bluuebunny/crossref_metadata_2025_split huggingface dataset:
Grettir the Strong Flexes his Muscles
Authors: Bird John 
Published: November 2023

Abstract
By his mid-teens the attitudes which Grainger was to hold for the rest of his life were all but crystallized. He still thought of himself as ‘Grettir the Strong’ and was by now developing an acute sense of dis¬ crimination between those elements in European culture which had Nordic or Anglo-Saxon roots and those which owed their existence to the cultures of Ancient Rome and Athens. The former he clung to, enshrined and worshipped; the latter he rejected out of hand. His life was to be ruled by Odin rather than Zeus or Jupiter. His concept of ‘race’ was as absolute as it was naive. His belief that he was the product of a racially mixed marriage had already become something of a burden¬ some complex.
‘I am an Australian, not a Corsican!’
Authors: Bird John 
Published: November 2023

Abstract
On his return to England Grainger once more took up his duties as a pianist to London’s aristocracy. He had now come to accept his role with a detached and cynical tolerance. The frantic address-changing which had marked his life in Melbourne and Frankfurt-am-Main continued relentlessly in London. Within four years of his arrival in London he and his mother had changed their home as many times.
‘I shall go back to the joys of my teen-years’
Authors: Bird John 
Published: November 2023

Abstract
The 1940s were for Grainger a decade through the first half of which he staggered and from the second half of which he began to emerge phoenix¬ like into a world more ready to accept his compositions. The war years put a temporary halt to many of his plans and he saw little financial return for the enormous amount of concert work he undertook. Performing royalties in Australia were largely turned over to his more needy relatives and English royalties were redirected to Cyril Scott, whose music had been suffering over the last decade from the adverse trends of fashion.
Between ‘Social Demands’ and the ‘Music of Grand Passions’
Authors: Barsova Inna 
Published: November 2023

Abstract
The problem of the relationship between Soviet artists and the authorities in the l&lt;:J30S is still a long way from being completely clarified. Many things complicate the picture of cultural life during that period. First of all there is the contradictory way in which the regime itself behaved with regard to the implementation of its cultural policy, since it at times created an impression of possible liberalization (a phenomenon analysed in detail in Lazar Fleishman’s article on Pasternak and Bukharin in the 1930s). Secondly, there was no unanimity of feeling on the part of the Soviet people: the faith in the ideals of communism cherished by some was very far removed from the bitter insight of others. A third complication is the closed nature of people’s behaviour in the 1930s, which expressed itself in particular in the ‘verbal theatre’ that permeated their everyday speech. Adopting verbal ‘masks’ was one of the most important ways in which people communicated with representatives of authority and with each other. A final complication is due to the coded nature of existence at that time, and the presence of a subtext in the language of art itself in certain specific cases where there was no possibility for operating differently. Such artistic works are now viewed rather simplistically as attempts to co-operate with the regime, as they are interpreted with hindsight, and from the point of the view of the omniscient and fearless present.
Tāl in practice: quantitative, qualitative, and cyclic functions
Authors: Clayton Martin 
Published: November 2023

Abstract
About 20 tāls are commonly used in North Indian music at the present time: although rather larger numbers are often cited, these would include many rare tāls used mainly in drum solos and offer a misleading picture (in truth, even several of those listed in Example 5.1 are rarely heard). The common tāls comprise binary, ternary, quintal, and septimal structures as well as combinations of the above (i.e. compound metres, such as ektāl, which combines binary and ternary features) and a few apparently anomalous structures, including some apparently conceived as arithmetical progressions (e.g. matta tāl of 9 mātrās, usually split 2 3 4). Many tāls are associated with particular genres, and most are limited in the range of tempi at which they may be performed.
The Idea of a Movement
Authors: Talbot Michael 
Published: November 2023

