bluuebunny/crossref_metadata_2025_split huggingface dataset:
Robert Schümann
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Schumann’s Symphony in C major appears as his second, but was really his third, as the D minor Symphony which now appears as his fourth was withheld and reproduced later in an extensively revised version. The C major Symphony was the first important work produced by Schumann at Dresden, where he had moved from Leipzig in October 1844, after a breakdown in health. It represents a heroic attempt to recover lost energy, and is surrounded by important works in a wide range of new styles and forms, such as the opera Genoveva and the cantata Paradise and the Peri. In its orchestration it is the thickest and simplest of all his works. The orchestra is little more than a large and expensive swell-organ.
Guy Warrack Variations For Orchestra
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Guy Warrack, born in Edinburgh on 8 February I 900, has studied composition under the Oxonian guidance of Sir Hugh Allen and Dr Ernest Walker, and later, after considerable experience as a conductor during a tour in Germany, under Vaughan Williams and Holst, winning the Foli Prize for composition and the Tagore Medal awarded to the beststudentoftheyear. Since 192 5 he has been on the staff of the Royal College of Music, and has already to his credit a voluminous record of activities in the enterprises of music-making.
Carl Maria von Weber Invitation A La Danse
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
A detailed analysis of this delightful and diverting work is not necessary, but it is well to bear in mind that a work is not necessarily of a debased order because it is on extremely simple lines and contains a great deal that is obviously brilliant and gay, any more than a man is essentially frivolous because he shines in society. Some few points may be noted here, since they are not always realized. The delightful introduction with its unmistakable dialogue in high-flown old fashioned compliments between the lady and gentleman about to join in a waltz, is easily followed, both as music and as thoroughly artistic and healthy realism.
Note on the Text
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
For Tovey’s occasional newspaper work as commissioned by the Times Literary Supple ment from 1902 to 1911, and by that publication together with The Times itself and the Daily Telegraph from 1926 to 1934, see pp. xl-xlii above. The pieces reprinted here are in chronological order; sources are given in footnotes; the titles are as in the sources. See also the note on Editorial Policy in the preliminaries to this volume.
Herr Nikisch (1902)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The orchestral conductor has an enormous advantage over most interpretative artists, for he needs no mechanical technique and his whole training is devoted to the development of mental and personal faculties. He, of all performers, must be a musician, and the other necessary qualities that are not purely musical are those that make a teacher, an organizer, and leader of men. Hence it is rare to find among orchestral conductors the failings that are most character is tic of instrumental virtuosos.
Thorough-Bass (1931)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
According to Richardson, Clarissa Harlowe, among her other accomplishments, wrote a song: words, melody, thorough-bass, and all.2 Richardson himself acknowledges the help of a clerical friend in this composition, and perhaps it is one of the more idealized details in the portrait of his heroine. Never the less, there it stands in unabridged editions of Clarissa, and it does credit to her and to Richardson’s musical adviser. But it is not mentioned in Mr Arnold’s monumental treatise.
Ludwig van Beethoven (1770-1827)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Ludwig van Beethoven’s family is traceable to a village near Louvain, in Belgium, in the seventeenth century. In I 6 50 a lineal ancestor of the composer settled in Antwerp. Beethoven’s grandfather, who came to Bonn in 1732 and became one of the court musicians of the archbishop-elector of Cologne, was an amiable man whom Ludwig van Beethoven, though only 4 years old when his grandfather died, remembered with affection to the end of his life. Beethoven’s father, a tenor singer at the archbishop-elector’s court, was a bad tempered man whose wage-earning capacity declined with his ability to keep sober.
Felix Mendelssohn (1809- I 847)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The German composer Felix Nlendelssohn, grandson of Moses Mendelssohn, was born in Hamburg on 3 February 1809. His father, Abraham Mendelssohn, caused Felix, with his brother and two sisters, to be baptized as Lutheran Christians; and during the French occupation of Hamburg the family migrated to Berlin and lived with Abraham Mendelssohn’s mother. Under the teaching of their mother and of other good musicians, Felix and his sister Fanny (some of whose compositions are included in Mendelssohn’s songs and Lieder ohne Worte) soon showed extraordinary musical talent.
Wolfgang Amadeus Mozart (1756-1791) [The Operas And The Requiem]
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The first period in Mozart’s development must be taken seriously as beginning at the age of 5 and merging into the second somewhere about the age of 16 or 17. It was fortunate that the infancy of the sonata forms coincided with the infancy of Mozart; for in no earlier or later epoch could his juvenile work have had so normal a relation to the musical world at large. The little pieces com posed by Mozart in his fifth and sixth years show an unswerving progress in which every step is represented, and the same mistake is never made twice, nor is a form once mastered ever repeated mechanically.
Giovanni Pierluigi da Palestrina (152 5-1594)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Giovanni Pierluigi da Palestrina, the Italian composer, was born in Palestrina (the ancient Praeneste), at the foot of the Sabine mountains. He appears in the musical publications and other documents of his day under all manner of designations derived from his birthplace and his baptismal names. The full Latin signature is Johannes Petraloysius Praenestinus; and the most elusive designation is Gianetto, which has sometimes concealed the authorship of a first-rate Palestrina madrigal.
Music in Being: The Cramb Trust Lectures in Music, University of Glasgow, 1925
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Sir Donald MacAlister, ladies and gentlemen, it is with very great pleasure that I begin to have my first experience of addressing this audience; and it is with great pleasure, and with some trepidation, that I succeed to the two British musicians, educators and organizers, composers and performers, who have preceded me in this Lectureship. 2 They have covered the ground in their different ways so thoroughly as to make it difficult to find a fresh ground.
Note on the Text
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
For Tovey’s miscellaneous essays and lectures, see pp. xlv-xlvii of the Introduction above; and see also note on Editorial Policy in the preliminaries to this volume. The items, which span the author’s writing career, are arranged chronologically. Titles are as in the sources, unless otherwise indicated in the source note.
On the Performance of the St Matthew Passion (1914)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Whereas in many performances of the St Matthew Passion-including earlier ones here in Aachen-only the organ was employed to realize the continua (or figured-bass) part, in the forthcoming performance the pianoforte will also be introduced, to achieve a rendering as faithful as possible to Bach’s own practice and aesthetics. But first a brief description of the way in which this is to be done; it will then be seen that using the pianoforte in addition to the organ represents neither a new interpretation nor an uncritical attempt inappropriately to yoke together traditional methods and present-day circumstances.
Essay before the Brahms Clarinet Sonatas (1916)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The two Clarinet Sonatas of Brahms form, with the Clarinet Quintet and Trio, a remarkable body of work displaying the power a fine player may have to inspire a composer. Brahms’s treatment of the clarinet in orchestral music had always shown a sympathetic understanding of it, but no special predilection such as Mozart displayed when he could be sure of having clarinets at all. An instrument in the orchestra is, however, a very different thing from the same instrument in chamber music; and wind instruments in chamber music present the composer with very sharply defined special problems, which he would hardly be tempted to work out without some equally definite special stimulus.
Domenico Scarlatti and Claude Debussy: Some Parallels and Contrasts (1916)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
When current opinion has stamped its own age as an age of progress, it is apt to believe that present habits and thoughts are invariably free, while all past habits and thoughts are conventional. The recent publication (by Messrs Ricardi [in 1906-8], with the editorship of Signor Longo) of the first complete collection of Domenico Scarlatti’s harpsichord works is an event conducive to sound doc trine and suitable to these times. The public spirit which inspired Signor Longo to carry through the editing of these 545 pieces deserves that much indulgence should be shown towards many features of his work that are open to criticism. Such features are, one and all, rendered innocent by the supreme merit that wherever he has altered his text he gives the original in a footnote.
The Concept of Music
Authors: Maconie Robin 
Published: November 2023

