bluuebunny/crossref_metadata_2025_split huggingface dataset:
Instrumental Music, c.1300–c.1520
Authors: Brown† Howard Mayer , Polk Keith 
Published: November 2023

Abstract
Sources of information concerning medieval instrumentalists and their music are profoundly inconsistent. Most musicians did not belong to the elite layers of society and therefore did not attract much description or comment in the writings of the time. We must glean our information on their social contexts from scattered and disparate sources. Written collections of music can rarely tell us anything about the players or instruments; sources made for specific purposes such as keyboard performance are concentrated in a relatively narrow region and time-span (see also below). As regards archival records, very few documents give any details concerning freelance musicians, except perhaps when mentioning the instruments which were played. Members of court retinues or civic ensembles, on the other hand, are far better documented, as thousands of payroll records have survived (civic records, however, are more consistently preserved than those of the courts). Church records, preserved in great numbers, also occasionally mention the participation of instrumentalists.
Music Theory And Musical Thinking After 1450
Authors: Blackburn Bonnie J 
Published: November 2023

Abstract
The fifteenth century was a period of great ferment in musical ideas. It was the century in which a decisive change took place in the way music was generally composed, from the successive method, in which voices were successively added to a single part or a duo, to the method (sometimes termed ‘simultaneous’) in which the complex of voices was conceived as a whole—an innovation analogous to the discovery of perspective in art. Intimately linked with this change was a revolution in musical aesthetics. The judgment of the ear was allowed to take precedence over mathematical ratios. While never losing its original place in the quadrivium, music also came to be considered part of the trivium, justifying its place among the linguistic arts through its expressive power.
Salzburg (I): Origins (1756–1764)
Authors: Zaslaw Neal 
Published: November 2023

Abstract
In the middle of the eighteenth century the symphony (in the modern sense of the word) was still a new idea, a few decades old. Large numbers of them were written and some published, yet people in many places in Europe, not being near a city, court, cathedral, or monastery, never heard any symphonies. Joseph and Michael Haydn’s humble birthplace, Rohrau, was such a place, and these musical youngsters probably had not heard a symphony before going to Vienna to apprentice at Saint Stephen’s Cathedral as choirboys. At the other extreme from Rohrau were places renowned for the creation and dissemination of this young art-form. Such symphonic centres—London, Paris, Mannheim, Milan—often had an outstanding orchestra, a flourishing music-publishing industry, a ruler with an intense interest in music, or music-loving patrons in the form either of courtiers and their hangers on or of a well-to-do middle-class and aristocratic audience. Salzburg fell somewhere between the extremes represented by Rohrau and Mannheim: it was one of a number of lesser cities and minor courts where the symphonic tradition was received from elsewhere and cultivated assiduously.
Salzburg (II): Limbo (1770–1777)
Authors: Zaslaw Neal 
Published: November 2023

Abstract
For several centuries this archbishopric has served the cause of music well. They have a musical endowment there that amounts to 50,000 florins annually, and is spent entirely in the support of a group of musicians. The musical establishment in their cathedral is one of the best manned in all the German-speaking lands. Their organ is among the most excellent that exist: what a pity that it is not given life by the hand of a Bach! ….
Meanings for Mozart’s Symphonies
Authors: Zaslaw Neal 
Published: November 2023

Abstract
In the course of this study every opportunity has been sought to discover what Mozart’s contemporaries thought of his symphonies. The yield has been meagre. Symphonies were seldom discussed in detail in writings of the period, and, when mentioned, they were often dismissed with conventional epithets: ‘excellent’, ‘brilliant’, ‘new’, or ‘grand,’ ‘festive’, ‘noble’. A burst of loquacity was represented by the London critic moved to write of ‘a great and beautiful symphony, varied in all its movements’1—certainly a compliment and doubtless an accurate description, as far as it went. Nothing was written in Mozart’s lifetime that modern readers would recognize as serious criticism of his symphonies, and, apparently, no real analysis was attempted until Momigny’s examination of K. 550 in 1818.2 Reasons for this state of affairs have recently been proposed:
The church music
Authors: Arnold Denis 
Published: November 2023

