bluuebunny/crossref_metadata_2025_split huggingface dataset:
Shostakovich and Us
Authors: Taruskin Richard 
Published: November 2023

Abstract
‘I wish, Ladies and Gentleman, I could cure myself of the habit of speaking ironically,’ Max Beerbohm once teased a radio audience. ‘I should so like to express myself in a straightforward manner.’ Earlier, just as straightforwardly, he had written (in Zuleika Dobson) that ‘one is taught to refrain from irony, because mankind does tend to take it literally’. Every letters column, every writer’s mailbag, overflows with corroboration. Recently, a Bay Area columnist tried kicking at the budget cuts that are hobbling the state of California’s public library system with a burst of fulsome mock-approval. Her next column naturally consisted of apologies to all the book-lovers and librarians she had offended. ‘I was being ironic,’ she tried explaining to one. ‘If you were, I would know it,’ her caller retorted. Surely one of the most striking features of the theatre historian Isaak Glikman’s 1993 edition of Shostakovich’s letters, the first major post-Soviet contribution to the literature on the greatest of all Soviet artists, is the frequency with which the editor (one of the composer’s closest friends) intervenes to explain that Shostakovich, you see, was making a joke.
Shostakovich and Kruchonykh
Authors: Komok Olga 
Published: November 2023

Abstract
It is not easy to find in the life of Dmitry Shostakovich any calm period when there was nothing to interfere with the composer’s thought processes. Each year, each decade, had its full share of the dramas, stresses, and complicated situations that are meat and drink to biographers. Yet even so, the decade of the 1940s was so filled with high drama, and with such highs and lows of fortune, as to seem positively theatrical. Among the events of those years were the blockade of Leningrad, evacuation, the death of Shostakovich’s closest friend Ivan Sollertinsky, the world-wide triumph of the ‘Leningrad’ Symphony, the composition of the Eighth and Ninth Symphonies, the Trio, Op. 67, and the Second Piano Sonata, the devastating 1948 Decree from the Communist Party Central Committee, which was followed by Shostakovich having to join an official delegation to the USA. Against this turbulent background there is one aspect of Shostakovich’s life during this period which has never been noticed by commentators, and it forms the subject of the present article.
A New Insight into the Tenth Symphony of Dmitry Shostakovich
Authors: Kravetz Nelly 
Published: November 2023

Abstract
Forty years after the premiéere of the Tenth Symphony, it is hard to believe that there could be something which might change our approach to a work which has been so thoroughly analysed and which has had such an unusually fine performance history. New evidence enables us to gain a new insight into this symphony, however, and the present article is based on eight letters written by Shostakovich in I 953, which have until now have been unknown to the musical world. The letters were addressed to Elmira Nazirova, who studied in Shostakovich’s class in 1947. In the interview with Elmira Nazirova which follows this article, she explains that her correspondence with Shostakovich began after they met during his visit to Baku, although she does not remember precisely when this was. According to Sofya Khentova, Shostakovich was in Baku from I to I 2 March 1952. During his visit Shostakovich performed at a recital his Six Preludes and Fugues from Op. 87. Elmira Nazirova remembers attending this concert.
Musical Composition in the Twentieth Century
Authors: Whittall Arnold 
Published: November 2023

Abstract
Musical Composition in the Twentieth Century builds on the foundations of Music since the First World War (first published 1977, revised edition 1988). It updates and reshapes the original text and places it in the wider context of twentieth-century serious music before 1918 and after 1975. The focus is on matters of compositional technique, with sections of detailed analytical comment framed by more concise sketches of a range of twentieth-century composers from Fauré to Wolfgang Rihm. Extensive music examples reinforce this technical focus. Though in no sense a history of music concerned primarily with the institutional and critical climate within which composers live and work, nor an encyclopedia dealing with every significant composer, Musical Composition in the Twentieth Century offers a critical engagement with that confrontation between tradition and innovation to which twentieth-century composers have responded with resourcefulness and vitality.
Symphonic Music After 1918: I
Authors: Whittall Arnold 
Published: November 2023

Abstract
The main part of this chapter looks in detail at three composers, born between 1865 and 1872, who wrote symphonies after 1918. Carl Nielsen (1865—1931), Jean Sibelius (1865—1957) and Ralph Vaughan Williams (1872—1958) were, in various productive respects, independent of the German late romantic symphonic mainstream, culminating in Mahler. Of the three, Sibelius may well prove to have had the most far-reaching impact, if only because more recent symphonists, from Vagn Holmboe to Peter Maxwell Davies, have revealed specific debts to him, but the fact that the symphonic principle itself (usually, if not invariably, in connection with some kind of tonality) has been reaffirmed and reinvigorated in the century’s later years lends new significance to the achievements of all three composers considered here.
Alban Berg
Authors: Whittall Arnold 
Published: November 2023

