bluuebunny/crossref_metadata_2025_split huggingface dataset:
Evolution of the Completed Trakl Songs (Op. IJ No. 4 and Six Songs, Op. I4)
Authors: Shreffler Anne C 
Published: November 2023

Abstract
This chapter will focus on how each of the six completed songs of Op. 14 and ‘Ein Winterabend’ from Op. 13 was composed, according to evidence in the manuscript sources, ending with some observations about the premiere of Op. 14 and its performance history and practice. The published version of each Op. 14 song is preceded by at least five manuscript stages: a continuity draft sketch, a fair copy (in score), a printer’s copy, sketches for a piano/vocal reduction, and a piano/vocal reduction. For Nos. 1 and 6, as we have seen, Webern also made many preliminary sketches before the continuity draft.
The cori of the ospedali
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
I had … very sanguine expectations from [Venice], with regard to the music of past times as well as at present. The church of St. Marc has had a constant supply of able masters, from Adriano, Zarlino’s predecessor, to Galuppi, its present worthy composer. Venice has likewise been one of the first cities in Europe that has cultivated the musical drama or opera: and, in the graver stile, it has been honoured with a Lotti and a Marcello. Add to these advantages the conservatories established here, and the songs of the Gondoleri … , and it will appear that my expectations were not ill grounded.
Conclusions and Speculations
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
BECAUSE this study is concerned with a significantly large number of musicians who happen to be women, it is necessary to focus briefly on women’s status in Venice in the last three centuries of the history of the Republic. Assertions by historians that female rights were non-existent in Venice are met by contrary claims that Venetian women were freer than women elsewhere in European society in centuries past. The experience of the women of the cori bears out the latter assertion. As one visitor observed: ‘The great indulgence which the Venetian Ladies meet with prevents them from making a bad use of their liberty. ‘2 Venetian women had property rights for their dowries. The figlie del coro were given added opportunities for economic independence-that is, to earn income, to invest their earnings, and to bequeath their property when they died.
From Pan-Europe to the Palestine Orchestra
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
The creation of the Palestine Orchestra was a milestone in the history of music in Palestine which was effected with dramatic international reverberations. The new orchestra revolutionized the musical scene, provided the infrastructure for professional musical education and for local composition, and marked the culmination of the process of the professional stratification of music institutions in Palestine. It soon set a model of institutional tenacity and stability in troubled times.1
Inventing a Tradition of Folksongs
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
The New Yishuv, a mostly secular and ethnically heterogeneous immigrant society, was in urgent need of a set of unifying cultural symbols, and the local composers were expected to form them. The vision of the return to and resettlement in the biblical Land of Israel required that they be oriented to the past, whereas the drive to build a new, better society called for. future-oriented symbols. Consequently, both folk and art music were heavily loaded with ideological expectations.
In the Cause of Jewish Music
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
Joel Engel’s premature death and Jacob Weinberg’s emigration in 1927 dealt a heavy blow to the publication and performance of Jewish music in Palestine. The international operations of Juwal publishing house were taken up by Hanigun society in Palestine,1 while the violinist and com poser Joseph Achron sponsored Jibneh publishing house in Vienna which concentrated on Jewish art music. Both were soon taken over by Universal Edition, which, however, dispensed with its Jewish department in 1933. Subsequent attempts to sustain publication of Jewish music did not get off the ground.2
The Semiotics of the East
Authors: Hirshberg Jehoash 
Published: November 2023

Abstract
The semiotics of all arts, music, and letters in Palestme during the r92os and early 1930s was grounded in the representation of rhe Yishuv’s collective spirit. Topics ranged from the romanticized countryside scenery to pioneer heroic deeds.1 Difficulties arose as soon as the flowery ideology had to be put into practice by way of concrete musical patterns.
Sources: Style
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
One of the pleasures of playing baroque and classical music on period instruments is that it leads us again and again into considerations of style. Because we do not have recordings from the pre-Romantic era (except what is revealed to us by mechanical musical instruments such as barrel organs), we are therefore largely dependent upon contemporary written information to tell us how music was played or sung. (We can also determine certain things from the instruments themselves, from pictures and engravings, and especially from a careful study of the written music.)
Nabucco
Authors: Budden Julian 
Published: November 2023

Abstract
The failure of Un Giorno di Regno was the bitterest moment of Verdi’s career: a career which, up till then, had been far from easy. The Milan Conservatoire had rejected him. His time as Director of the Music School at Busseto was poisoned by faction. He had had to wait at least three years for the production of his first opera. Now it seemed that the progress so hardly achieved had been wiped out, and this just after he had lost the wife for whose sake he had remained at Busseto when he might have been furthering his career as an opera composer. Meanwhile time was passing. At twenty-seven Bellini, Rossini and Donizetti had all established themselves as masters or at least beyond the power of an occasional fiasco to do them harm. Verdi had been king for a day. Now it seemed that day was over. His feelings could indeed be similar to Beethoven’s at the time of the Heiligenstadt testament.
Ernani
Authors: Budden Julian 
Published: November 2023