Abstract
The obsession of the last hundred and fifty years with the music of Palestrina and his followers has almost completely obscured the complexity of church music in the later sixteenth century. Counter­Reformation church music has the same complications as the Counter-Reformation itself. The Roman Church could have within its ranks evangelists with such differing methods as the Oratorians of St Philip Neri and the Jesuits. Its church musicians contain equally diverse figures. Palestrina, Victoria, the Gabrielis, Lass us and the host of cathedral musicians seem at tinies to have little in common with one another.
Afterword
Authors: Arnold Denis 
Published: November 2023

Abstract
The quatercentenary of Monteverdi’s birth in 1967 prompted renewed interest in the study and performance of his music. Several conferences were held uniting an international body of Monteverdi scholars, including the ’Convegno Internazionale di Studi Monte-verdiani’ (Siena, 28-30 April 1967)—the proceedings appeared in the Rivista Italiana di Musicologia, ii/2 (1967)—and ’Claudio Monteverdi e ii suo tempo’ (Cremona, Mantua and Venice, 3-7 May 1968; again, Raffaello Monterosso’s edition of the proceedings was published).
Introduction
Authors: Mccoll Sandra 
Published: November 2023

Abstract
This comment by Robert Hirschfeld, Hanslick’s much younger contemporary, describes in colourful fashion the ushering in of what has been elsewhere described as ‘the classical age of Viennese music criticism’.3 Hirschfeld’s intention in so designating the ‘new art’ of the music feuilleton is, however, double-edged. On the one hand he seems to be praising Hanslick’s initiation of an unprecedented age of literary virtuosity in use of language and images; on the other hand, however, he implies that musical events gave rise to works in a different artistic medium, the music feuilleton, in which the same literary virtuosity which made it entertaining and enjoyable to read fed parasitically upon the hapless musical works and performances.
The Richness of Everyday Life
Authors: Mccoll Sandra 
Published: November 2023

Abstract
With the exception of July, when the Court Opera was closed and the concert season well and truly over, Vienna offered plenty of choice for a music critic, even more so in the coldest months of the year when audiences braved the elements to attend concerts. A look through the specialist music journals from November to April demonstrates the overwhelming amount and variety of musical activity in the city which was believed by its residents to be the centre of the musical universe. There were important anniversaries to keep, great men to bury, a resident opera company with a wide repertory, and a seemingly endless procession of singers, instrumentalists, and ensembles, some local, some visiting. All this went on in the capital of an empire where the protocols and rituals of civic life filtered through to all forms of public activity.
The Politics of Art in the Aftermath of Wagner
Authors: Mccoll Sandra 
Published: November 2023

Abstract
Thus Arnold Schoenberg in 1947, referring to the oft-mentioned and much-discussed rift between Wagner and Brahms, and between parties of their supporters, which accounted for much of expressed musical opinion in the Vienna of his youth. It is true that Wagner, having died in 1883, had become so established in the repertory of opera houses that he was by 1897 ‘part of the classical past, an aspect of history and, like Brahms, a vindicated classical master’.2 In addition to this, the only major work of Wagner not to have been performed in Vienna by 1897 was Parsifal, which was to remain the property of Bayreuth until 1913.
The ‘Canon’ in the Concert Hall
Authors: Mccoll Sandra 
Published: November 2023

Abstract
I admit that in matters musical it is quite difficult, indeed an impossibility, to demonstrate the justification of a favourable or unfavourable opinion to newspaper readers in black and white. One critic says calmly, ‘This quartet or this orchestral piece does not please me; it lacks unity, the art of coherence, contrast, development, etc.’ The other, filled with inspiration, holds the score in front of his eyes and contends, ‘But don’t you see how here, just after the introductory bars, the violins (triplets! D minor!!) intone the first subject? Then the woodwinds come and take it up; then the brass enters in contrary motion while the double basses build up their rumbling. Now a small subsidiary theme that leads forward to the second subject.
Prologue
Authors: Macneil Anne 
Published: November 2023