Abstract
Alban Berg (1885–1935) studied with Schoenberg from 1904 to 1911, and although their subsequent relationship was nothing if not complex, Berg was able to achieve significant creative independence without rejecting the association between an expressionistic atmosphere and intricate structures based in traditional concepts of musical design which Schoenberg himself had favoured in his most radical works. Although Berg’s early compositions, from the many songs and the Piano Sonata Op. 1 to the Three Pieces for Orchestra Op. 6, are far from negligible, it was his first opera Wozzeck which fully revealed his originality and greatness for the first time. Berg began it in 1914, soon after seeing the play by Buchner from which he adapted his own libretto, and it occupied him until 1922: it was first performed, with great success, in Berlin in 1925. On one level Wozzeck continues the progress away from Wagnerian heroics begun by Richard Strauss in Salome and Elektra. Wagner’s last music drama dealt with Parsifal, the saviour in spotless armour, the fool who becomes wise. Wozzeck is a fool who goes mad, a common soldier who saves no one but kills his mistress and, apparently, commits suicide. The three acts of Wozzeck together are shorter than the first act of Parsifal. The contrast would be even greater had Berg adopted the kind of musical approach which emerged in the 1920s in the more determinedly anti-romantic operas of Hindemith and Weill, but he had no desire to keep his audience at a distance from the drama. Rather, the justification for showing so much squalor and brutality was to evoke feelings of compassion even more intense than those usually inspired by Wagner’s larger-than-life mythological characters.
Three Individualists
Authors: Whittall Arnold 
Published: November 2023

Abstract
Michael Tippett (1905-98), Olivier Messiaen (1908–92), and Elliott Carter (b. 1908) have been highly regarded throughout the second half of the twentieth century for their integrity and individuality. All three began as relatively conservative, tonal composers. Then, after 1945, they moved away from an overriding reliance on tonality and traditional formal designs, though without making any significant commitment to the kind of post-tonal structuring available through the twelve-note technique. Both Tippett and Messiaen reintroduced elements of tonal thought during their later years, while Carter did not, but all three maintained an essentially modernist approach to style and structure.
The Music of Berlioz
Authors: Rushton Julian 
Published: November 2023

Abstract
The Music of Berlioz offers an overall assessment of Berlioz's musical achievement as we approach the bicentary of his birth in 2003. This is the first full-length musical study of the composer to take into account the rediscovered Messe solennelle, and discusses all aspects of his work, without undue emphasis on a few more popular pieces. The first section consists of a comprehensive biography of his musical works, tracing shifting patterns of productivity, approaches to genre, and the contrast between works which are aesthetically progressive or retrospective. The second section considers aspects of Berlioz's musical style, building upon earlier studies by the author and other recent scholarship; topics include Berlioz's practice of self-borrowing, his use of programmes and texts, characteristic rhetorical devices, and an emotional language. The third section takes four categories of works - song-forms, sacred music, symphonic works, and dramatic works - for more substantial analysis of selected passages and an overall critical assessment.
Provincial to Prize-Winner
Authors: Rushton Julian 
Published: November 2023

Abstract
Berlioz worked within a composing tradition founded on notated scores. The earliest surviving trace of this activity is usually an autograph, the basis for copies, manuscript performing material, and publication. Berlioz destroyed much of the paper mountain generated by his musical activities. We know from letters and memoirs that he sketched extensively, but little survives; had he had any conception of the value-financial, aesthetic, and scholarly —that posterity places on such things, he might have been still more ruthless. Survival of informal documents depends on the accidents of economy.
The Finale in Western Instrumental Music
Authors: Talbot Michael 
Published: November 2023

Abstract
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types of finale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata, string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at the finales of all Shostakovich's string quartets, in which examples of most of the types may be found.
The Summative Finale
Authors: Talbot Michael 
Published: November 2023