Abstract
What is music for? How does it work? What can it teach us? Intuitively, we feel there must be answers to such questions, but they tend to be scattered throughout a wide range of different areas of study, from acoustics to music history, from psychology to composition. In this brilliant and thought-provoking book Robin Maconie seeks the answers to these and other fundamental questions about music, integrating music and appropriate scientific research in a new evaluation of his topic. In so doing he argues passionately for a reappraisal of music, not as mere entertainment, but as something basic to our experience of listening and communicating sound, and an art which has exerted a profound influence on society.
Orchestra
Authors: Maconie Robin 
Published: November 2023

Abstract
The symphony orchestra is a hybrid. Some instruments are old, some are relatively new. Some are for melody, some for noise; some are loud and some are soft; some are played with the hands and some with the breath; some are for singing and others for rhythm. There are instruments from the East and instruments from the West, some virtually unchanged from ancient times and others embracing the most up-to-date technology. An orchestra today is a compendium of civilizations. Why do we need it?
Space
Authors: Maconie Robin 
Published: November 2023

Abstract
To oral cultures space and time are equivalent. A journey is measured in hours or days as readily as inyards or miles. The global village of today calculates distances in time zones. The acoustic element linking perceptions of time and space, literally and figuratively, is the bell. Bells in steeples used to give the signals which called village communities to work, rest, and prayer. When the clock took up residence in the church steeple like a mechanical cuckoo in the nest, the bells of time lost their earlier direct relationship with the natural cycles of rural activity. Time-keeping nevertheless remained a local affair until mass transport and mass communications imposed regional standards. The unmistakable sound of Big Ben today signifies more than the hour of day. To radio listeners around the world the precise hour of day in Britain counts for little: the sound is valued for its ancient and symbolic associations of Crown and community, as well as for its present-day associations with the idea of parliamentary government and British law.
Belief Systems
Authors: Maconie Robin 
Published: November 2023