Abstract
Formed in imitation of the intellectual academies of northern Italy, the Gelosi took for their own this proud motto and the sign of the Janus face, which looks both back to the classical past, with its ancient harmonies of intoned poetry and mystical powers of representation, and forward to a new golden age of theatre in which women mount the stage with men to sing and speak with sibylline authority.
Behold, now there are Amazons of Learning
Authors: Macneil Anne 
Published: November 2023

Abstract
In 1601, the year the Conte de Fuentes petitioned Vincenzo Gonzaga to send Isabella Andreini and her company to Pavia to perform for the negotiators of the treaty between France and Savoy, the Duke of Mantua set out for Hungary on his third campaign against the Turks, and academic interests in Mantuan music and theatre came to a boil.
The Calcutta Piano Trade in the Late Eighteenth Century
Authors: Wooqfield Ian 
Published: November 2023

Abstract
A significant factor in the trading strategy of London music retailers during the eighteenth century was their growing awareness of the demand for musical instruments among the inhabitants of the British overseas settlements. The early focus of this incipit colonial market lay along the as seaboard of Nonh America and in the West Indies, but profitable trading opportunities were also beginning to emerge in the East, fo1lowing the growth of British interests in the region.’ The transformation of India into a lucrative market for European instruments stemmed from the political earthquake that struck in the 1760s.
Musicians in the English Provincial City: Manchester, C.1860–1914
Authors: Russell Dave 
Published: November 2023

Abstract
In 1997 Cyril Ehrlich and I collaborated on a survey of recent writing on Victorian music.’ After our initial discussion, and refreshed by current tales of the musicological world, I set about producing a working draft. I have long har bored a fond belief that I could write both lucidly and economically but I watched with fascination (and, I hope, some benefit) as, over the next few weeks, my over-length draft was thinned and then toughened with a series of the taut, epigrammatic statements that are a hallmark of the Ehrlich style.
Miscellany vs. Homogeneity: Concert Programmes at the Royal Academy of Music and the Royal College of Music in the 1880s
Authors: Weber Vlilliam 
Published: November 2023

Abstract
The history of concert programming has yet to be written. Music historians have tended to take programmes for granted, turning to them chiefly to find dates of first performances. Cyril Ehrlich’s work on the Philharmonic Society is a major exception to this rule, inquiring into the nature of repertoire and providing extensive data on what was performed.’ We need to follow in his path to extend the systematic analysis of programmes and repertories, through quantitative techniques and through rethinking what programmes meant in broad cultural context. I have been struggling to move in such a direction in studying the evolution of canonic repertories between the late eighteenth century and the early twentieth. Big, important questions present themselves in this area.
Introduction
Authors: Piette Adam 
Published: November 2023

Abstract
When we read poetic prose, or prose we believe to be poetic, we are in the position of those auditors: hearing sweet sounds, a certain melody, being moved and softened, yet not knowing the precise causes. Is the music within the prose simply there as a meaninglessly ‘softening’ adjunct to syntax and sense-or is the author merely cheering him-or herself up along the bare and bitter tracts of narrative? Shelley’s sentence is sweet in this mysterious way. The -run along ‘sits’-’sings’-‘solitude’ resolves itself sweetly and aptly into ‘sweet sounds’, with the slight after-shock in ‘unseen’. ‘Melody’, similarly, finds echoes in ‘men’-’musician‘moved’, reinforced by a vowel-sound chiasmus. But beyond noticing this, how far can one go? The sounds of prose, even within the most intense passages, seem condemned to remain either pretty little mimetic tricks like the ‘melody’-‘sweet sound’ echoes, or unseen musical accompaniments threading through the halfsilent words to the satisfaction of the author alone. But Shelley’s poetic prose has another mimetic trick up its sleeve the mimesis of memory, memory of writing poetry.
Mallarmé and Poetic Prose: Le Démon et les rimes dissimulés
Authors: Piette Adam 
Published: November 2023