Abstract
What makes a summative finale different from a relaxant one? Is the difference one of kind or only of degree? If the latter were the case, one would expect a relaxant finale to turn into a summative one if it received an increment of length or weight, or if its cumulative and regressive character became more pronounced. The choice between the descriptions, relaxant, and, summative, would then give up all claim to have a technical foundation and would instead resemble that between, small, and, large,.
The Guitar and its Music
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
More than twenty years ago James Tyler wrote a modest introduction to the history, repertory, and playing techniques of the four- and five-course guitar. Entitled The Early Guitar: A History and Handbook (OUP 1980), this work proved valuable and enlightening not only to performers and scholars of Renaissance and Baroque guitar and lute music but also to classical guitarists. This new book, written in collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its music from the Renaissance to the dawn of the Classical era. Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of the period. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers and scholars alike. Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history--notably c.1759-c.1800--which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central to music-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-string instrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.
Mendelssohn’s First Composition
Authors: Jones Peter ward 
Published: November 2023

Abstract
What is Mendelssohn’s first original extant composition? The earliest musical notation in his hand that we know of is that contained in the volume of harmony and counterpoint exercises done under the supervision of Carl Friedrich Zelter. As Larry Todd has indicated in his edition of this volume, the first entries were probably made in August or September 1819, although the advanced nature of the initial exercises in the book suggests that others, no longer extant, would have preceded them, perhaps done on loose sheets or possibly in another exercise book. Certainly Mendelssohn had been receiving tuition from Zelter since at least July 1819, and perhaps earlier. A number of original compositions are to be found amongst the formal exercises in thoroughbass, counterpoint, and canon, but the earliest of these exercises dates from July 1820, by which time there is plenty of evidence of compositions elsewhere.
Felix Mendelssohn and Fanny Hensel: The Search for Perfection in Opposing Private and Public Worlds
Authors: Tillard Françoise 
Published: November 2023

Abstract
Writers have discussed Fanny and Felix as two aspects of the same entity —at first, as complementary twin talents, and then opposed. F in Dur and F in Moll (F major and F minor), wrote Cécile Lowenthal-Hensel, greatgranddaughter of Fanny: Felix major, Fanny minor. ‘Major’ here denotes the dominant mode and ‘minor’ the dependent one (which might be irrelevant in music, as we know). This opposition and its use are the subject of this chapter. Felix is handsome, Fanny ugly; Felix travelled, Fanny stayed at home; Felix belonged to the light of the public world, and Fanny remained in the shadow of her damp home. They represent the two poles of perfection, one in the masculine world, the other in the feminine world.
The Composer as Other: Gender and Race in the Biography of Felix Mendelssohn
Authors: Kimber Marian Wilson 
Published: November 2023

Abstract
In the mid-nineteenth century, Felix Mendelssohn Bartholdy personified the Victorian gentleman; evidence of his ‘manliness’ was found in his class status, his success, his family relations, and his music. George Grove described the composer as ‘one perfectly balanced nature, in whose life, whose letters, and whose music alike, all is at once manly and refined’. Critic Henry Chorley wrote, ‘[d]emanding as it does, execution without grimace; fancy, cheerful and excursive, but never morbid; and feeling under the control of a serene, not sluggish spirit—Mendelssohn’s is manly music; and looses [sic] effect beyond that of almost any other of his contemporaries, when attempted by female hands’.
The Heritage of Pythagoras: Nineteen to the Dozen
Authors: Penrose Roger 
Published: November 2023

Abstract
There are four categories of influence that might be said to underlie the specific nature of music-or, indeed, of any other art. These are: (r) Platonic, (2) physiological, (3) cultural, and (4) magic. By the term ‘Platonic’, I mean influences that are absolute and unchangeable. These particular influences would be exactly the same for a ‘music’ that could be appreciated by any being who inhabited a different planet from ours, or even a different universe. Essentially what I refer to here are issues that are purely mathematical, though I am not at all averse to the notion that there might be aesthetic influences that are also of a Platonic nature. Plato himself argued, after all, that there should be an absolute notion of ‘the beautiful’ as well as an absolute (mathematical) notion of ‘the true’-and, further, that there should be an absolute notion of ‘the good’. These further Platonic notions will not be my particular concern here, as I have little to say about them. But the absolute nature of the mathematical influences will be of particular relevance.
Perception of Tonal Pitch Space and Tonal Tension
Authors: Cuddy Lola L , Smith Nicholas A 
Published: November 2023

Abstract
The focus of our study of tonal pitch space and tonal tension is the perception of key and key modulation. The perception of key and key modulation is an intriguing topic for music psychology. We may put forth two reasons in particular. First, the topic addresses a central issue in psychology, namely the identification of the mental structures and processes involved in the representation of abstract hierarchical relations. Second, and perhaps even more important, the study of modulation addresses the interface between cognition and emotion or affect.
Listening to a Piece of Music: A Schematization Process Based on Abstracted Surface Cues
Authors: Deli.Ege Ire.Ne 
Published: November 2023