Abstract
There is an entirely rational explanation behind the Greek, doctrine of the music of the spheres, and it is fascinating to observe how its meaning is gradually distorted down the centuries from the time of Plato to the Renaissance, a change documented in Joscelyn Godwin’s useful anthology Music, Mysticism and Magic. In essence, the music of the spheres draws an analogy between the harmonic vibrations of a string or natural trumpet and the coexisting cycles of the observable world. A musical tone expresses a system which is dynamic-in audible motion-and at the same time stable, its structure of vibration remaining constant. The many different harmonics of a musical tone interact in a mutually supportive way.
Instruments
Authors: Maconie Robin 
Published: November 2023

Abstract
Revision. Music involves tone production, and the production of tones of discernible pitch is the primary function of a majority of musical instruments. For melody and harmony to be created and perceived, there has to be a means of generating a range of pitches whicµ are obviously different from one another, but nevertheless sufficiently related to sound well together. The concept of a verifiable pitch entails a ‘steady-state’ vibration, and the term steady-state implies a certain minimum duration, both for the vibration itself to achieve a steady state having been disturbed into motion, and also in order that the ear may have time to register the fact that the sound in question is indeed relatively unchanging in frequency.
Applause
Authors: Maconie Robin 
Published: November 2023

Abstract
Perhaps the most powerful argument for treating music as entertainment is the impossibility of accounting satisfactorily for a response to it on a higher plane. The language of concert reviewing has to be simple, so it tends to avoid concepts and stick to impressions; it is also after the fact. Specialist commentary, on the other hand, is difficult to read, often remote from music as an acoustic experience, and directed to marginal issues. There seems to be no way of reconciling a personal conviction that music treats important questions seriously, and at a high level of discourse, with a descriptive language of a dear and non-specialist kind. Since a specialist knowledge is not required of listeners who respond to music on a non-trivial level it seems rather unfair to insist that their responses can only be discussed in the arcane language of a music theory, specialist psychology, or isolated neurological principle.
Père Franck and the Abbé Liszt
Authors: Thomson Andrew 
Published: November 2023

Abstract
On his return to Paris after the ‘Bloody Week’ of May 1871, during which the troops of the Versailles government had crushed the Paris Commune with merciless severity, d’lndy was confronted by a terrifying scene of damage and destruc tion. Raging fires had reduced many buildings like the Tuileries and the Hotel de Ville to smouldering ruins. Doubtless the military man in him would have agreed with the grim verdict of the Goncourt brothers that ‘The solution has restored its self-confidence to the Army, which has learned in the blood of the Communards that it was still capable of fighting’.
Asceticism Meets the Orient
Authors: Thomson Andrew 
Published: November 2023

Abstract
It is little wonder that Fauré called d’lndy ‘the Samson of Music’. In addition to the burgeoning work and scope of the Schola Cantorum, the decade of the 1890s witnessed him equally active as a composer, a conductor, and a tireless champion of French music. He was, indeed, increasingly becoming the pillar of the progressive musical scene, and, at this stage in his life, his generous—even paternalistic—attitude attracted a great deal of goodwill.
Mozart and Vienna
Authors: Steptoe Andrew 
Published: November 2023

Abstract
Our views of Mozart’s years in Vienna are indelibly coloured by the series of begging letters written to his fellow Freemason, Michael Puchberg. Mozart began the correspondence in 1788 with nonchalant requests for money, but descended rapidly to urgent, pathetic appeals for amounts as small as 10 gulden. The impression of abject poverty and misery is reinforced by the fact that the composer was buried in a common grave, without even the dignity of a tombstone or monument. Yet the Viennese decade (1781-1791) was the period during which Mozart enjoyed some of his greatest triumphs, not only in the Opera House but on the concert platform. At various times he earned considerable amounts of money and lived stylishly. How can these extremes be reconciled? An explanation of this anomaly is essential for comprehending Mozart’s aspirations, and his intentions in the operatic collaborations with Da Ponte.
Mozart and Opera Buffa
Authors: Steptoe Andrew 
Published: November 2023

Abstract
Mozart had developed firm ideas about opera long before his collaboration with Lorenzo Da Ponte. The perennial controversy resurfaced during the second half of the eighteenth century between those who asserted the primacy of music in opera, and traditionalists who valued the poetry of the libretto most highly. After decades during which a composer’s highest ambition was to set one of Metastasio’s sanctified texts, musicians were beginning to recognize the possibility of a more flexible operatic art. Mozart identified with this reforming force, and was in no doubt that the music came first:
Cosìfan tutte
Authors: Steptoe Andrew 
Published: November 2023