Abstract
Poetic prose cantend to direct its reader to meditate on the ways the imagination suffuses the people and words under its contemplation with the overflow of poetic desire, the rhythms and rhymes of the language of egotistical love. One of the directnesstors of this tradition is Nabokov’s Lolita. By 1955, deep suspicions about poetic prose are part of the writer’s arsenal. Critique of the egotism involved in the projection of desire has become a common accompaniment to an understanding of poetically in prose, to such an extent that the very presence of the acknowledged features of a ‘fancy prose style’ are sufficient witness to the rank wish-fulfilment of the narrative voice:
National and Post-National Identity
Authors: Price Monroe E 
Published: November 2023

Abstract
In addition to sustaining and strengthening the public sphere, government often claims a responsibility, to its citizens, to help sustain and enrich the national identity. As was true with respect to the public sphere, this government interest forces a relationship between the state and the media. In the first chapter, I defined national identity as the collection of myths, ideas, and narratives used by a dominant group or coalition to maintain power in a society. That is a fairly instrumental (and unusual) definition, but it is useful to set against the more appealing, popular, and less cynical uses of the term. The common invocation of national identity forwards the conviction that something is being described at a level of abstraction that all share in common above party or sectarian concern. Behind this second, more romantic view is that American-ness, German-ness, Russian-ness are all proper deeply rooted national identities and each has a unique historic essence. Institutions must be established to protect, nourish, articulate, and perpetuate such identities. Symbolic forms like flags, architecture, works of art, and treasured histories give form to these identities. The public schools, the university, the Church, and the broadcasting organizations are repositories of them as well. If the government supports these symbols and reinforces the ideas behind them, it is often assumed that it is doing so independently of sectarian political expedience.
A Taxonomy of Access
Authors: Price Monroe E 
Published: November 2023

Abstract
National identity claims automatically raise conflicts over content: whose identity, whose balance or perspective on race or gender or violence, will prevail and how will the narrative of the media change. In the US setting, there has been profound discomfort, as we have seen, with any explicit government role in affecting content. To cir cumvent this unease, but yet to address problems of great significance, government has sought, often, to shift to a focus on process, on the rules of the game, and to divert attention from outcome to the opportunities that competing speakers in the society have to tell their story. In this circumvention, the doctrine called ‘access’, an intriguing and fugitive element tom between democratic theory and notions of representation, serves as an umbrella, a catch-all term for the determination of who can use the electronic media to speak, when, and under what conditions.
The Open and Closed Terrain of Speech
Authors: Price Monroe E 
Published: November 2023

Abstract
Each communications technology, in the convoluted jurisprudence of the US Supreme Court, gives birth to a different test for the permissible regulatory capacity of government. Newspapers are virtually immune. Broadcast television warrants oversight so long as frequencies are scarce. Cable television is susceptible to federal governance because it presents a bottleneck between programmers and the house hold. These are the oft-criticized justifications for judicial decision. There are, however, other hidden distinctions that explain the Court’s preoccupation with differences among the media, distinctions based on the relationship between each technology and the social geography it generates.
Rules and Protocols, Beliefs and Understandings
Authors: Worthington Kim L 
Published: November 2023