Abstract
With the double success of Nabucco and J Lombardi, Verdi had won his spurs, and offers of contracts came pouring in. Unwilling to tempt providence with another premiere in Italy’s leading opera house* he decided in the teeth of all Merelli’s blandishments to accept a commission from the Marquis Nani Mocenigo, President of the Gran Teatro la Fcnice in Venice, La Scala’s biggest rival in Northern Italy. In the seventeenth century Venice had been the cradle of public opera; two hundred years later there was no city in all Italy more clamorous in its operatic enthusiasm. It was here that Rossini had first won international fame with Tancredi and L’ Italiana in Algeri. Here too he closed his Italian career in a blaze of glory with Semiramide-wreaths flung into the water, a flotilla of gondolas escorting the maestro to his lodgings, and a water-borne band regaling him with a selection from his score. A Venetian triumph had a rare flavour of its own.
Alzira
Authors: Budden Julian 
Published: November 2023

Abstract
After the prodigious success of Ernani in 1844 one of the first people to approach Verdi for a new opera was Vincenzo Flauto, impresario of the San Carlo theatre. Together with La Scala and the Fenice, the San Carlo made up the trio of leading theatres in Italy; and it had a far longer and more glorious tradition than either of the other two. During the eighteenth century Naples had been the cradle of classical opera, serious and comic. Its composers, mostly from the Kingdom of the Two Sicilies and all trained at its Conservatories, had carried the latest operatic developments throughout Europe. But as so often happens the progressives of one century had become the diehards of the next; and by the early years of the nineteenth century Naples presented as conservative a face to the operatic world as could be imagined.
Il Corsaro
Authors: Budden Julian 
Published: November 2023

Abstract
The Corsair figured very early amongst Verdi’s operatic schemes, as did a number of Byron’s works. It had been considered along with The Bride of Abydos and The Two Foscari as a candidate for the Venice Carnival season of 1844, only to be dismissed since no baritone of the order of Ronconi was available, whether for the hero or the villain is not clear. That same year The Two Foscari came to fruition in Rome. All this suggests that like many of his generation Verdi was going through a Byronic phase at the time. It was a young man’s enthusiasm; and he grew out of it much faster than Liszt or Berlioz (if the latter can be said ever to have grown out of it at all). When Il Corsaro first became a practical possibility Verdi was hot on the scent; when he actually came to compose it the trail had to some extent gone cold.
Un Ballo in Maschera
Authors: Budden Julian 
Published: November 2023

Abstract
Among the new friends and acquaintances that Verdi made in Venice at the time of La Traviata was the lawyer and playwright Antonio Somma, his senior by three years. Though completely forgotten today Somma’s works enjoyed a considerable vogue in his lifetime, especially a Parisina and a Cassandra written for the great Italian actress Adelaide Ristori and performed by her in Paris in 1859. Well known for his patriotic sentiments he had been appointed secretary to the Assembly of the short lived Venetian republic of 1849. Could this be the great national poet to whom Carcano had urged Verdi to unite his genius? Verdi himself apparently thought so; and when in the spring of I 85 3 Somma offered him amongst other ideas a Sordello to set to music, Verdi was in principle delighted. ‘Nothing could be better, nothing dearer to my heart than to join your great name to mine.’ But Sordello would not do; it was too gloomy and severe.
Salamone Rossi
Authors: Harrán Don 
Published: November 2023

Abstract
Salamone Rossi (c.1570-c.1628) occupies a unique place in Renaissance music culture: he was the earliest outstanding Jewish composer to work in the European art music tradition. In the field of instrumental music, he established the trio sonata as a standard combination of voices for 17th-century chamber music and developed the sonata into a vehicle of virtuoso display. In his vocal works, he wrote music to texts of some of the most fashionable poets of his day, including Battista Guarini, Gabriello Chiabrera, and Ottavio Rinuccini. The mannerist poet Giovan Battista Marino particularly captured his attention: with 33 settings of Marino’s verses, among them the remarkable Canzone de’ baci in eight strophes, Rossi stands in the vanguard of contemporary literary developments. Rossi composed a book of duets and trios (Madrigaletti) that paved the way for similar chamber works by Agostino Steffani and others from the late 17th and early 18th centuries. Last but not least, Rossi carved out his own niche in the history of sacred music by composing the first and only collection of polyphonic settings of Hebrew texts (his ‘Songs of Solomon’) before the mid-nineteenth century. As a Jewish composer working for the Gonzaga dukes in Mantua, yet remaining faithful to his own religious community, Rossi has a biography fraught with difficult and often exciting questions of a socio-cultural order. How Rossi solved, or appears to have solved, the problem of conflicting interests is a subject worthy of inquiry, not only because we want to know more about Rossi, but also because Rossi can stand as a paradigm for other Jewish figures who, contemporary with him, moved between different cultures.
From Composition to Performance
Authors: Harrán Don 
Published: November 2023