Abstract
To HAVE a last movement, one must first have a piece of music divided into separate movements. So much is obvious, but it is important to accept from the outset that the existence of a multimovement (or cyclic) work is not an eternal, given,: it is one particular form of packaging music (among many) that has come into being at a specific point in history, initially only in certain genres, and even today enjoys only a provisional status. It is not hard to imagine a future situation in which, following the convergence of Western (but by then global) art music and commercial popular music, nearly an musical compositions became single movements that one could couple freely with others in the
Codas and Finales
Authors: Talbot Michael 
Published: November 2023

Abstract
Are finales simply codas writ large? Are codas simply finales writ small? The questions are not idle, since in this study parallels have repeatedly been drawn between the two. Both strive for closure, for balance, and for the resolution of tensions. Both use the powerful effects of cumulation and regression to these ends. Both are partial to humorous or extravagant effects and easily accommodate modal shifts. The two even have a common origin (albeit in the finale’s case not a unique origin) in the closing sections of multisectional instrumental works composed during the Renaissance and early Baroque periods.
Opéra Comique: Identity and Manipulation
Authors: Charlton David 
Published: November 2023

Abstract
In this essay I investigate shifting sands: the artifice of genre, invisible managements, critical manipulations, and an unidentifiable public. The study is mainly about critical responses to opéra comique, the genre that France re invented and exported in the mid-eighteenth century, and which thereafter became a staple that did not cease as an institution until 1971. In the nineteenth century and after, however, it often seems to have served as an Aunt Sally, an object of random vilification, and so (for us) a genre whose very criticism might reveal a wide variety of social, musical, and aesthetic fractures. There is the added historiographical problem that one famous critic, Berlioz, had a particularly virulent attitude towards it, one that has helped to colour subsequent attitudes. But the same critic wrote a rather comprehensive essay on the genre which, in a singularly lucid way, analysed the problematic reltion between opéra comique’s historical past, its institutional present, and its audiences both as they were in 1836 and as they might be in the future.
A Dilettante at the Opera: Issues in the Criticism of Julien-Louis Geoffroy, 1800-1814
Authors: Ellis Katharine 
Published: November 2023

Abstract
February 1800 marks a watershed in the history of French music criticism. On the sixth of that month, the Bertin brothers’ Journal des debats printed the first review of an opéra (Mehul’s Adrien) in the new critical form of the feuil leton-the ‘little page’. Separated by an emphatic horizontal line from the political (and thus censored) news above it, the feuilleton ran, uncensored, in its own domain across the bottom of the paper.
Robert le diable and Louis-Philippe the King
Authors: Petrey Sandy 
Published: November 2023

Abstract
Two important studies of grand opéra in its social context disagree radically over the contribution of Giacomo Meyerbeer’s Robert le diable to the genre’s development. William Crosten’s French Grand Opera: An Art and a Business sees Robert’s premiere on 21 November 1831 as a watershed moment with monumental impact on what followed: ‘This decisive work certified beyond doubt that a new epoch had arrived, and by so doing it became the piece, which set the tone in the French lyric theatre for the rest of the nineteenth century.’ Forty years after Crosten, Jane Fulcher’s The Nation’s Image flatly dismissed his assessment.
Pitch Structure
Authors: Herissone Rebecca 
Published: November 2023

Abstract
IN the latter half of the sixteenth century the rudiments of pitch were still taught to students according to theories which had been invented in medieval times. According to this system—which was usually attributed to Guido of Arezzo—notes were divided into six-note scales, or hexachords, with the intervallic pattern tone-tone-semitone-tone-tone. Each degree of the scale had associated with it a solmization syllable, designed to help students to learn the intervals. These syllables were, respectively, ut, re, mi, fa, sol, and la, terms derived from the first word of each line in the hymn to St John, Ut queant laxis.
Compositional Rules
Authors: Herissone Rebecca 
Published: November 2023

