent place in the repertory. It was commissioned by Peter Pears and first performed by him and Noel Mewton-Wood in r9 53. The confident sweep and visionary intensity of the music is in close empathy with the texts and is sustained throughout in a most impressive manner. The composer’s characteristically forthright, committed and authoritative approach is evident in all four movements. The work is truly on a grand scale.