Abstract
In the following chapter a line will be drawn from the composition of Rossi’s works to their performance. The treatment is far from inclusive, for it neither touches on the special problems, mainly liturgical, that relate to the Hebrew ‘Songs’, nor does it deal with any more than a select number of musical parameters from within the secular vocal and instrumental collections. This is not an essay, then, on early seventeenth-century performance practice in the full panoply of its interpretative associations. Rather, the discussion narrows to questions raised with particular urgency by Rossi’s collections in certain well-defined areas: accidentals, metres, the continua, melody instruments, alternative ensembles, tuning, transposition, tempo, dynamics, and the ordering of dances into suites. Most of the questions are familiar from other late sixteenth- and early seventeenth-century composers’ works, yet Rossi’s force us to re-examine them in a renewed search for their elucidation.
Parents
Authors: Alvin Juliette , Warwick Auriel 
Published: November 2023

Abstract
The cases discussed in this book have all been treated by the author for continuous periods of at least four years. None of the children was hospitalised at the time. Each of them was well cared-for at home and had one or two siblings, in a fairly normal family environment. The inclusion of hospitalised cases would have broken the unity of a comparative study. The family environment plays an important part in the behaviour of the autistic child who is so much influenced by factors outside himself. Moreover, the family is usually much disrupted by the presence of such a child, and the hospital is not.
The Mandola/Mandolino in the Eighteenth Century
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
Throughout much of the eighteenth century, the terms mandala and mandolino were interchangeable, always referring to the small, high-pitched instrument tuned in fourths. Our study of the instrument in the eighteenth century begins with an examination of a highly interesting manuscript found in Paris (F:Pn Res Vmb ms. 9) entitled ‘Libra per la Mandala dell Illussm0m Sig.re Matteo Caccini a di p.0 Agosto 1703’. Nothing is known about Caccini (who was the owner/compiler of the manuscript rather than the composer of its music), but his famous surname suggests a connection with the family of Florentine musicians and composers of the same name.
Naples and the Origins of a New Instrument
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The entry of Charles Bourbon into Naples in 1734 at the head of his Spanish army signalled the beginning of a golden age of Neapolitan culture. Although Naples was the third largest city in Europe (after London and Paris), and the Neapolitan kingdom comprised the whole of the south of Italy (including Sicily), the region had languished under foreign rule for centuries until Charles established an autonomous kingdom and encouraged the emergence of a distinctive Neapolitan style in art and music. The next few years saw the building of the San Carlo opera house, the porcelain factory at Capodimonte, and the enlargement of the Palazzo Reale, while increased artistic patronage led to a flowering of Neapolitan painting.1
A Guide to Playing the Neapolitan Mandoline*
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
Several of the Paris tutors give illustrations of the mandoline; Leone, Denis, and Corrette (see Illustrations 6–9). The Corrette example is quite unlike any known instrument of the period and seems to be simply the result of poor drawing; however the other three drawings offer us a great deal of in formation.
Instruments Related to the Neapolitan Mandoline in the Eighteenth Century
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
The instrument was advertised by its inventor as being ideal for vocal accompaniments, and the six free bass strings, which give a total range of three and a half octaves, overcome the problem of high tessitura discussed earlier with regard to the mandolin. The bissex did not ever achieve widespread popularity. There is a surviving example in the Musee Instrumentale, Conservatoire de Musique, Paris. For further reading on the instrument, see Vannes (1951) and Baines (1966): the latter book contains an illustration of the bissex (nos. 320-1).
Origins of the Popular Style
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Here, for the first time, is a book which analyses popular music from a musical, as opposed to a sociological, biographical, or political point of view. Peter van der Merwe has made an extensive survey of Western popular music in all its forms - blues, ragtime, music hall, waltzes, marches, parlour ballads, folk music - uncovering the common musical language which unites these disparate styles. The book examines the split between `classical' and`popular' Western music in the nineteenth and early twentieth centuries, shedding light, in the process, on the `serious' music of the time. With a wealth of musical illustrations ranging from Strauss waltzes to Mississippi blues and from the Middle Ages to the 1920s, the author lays bare the tangled roots of the popular music of today in a book which is often provocative, always readable, and outstandingly comprehensive in its scope.
Europe and the Near East
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
‘The Old High Culture.’ With this ringing phrase Alan Lomax describes the chain of settled communities that existed some three or four thousand years ago from the Nile to the Pacific, while northern Europe was still the domain of wandering and illiterate tribes.1 The tide is certainly deserved. North Europeans take a perverse delight in depicting their remote ancestors as even more barbarous than they really were, but it is after all true that civilization, however you define it, spread northward from these Asian lands. Musical civilization, at any rate, certainly did.