Abstract
A series of drastic changes overtook Mozan during the period between Don Giovanni (1787) and the production of Cosìfan tutte in 1790. As the public’s interest in his keyboard virtuosity faded away, Mozart’s personal health and financial security deteriorated (see Chapter 3). His despondency was further exacerbated by the failure of the tour through northern Germany in 1789. Perhaps the most disturbing trend of all was the loss in creative confidence that took place over this period. The catalogue of works from 1789 and 1790 is unusually thin (see Table 3), and Mozart had difficulty in completing many pieces. For example, the first movement of the Clarinet Concerto dates from the end of 1789, when it was evidently intended for a basset horn soloist (K. 584b).
The Workshop
Authors: Barclay Robert 
Published: November 2023

Abstract
The two direct depictions of the trumpet-maker’s workshop are by Weigel of 1698 (Fig. 30) and Diderot and d’ Alembert of c.1765(Fig. 31). Of the two, Weigel is the more appropriate in date and location and would be of the most use were it not for the untrustworthy rendering of some details. It is easy to confuse realistic appearance in an illustration with accurate depiction. (This has led to the reconstruction of som(: pretty fantastic musical instruments.) Although the Renaissance ideal of rendering from experience supplanted the medieval concept of working from an exemplum &gt;(Panofsky, 277), this does not mean that the information in graphic studies became suddenly more reliable.
Proportion and Motive in Webern’s Earliest Trakl Fragments
Authors: Shreffler Anne C 
Published: November 2023

Abstract
Webern sketched his first Trakl poems in January 1915, after rereading Trakl’s first volume of poetry, Gedichte (1913), in response to news of the poet’s untimely death two months earlier. From this volume he chose two poems, ‘In der Heimat’ and ‘In den Nachmittag gefhistert’, but never completed them. Both fragments reveal much as interesting failures, but ‘In der Heimat’ is intriguing for several reasons. First, the two-page fragment seems self-consciously long, especially compared to Webern’s previous aphoristic mode of ex pression. Second, as Webern’s first Trakl setting, it bears the awkward traces of his first coming to terms with the ambiguities and challenges of Trakl’s poetic language. As Webern experimented with various strategies to project the poems’ metre, stanza structure, individual words, and moods, he began to develop a more conventionally motivic technique that would allow him to write longer pieces.
‘Nachts’ and ‘Sonne’
Authors: Shreffler Anne C 
Published: November 2023

Abstract
One week after ending his two-year struggle with ‘Gesang einer gefangenen Arnsel’ in July 1919, Webern quickly completed another Trakl poem, ‘Nachts’ (At Night) in only a sitting or two. With this two-page continuity draft, Webern returned to the aphoristic dimensions of much of his pre-World War I music. Yet within the piece’s approximately 30-second duration we do not hear the subtle whispers of the earlier miniatures; instead, Webern builds a dense four-part texture in which each instrument and the voice are stretched to their practicable extremes of range and flexibility. Webern’s setting undermines the strict, symmetrical four-line structure of the poem by blurring the ‘frame’ of beginning and ending, and by avoiding clear parallels between words and images in the service of a powerful musical idea.
The Organization of the Four ospedali
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
Their Hospitals, the best endowed in all Italy, speak their Liberality & Alms, especially that which they call La Pietà, in which all exposed children are provided for with care, though sometimes their number has been so great as to amount to 6000. In which thing they have expressed great gratitude to God, and mercy to Mankind, by saving or rather giving new life to thousands of poor innocent Babes, thrown daily, by the Courtesans into the Canals of the Town, where without this provision they would certainly perish.
Cultural and Ethnic Interaction in Ottoman Jerusalem
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
The nineteenth century was a momentous period in the history of Palestine. Having suffered neglect for three centuries as an underpopulated remote province of the Ottoman Empire, the strategic location and economic potential of Palestine was revealed as a consequence of the Napoleonic and Egyptian invasions, although these occupations were brief.1 The re-establishment of Ottoman rule was followed by major administrative reforms which effected a relative improvement of living conditions and encouraged immigration, pilgrimage, tourism, and interaction with European expertise and culture.
The Temple of the Arts Dream and Nightmare
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
It must have been the state of euphoria of the impoverished Yishuv at the end of World War I which stimulated the author Jacob Koplewitz to claim that “there are enough musical forces [in the country] for a joint musical venture such as the beginnings of opera, or serious symphonic music … but we badly need additional talents. May all those who chance our shores stay here.’1
My Heart is in the East
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
Rabbi Yehudah Halevi’s verse “My heart is in the East and I am at the edge of the West’1 embodied the dream of the Diaspora Jews to return to their ancient homeland. The national revival has transformed the East from a dream into a reality, urging artists in all fields to abandon vague orientalism and face the properties of the real East.