Abstract
ALTHOUGH the rules governing the harmonic organization of a piece of music were revolutionized during the seventeenth century, instructions for writing note-against-note counterpoint and progressions showed little development in English theory, and many remained closely related to those of the Renaissance. This principle is aptly demonstrated by Campion’ s New Way of Making Fowre Parts in Counterpoint. As we have seen, this book included the earliest references in English theory to triadic inversion, and it also portrayed harmonic tonality for the first time, as described in Chapter 6 below. When it came to ‘ the taking of all Concords, Perfect and Imperfect’ , however, Campion was quite happy just to translate the relevant parts of Calvisius’ Melopoeia, from 1592, and, though he claimed that ‘ somewhat I wil adde, and somewhat I will alter’ , as Davis has shown, the annotations and changes are in fact very few.
Italy: La Chitarra da sette corde
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
Guitar music is first encountered in Italy on the final pages ofMelchiore de Barberiis’s fifth lute publication, Opera intitolata contina (Venice, 1549). Barberiis (fl. c.1545-50) was a priest at Padua Cathedral, the town’s principal music centre, and, according to the book’s title page, was a most excellent lute player (‘sonator di Lauto eccellentissimo’). Regrettably, apart from the sparse information found in his own publications, we know almost nothing about Barberiis’s life; however, we do know a great deal about the cosmopolitan town in which he lived and worked.
1770-89: The First Six-String Guitars
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The subject of string-making has received little or no attention in most histories of the guitar, yet the development of the instrument cannot be fully appreciated without an understanding of the innovations that were taking place at the same time in the manufacture of musical strings. The luthier and the string-maker have always been dependent upon each other’s skills, and the following paragraphs offer a concise summary of the ways in which they have influenced each other. This necessitates briefly stepping back in time to investigate the way that strings were made in earlier periods, but the detour is worthwhile because it will allow us to see how modifications in string manufacture came to affect the development of the guitar in the second half of the eighteenth century.
‘It seems to have been lost’: On Missing and Recovered Mendelssohn Sources
Authors: Wehner Ralf 
Published: November 2023

Abstract
The British Library holds an important source of Mendelssohn’s Melusine Overture. This copyist’s manuscript, containing some entries in Mendelssohn’s hand, is extremely valuable for our understanding of the work. In a letter from Mendelssohn to Karl Klingemann the composer requests that his friend, who lived in London, ‘retrieve in my name the score the Philharmonic has of it, and burn it’. And he emphasizes: ‘but it is very important to me that the old score be destroyed. I would also be happy if you could burn Horsley’s piano score of it, but if you think that they would not like that, then let it be. Attwood has an old score of it, a sort of sketch; you can allow that one to live.’
‘So kann ich es nicht componiren’: Mendelssohn, Opera, and the Libretto Problem
Authors: Hennemann Monika 
Published: November 2023

Abstract
‘I cannot compose it like that’ : Felix Mendelssohn’s typical reaction to opera libretti presented to him goes some way to account for his failure to complete a mature opera and thus even suggests that a more accurate title of this chapter might read ‘Mendelssohn, no opera, and the libretto problem’. It might initially seem odd to discuss the relationship to opera composition of a composer who never completed mature work in the genre. However, Mendelssohn’s attempts at opera composition constitute such a significant part of his compositional career that they deserve to be investigated, particularly when we take into account his constant preoccupation with this challenge and his promising start in the genre. By the age of 20, he had seen a total of six of his own Singspiele and Liederspiele performed, and definitely planned to compose further dramatic works. In the course of the following years, he considered more than fifty subjects, was in contact with prospective librettists, and received a large number of unsolicited libretti.
Music and Affect: Empirical and Theoretical Contributions from Experimental Psychology
Authors: Krumhansl Caroll. 
Published: November 2023