Abstract
Listening to music is considered here as a schematization process postulating a mechanism of ‘cue abstraction’ and ‘imprint formation’ during listening. The basic theoretical lines of the model were established about ten years ago.1 It is probably worth emphasizing at the outset that it is assumed here that certain psychological constants underlie listening to music of whatever type. Indeed, the experimental approaches of the different aspects of the model were conducted using a broad repertory ranging from Bach to contemporary pieces-Boulez, Berio, and Reich-which might indicate that the underlying psychological processes are similar even though the styles of the pieces are quite different. It may thus be argued that it is unlikely that the listener draws on specific psychological tools depending on the music to which he or she is listening. Moreover, as will be suggested, it would appear that identical means preside over the treatment of stimuli of different origins. These points have been central in developing the following steps.
First Response to the Respondent:
Authors: Selfridge-Field Eleanor 
Published: November 2023

Abstract
My concept of psychology is here limited to experimental research in music perception and cognition. This research probes very specific questions about how we hear and how we interpret what we hear, how we learn, how we err in performance tasks, how we conceptualize musical form, tonality, and timbre, and how we respond (or do not respond) emotionally to music. My concept of musicology is broadened from its frequent association with historical and interpretative studies to include musical performance and pedagogy, music theory and analysis, and ethnomusicology, areas in which the resonance between fields is most audible.
‘All Russian Music is So Sad’: Two Constructions of the Russian Soul, through Literature and Music
Authors: Frolova-Walker Marina 
Published: November 2023

Abstract
This paper is a tribute to the memory of Yuri Lorman, professor at the University of Tartu (Estonia), who became the founder and host of the Tartu-Moscow school of semiotics. On the banks of a picturesque Estonian lake, summer schools and conferences on semiotics, gathering together scholars from all disciplines, were held from the early 1960s, at the height of the Thaw, until the mid-7os, when the authorities finally discovered that activities of a distinctly non-Marxist/Leninist nature were taking place and swiftly brought them to a dose. These activities had a distinctly dissident character: everything was informal, relaxed, and therefore subversive in the context of any large academic gathering in a totalitarian state, from Lotman’s own eccentric appearance to the traditional toast to Queen Elizabeth II, all the more poignant for people of whom the majority had never been and could hardly hope to travel beyond the Iron Curtain. It is not surprising that many of them later took the first opportunity to emigrate.
Closing Remarks by
Authors: Dell’Antonio Andrew 
Published: November 2023

Abstract
At the risk of simplifying (and thus trivializing) the complex series of responses to my and Stefano Castelvecchi’s papers, I none the less would like to hazard a couple of closing remarks. In the first place, I must thank Stanley Sadie for convening this panel and ably moderating a potentially antagonistic situation; and I also thank my fellow panellists for their thoughtful responses, with special thanks to those (notably Annegret Fauser and Ralph P. Locke) who addressed crucial issues that I had not raised in my all-too-cursory opening remarks, issues which I will be forced to overlook again here for lack of time. A number of panellists raised the issue of insularity in the question of a putative ‘New Musicology’; indeed, as Margaret Bent pointed out, within a perpetually changing field such as ours the use of monikers such as ‘old’ and ‘new’ to describe scholarship trends is pointless. Thus, I agree with those who find the idea of an old/new split artificial and tendentious; in the course of discussion following the panellists’ remarks, Roger Parker called for a moratorium on the term ‘New Musicology’, and I am only too pleased to heed such a call.
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The Problem of the French Revolution in Music Historiography and History
Authors: Fend Michael 
Published: November 2023

Abstract
The French Revolution of 1789 supposedly brought about a momentous change in all aspects of French society, and already in 1791 Edmund Burke concluded that it was a ‘crisis’ affecting ‘the whole human race’.1 From then on, the French Revolution became the subject of numerous oral and written accounts, with the result that the term came to refer to a series of events, participants, ideas, and, last but not least, their interpretation, to the extent that those interpretations have become for us an indistinguishable part of what went on in the eighteenth century and beyond. Although the historical phenomenon can be studied in music, the visual arts, literature, and all sorts of texts created by our ancestors at the time, none of these can be understood without recourse to the interpretations they have already received over the last 2ooyears.