Abstract
What scope is there for creative representation, if the human subject is simply the structural determinant, the’subjectum’, of’the structure of representation’, as Derrida seems to aver in the above citation? When considering the value and validity of the poststructuralist challenge to subjective essentiality we need to return to questions raised in my previous chapter: if my knowledge of myself and my world is wholly constituted within the bound aries of delimiting representative structures, how do I ever gain the (external) critical perspective which allows me to recognize, let alone challenge, them? How does the possibility of contestation ever arise if all thought is wholly constituted by social structures which reinscribe conventional norms and practices? Indeed, how do we begin to question the terms of our social and linguistic embeddedness when the terms, the questions, and the answers too are all performed in the circumscribed arena of social discourse? One needs to be sufficiently independent, and possess a degree of autonomous objectivity, a capacity for critical self-reflection, in order to become aware of one’s structural incarceration and to contemplate (let alone act on) alternative modes of being. Quite simply, a hardline poststructuralist conception of subjectivity fails to provide an adequate account of the human capacity for con testation, and certainly fails to account for the possibility of its own anti-authoritarian posture.
Rebellion from Within: Designing Alternatives
Authors: Worthington Kim L 
Published: November 2023

Abstract
Here Valentin Volosinov (thought to be a pseudonym of Mikhail Bakhtin) intends’word’ as both a word and as discourse, utterance (the Russian word slovo means both), an understanding which is crucial to the socio-linguistic work of the Bakhtin school of theorists. For Bakhtin,’word’ is always a social or’dialogic’ act; it is always directed outwards from a situated speaker in anticipation of a response:’The word in living conversation is directly, blatantly oriented towards a future answer word. It provokes an answer, anticipates it and structures itself in the answer’s direction.’ The meaning of’word’ is thus situated in the context of its utterance, in the dialectal play of articulation and response. The contexts in which words mean are always much more than verbal, involving the status, historical placement, and relationship between speaker and addressee and the object or subject of their discourse.
Parable, Professionalization, and Literary Allusion in Victorian Scientific Writing
Authors: Beer Gillian 
Published: November 2023

Abstract
Victorian scientific writing frequently invokes literary allusion or knits parable into argument. What were the functions of these invocations? What light can they throw on the social, ethical, intellectual, and even economic conditions of Victorian science? And how do they relate to the processes of professionalization? Language is a large institution.
The Reader ‘s Wager: Lots, Sorts, and Futures
Authors: Beer Gillian 
Published: November 2023

Abstract
When I first imagined this essay I set it in the late 1920s and 193 os, the period when the elegant expositions of Eddington and Jeans, and the fame of Einstein, were communicating to nonscientists how modern physics crazed categories and dislimned boundaries.
New Medieval Literatures: Breaking the Seal
Authors: Sease Wendy 
Published: November 2023

Abstract
The Essays in this first volume of New Medieval Literatures were mostly commissioned (not all of them-a few gained their places later, somewhat in Canons Yeomans Tale fashion, once the project had gathered momentum). What we wanted were essays that would challenge readers and potential contributors, and so in turn generate uncommissioned submissions for future issues of NML and a readership for them. Apart from being partly commissioned, in all other respects the volume was compiled along the lines we plan for future issues. Beyond requiring that all contributors should deal with some aspect of the textual cultures of medieval Europe (however defined), no theme or organizing principle was imposed. The subject of the volume is the essays themselves.
Textual Territory: The Regional and Genealogical Dynamic of Medieval Icelandic Literary Production
Authors: Ross Margaret Clunies 
Published: November 2023

Abstract
It is now over twenty years since Kurt Schier published an important essay on medieval Icelandic literature, which he entitled ‘The Rise of Literature in “Terra Nova”: Some Comparative Reflections’ .1 It is an important essay because it attempts to find plausible modern explanations for an extraordinary medieval phenomenon, the uniqueness and plenitude of the vernacular literature written in Iceland, which sharply distinguishes that island’s medieval literary production from that of all other medieval European societies. Even though we now better appreciate the debt of Icelandic writing to medieval Latin and other foreign models, thanks to the research and scholarship of the last hundred years, we still return to a set of striking characteristics of medieval Icelandic literature, which distinguishes it even from the literary products of the Icelanders’ closest geographical and cultural neighbours, the Norwegians.