Abstract
Musicology and philosophy offer extensive theoretical discussions of emotional responses to music. Wide-ranging proposals consider how musical structures produce emotions, the role of experience in establishing extra musical associations, the historical and cultural contexts that shape emotional responses, the status of musical emotions from the perspectives of aesthetics and philosophy of mind, and the role of expressive performance in communicating emotions. It might, therefore, seem surprising that basic psychological research on emotion rarely considers music.1 The fundamental issues in this literature include such questions as whether there are basic emotions and whether these are universal, the function of emotions (which is often discussed in evolutionary terms), the antecedents and consequences of emotion, the social communication of emotion, individual differences in responses, the existence of emotion-specific physiology, and the relationship between emotion and cognition. These issues are rarely discussed in connection with music.
Strong Experiences of and with Music
Authors: Gabrielsson Alf , wik siv lindstrom 
Published: November 2023

Abstract
Many people remember an occasion on which or a situation in which they had an especially strong experience elicited by or associated with music. It stays in their memory as a unique experience and may generate a strong motivation to search for similar experiences and/or to devote one’s life to music. Despite their obvious relevance for music psychology, research on such experiences is scarce. Practically the only example is a little-known investigation by Robert Panzarella, inspired by Abraham Maslow’s concept of ‘peak experience’ .1 Panzarella obtained reports on peak experiences, defined as ‘intense joyous experiences’, from 103 people, of which about half pertained to music, the other half to art. Using a combination of content analysis and the statistical technique known as factor analysis, he arrived at a description of those experiences in terms of four basic aspects: motor-sensory ecstasy, fusionemotional ecstasy, withdrawal ecstasy, and renewal ecstasy. Motor-sensory ecstasy and fusion-emotional ecstasy were more common in connection with music than with art, while withdrawal ecstasy was about equally common for music and art, and renewal ecstasy was more common for art.
Napoleon and History Painting
Authors: Prendergast Christopher 
Published: November 2023

Abstract
This study is an inquiry into the fortunes, in both theory and practice, of the idea of history painting during the Napoleonic period. Its main argument is that under Napoleon, French history painting, especially battle painting, encountered a series of questions as to its nature and function. These questions arose in part from the (often contradictory) demands of a propaganda-machine operating within a postrevolutionary crisis of political legitimation, but also from changes in artistic taste which both retained and re-directed an earlier notion of the civic responsibilities of the history painter. This is a resolutely interdisciplinary book: drawing on perspectives from political thought and history, military theory and practice and art history, it centres on the work of the painter, Antoine-Jean Gros, and his controversial painting, La Bataille d'Eylau.
Compilation: Alsted’s Cursus philosophici encyclopaedia, 1609–1620
Authors: Hotson Howard 
Published: November 2023

Abstract
Alsted’s plans to succeed Keckermann as leader of the post-Ramist encyclopaedic project were hatched within months of the Danziger’s death. On 12 September 1609, only three days after receiving the gift of Keckermann’s works from Antonius (and presumably the commission to edit a collection of them), Alsted wrote to Kaspar Waser in Zurich, mourning the deaths of Keckermann and Joseph Scaliger. ‘It is for us’, he concluded (with no trace of irony), ‘to follow in their footsteps.’1 On Christmas Day of the same year he wrote to Albert Molnár invoking God’s aid ‘at this time, when the great lights of churches and schools are passing away’.2
‘The Town I Loved So Well’: Derry and the Foundation of Field Day
Authors: Richtarik Marilynn J 
Published: November 2023

Abstract
The seal of the city of Derry features, in addition to the red cross on a white background which commemorates its association with the city of London, a tower and a grinning skeleton. This symbolizes that Derry is a walled city that rose ‘from the dead’. The visitor soon learns, however, that there are other stories told about the seal, including one about an avaricious Norman lord who was locked in the fortress by his relatives and left to starve to death. Like so many other fragments of Irish history, this legend strikes a resonant chord with events of more recent years in Northern Ireland where, over the past twenty-five years, civil division has yet again manifested itself in violence. Full of modern significance, too, is the grim joke locals tell about the grisly emblem. ‘What we say,’ the guard at the Guildhall explains, ‘is that’s a Derry man waiting for a job.’
The Blast of War
Authors: Woolrych Austin 
Published: November 2023