Instrumental Music
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Some time during the 1690s the Revd Thomas Teakle was so shocked to discover that dancing had been going on in his house—at the very hour of the Sabbath service, too—that he took the offenders to court. The revellers on this deplorable occasion were his daughter’s friends. The fiddler was a slave. There is no reason to think that there was anything novel about this situation; it was only the Revd Teakle’s outraged piety that happened to place the event on record. For another two hundred years the black fiddler was a prominent figure in the American musical landscape. Sometimes he performed as a soloist, but very often he was teamed with the banjo.
Afro-American Rhythm
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Ever since the pioneering work of Ward and Hornbostel in the 1920s the Great African Rhythm Controversy has rumbled on in learned books and journals. Two peculiarities have marked the discussion: firstly, the quite disproportionate amount of space devoted to what others have already said on the subject, and secondly the equally disproportionate concentration on one small part of the African continent. More has probably been written on the rhythms of the southern Gold Coast (now known as Ghana) than the rest of Africa put together. This at least means that these rhythms are by now fairly well understood. How good a guide, we must ask, are they to West Africa as a whole? The answer seems to be that in their basic principles they are entirely characteristic of the whole area from Senegambia to Angola.
British Origins of the Blues
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
It must be understood that the third is not a fixed note in the folk-scale, as it is in both of the modern scales. The English folk-singer varies the intonation of this particular note very considerably. His major third is never as sharp as the corresponding interval in the tempered scale, to which modern ears are attuned. On the other hand, it is often so flat that it is hardly to be distinguished from the minor third. Frequently, too, it is a ‘neutral’ third, i.e., neither major nor minor, like the interval between the two notes of the Cuckoo’s song, when the Spring is waning. Apparently, the folk-singer, not having any settled notions with regard to the pitch of the third note of the scale, varies it according to the character of the phrase in which it happens to occur.
The Twelve-Bar Blues: Frankie and Others
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
If one examines the twelve-bar blues songs of the early twentieth century, it is hard not to be struck by the importance of one particular tune family. This is the one to which the ballads ‘Frankie and Johnny’ and ‘The Boll Weevil’ belong. The Frankie family alone exists in literally hundreds of variants.
Blues Harmony
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
The twelve-bar blues has been associated with many harmonic schemes, of which the simplest is the one-chord form mentioned in chapter 18. To this one-chord scheme either a subdominant or, at the final cadence, a dominant chord can be added. In Charley Patton’s ‘Pony Blues’ (Ex. 60), for instance, the only chord other than the tonic is the subdominant at the beginning of the second phrase. Or both subdominant and dominant may be used in a I IV I V I pattern, the exact fit of harmony to tune being variable, especially in the early blues.
The Riddle of the Twelve Bar Blues
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Imagine that you are a cultivated, well informed European musician. The year is 1900. Like so many of your friends, you spend a great deal of time wondering about the future of music. What will the new century hold? Your views on this point depend on your individual inclinations. You may be one of the growing band of brave young revolutionaries, or on the other hand you may be a member of the old guard. Possibly, if you are an Englishman or a Hungarian, say, you may be an enthusiast for the folk music of your country. Your prophesies, coloured as always by wishful thinking, will vary accordingly.
The Parlour Modes
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Anyone who thinks that the intellectual’s scorn for popular music is something recent should read Sir Hubert Parry’s denunciation of the music-hall in Style in Musical Art (1911). After comparing music-hall songs with Cockney speech (‘the result of sheer perverse delight in ugly and offensive sound’) and, worse, women’s fashions, he embarks on a lengthy analysis of their disregard for musical grammar, in particular unresolved leading notes, the tritone between leading note and subdominant, and consecutive fifths.
Parlour Harmony
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
The old libel about popular composers using the outworn cast-offs of their musical betters comes closest to the truth with harmony. In the nineteenth and early twentieth centuries, at any rate, popular harmony is usually an echo of what serious composers had been doing several decades before. The lush Romantic chromaticism of the years between 1830 and 1850 took half a century to reappear in the parlour ballads of the 80s and 90s, just as, in the next century, Impressionist harmonies turn up a few decades later in jazz. From early times serious composers had sought the striking progression, the telling, unusual chord. The popular composer had no such ambitions, sharing the ‘courage in using without hesitation the obvious commonplace phrase, of words or music’ that Cecil Sharp admired in the folk musician.