Abstract
There was no sharply defined beginning to the English Civil War. The king sought to give it one by ceremonially raising his standard at Nottingham on 22 August 1642 and summoning his subjects to aid him in suppressing the rebellion headed by the Earl of Essex, but even as a symbolic gesture this was to fall flat. There had already been clashes of arms in various parts of the country for some weeks past, and it would be many weeks more before Charles’s military commanders felt capable of offering battle. Very many of his subjects clung to a hope that open war might yet be averted by a negotiated settlement, or expected that if it came to the worst the quarrel might be decided by a single battle. Many thought first about the interests of their own communities and set about negotiating local pacts of neutrality, hoping thereby to keep any war there might be outside the bounds of their particular counties or cities.
The Conflict Widens
Authors: Woolrych Austin 
Published: November 2023

Abstract
Now that parliament realized that the path to victory would be long and hard, it was inevitable that it should pursue an alliance with the Scottish Covenanters. The king, however, had been first in seeking allies outside his English kingdom, and the diplomatic efforts of both sides in the course of 1643 turned what had begun as an English civil war into a true war of three kingdoms.
The situation in Ireland was complicated for both king and parliament. The Confederated catholics had established a form of provisional government, but they continued to profess their loyalty to the king, and they had strong reasons for wishing that he and not the parliament should win the war in England. The first General Assembly, which they summoned to Kilkenny in October 1642, had abjured the title of parliament because their oath of confederacy bound them to defend the king’s rights, which included the sole authority to summon a parliament. It had accepted the English common law as the law of Ireland and recognized the binding force of existing English statutes that legislated for Ireland, so long as they were not against the Roman Catholic religion or the liberties of the Irish people.
Climacteric II: ‘not a mere Mercenary Army’
Authors: Woolrych Austin 
Published: November 2023

Abstract
The general rendezvous on Kentford Heath opened not only a dramatically new chapter in the army’s history but one of those phases of discontinuity and accelerated change that I have called climacterics. The next nineteen months witnessed repercussions that neither the soldiers nor most of the politicians had either foreseen or desired: an attempted conservative coup in London, a resultant military confrontation, the army’s assumption (improvised step by step) of a dominant role in British politics, a second civil war in which the Scottish army fought against the English parliament, and finally the execution of the king and the abolition (in England) of the monarchy. In June 1647, however, the aims of the parties that precipitated the crisis were still largely negative. The presbyterian politicians wanted to eliminate the army as an obstacle to their own plans for reinstating the king, while the army sought only to avert its own destruction, secure its soldiers’ rights, and prevent a partisan peace that would betray much that it thought it had fought for. Neither side was seeking drastic political change; they differed not as to whether the king should be restored to his regal authority but over the constitutional terms upon which he should be allowed to resume it.
Quest for a Settlement
Authors: Woolrych Austin 
Published: November 2023

Abstract
Neither the people of England, nor those who watched aghast from Scotland, Ireland, and continental Europe, could tell what the outcome would be of that horrifying act at Whitehall on 30 January 1649. It seemed there might be no end to its revolutionary consequences. An anointed king had been brought to trial and execution by a fragment of one house of parliament, first elected more than eight years earlier, and now claiming to act by the supreme authority of the sovereign people’s representatives. The Rump followed up the regicide with acts abolishing the office of king and the House of Lords. It called them acts, not ordinances, because they required no other assent now but that of the Commons. But behind the Rump stood the army, to whose force it owed its power, and the army might not sustain it for long, since its first intention had been to dissolve the parliament rather than purge it. The Rumpers themselves promised, in their act of 17 March that abolished the monarchy, ‘that they will put a period to the sitting of the present parliament, and dissolve the same so soon as may possibly stand with the safety of the people that hath betrusted them’.1