bluuebunny/crossref_metadata_2025_split huggingface dataset:
Later Vocal Works
Authors: Evans Peter 
Published: November 2023

Abstract
The completion and popular success of an undertaking as ambitious as Peter Grimes gave Britten the dangerous right to assume that an interested public would eagerly await anything he now chose to produce. These years after Grimes show him a superbly confident and astonishingly prolific composer: whereas the first opera had occupied him for well over a year, with few and small distractions, the next two appeared at yearly intervals despite his also completing substantial scores in other media. Yet the chamber-operas, a tragedy and a comedy, jettisoned most of the resources he had deployed so fluently in Grimes, and demanded solutions to quite new problems, as we have seen.
Later Choral Works
Authors: Evans Peter 
Published: November 2023

Abstract
In his cantata, Saint Nicolas, Britten had been able to create a sense of unity across a succession of heterogeneous movements both by the unfolding narrative and by carefully ordered key relationships (see Chapter 13). The choral and orchestral work which he completed a year later, in June 1949, might seem to have contained in its title of’ Spring Symphony’ the promise of a still more rigorously unified musical structure, though the narrative thread had been abandoned in favour of a poetic anthology.
The Church Parables
Authors: Evans Peter 
Published: November 2023

Abstract
It was stressed at the outset that this study of Britten’s work would not be threaded on to a connecting narrative of his life. And for the most part, this is practicable enough. It is true, of course, that we need to know something of the company he kept in the immediately pre-war years to understand such works of protest as the Ballad of Heroes, and that the homesickness he experienced in North America directly prompted the determinedly English tone of the music that marked and followed his return.
The English Plainchant Revival
Authors: Zon Bennett 
Published: November 2023

Abstract
This study provides a general introduction to the sources of the plainchant revival in eighteenth- and nineteenth-century England. Part I examines the eighteenth-century Catholic revival, in particular the work of John Frances Wade, a Roman Catholic plainchant scribe and publisher. His work centred on the Roman Catholic foreign embassy chapels in London during the waning years of the recusancy period, and his collaboration with contemporary publishers and musicians is evidenced in numerous contemporary letters, music manuscripts, and printed works. In Part II the starting point for the Roman Catholic revival is Novello’s A Collection of Sacred Music and for the Anglican revival, Reinagle’s A Collection of Psalm & Hymn Tunes. Pro-Gregorian enthusiasts monitored the progress of the revival well into the nineteenth century, but it was not until the late 1830s that plainchant became a cause cbre in Anglican and Catholic worship alike. A multiplicity of plainchant publications followed well into the 1870s, with Thomas Helmores ranking first among them. By this time plainchant had become an integral, albeit controversial, part of musical worship in both churches. Bennett Zon brings together a host of previously undiscovered or unknown eighteenth- and nineteenth-century sources, drawing mainly upon printed and manuscript works. Contemporary periodical and occasional literature provide further insight into their musical and social contexts. This is as much a source book for ecclesiastical history of the eighteenth and nineteenth centuries as it is a chronicling of the plainchant revival, and it will be of interest to ecclesiastical historians, plainchant enthusiasts, church musicians, and bibliographers.
Introduction: Locating the Popular Music Text
Authors: Middleton Richard 
Published: November 2023

Abstract
Open any popular music paper and you will find interpretative comment on pop singers, records, and concerts. Tune in to any pop radio or TV programme and, again, opinion and evaluation frame the music. In a myriad less documented encounters, people of every kind and taste engage every day in dialogues about popular music’s meanings and effects. And, as Simon Frith has pointed out (Frith 1996, chapter 1), academics—in their role as music consumers—are just as likely to be involved as anyone. Yet if we ask how far this involvement has fed through into the academics’ professional work, the answer is surprising. Textual analysis has been a subsidiary strand in the expanding field of popular music studies; at the same time, much of the work has been marked by methodological hesitations which suggest deep-lying doubts about the viability of the enterprise itself. There are several reasons for this state of affairs, many of them to do with the particular histories of musical scholarship and of the way in which the study of popular culture has entered the academy. Underpinning all of them, however, is the simple issue—simple, but running deeply through the tissue of modern societies—of the interrelationship of elite and vernacular values. The threat of Pseud’s Corner awaits anyone who dares to mention, say, ‘aeolian harmonies’ or ‘pandiatonic clusters’ in connection with a popular song; yet a street-conscious ‘switch off your mind and boogie’ is hardly more likely to succeed in closing the cultural rift. At the same time, the claims of ‘the popular’, as an ideological category, exert an inescapable pull on the analytical enterprise, outlawing any yearning for disinterested objectivity; a song, once identified as ‘popular’, cannot avoid having this effect (of course, there may be other claims made as well—of ‘art’, of ‘politics’, of ‘entertainment’, etc.).
Listening to Peter Gabriel’s ‘I Have the Touch’
Authors: Fiori Umberto 
Published: November 2023

Abstract
The very existence of popular music research in its various aspects can be considered, with its investment of attention, as a general value judgement on the music’s potentialities. Moreover, we should not forget that a serious interest in popular music research would probably not have been possible without the emergence of more ambitious musical products testifying to a need for emancipation. Even so, perhaps because of a bitter awareness of its own roots in the same cultural and political processes, popular music research has somehow more and more tended to ignore ‘quality’ products in the field, whether because of their decline since the 1970s, or for the sake of some ‘scientific’ suspension of value judgement.
Genre, Performance, and Ideology in the Early Songs of Irving Berlin
Authors: Hamm Charles 
Published: November 2023

Abstract
Irving Berlin’s 200-odd songs written between 1907, the date of the first one, and late 1914, when his first complete show for the musical stage (Watch Your Step ) opened at New York’s Globe Theatre, are virtually identical to one another in their published piano/vocal format. Like other Tin Pan Alley songs of the early twentieth century, most of them consist of a brief piano introduction, a few bars of vamp, then several verses, each followed by a chorus. All are in major keys and most have a tempo marking of moderato. Piano introductions are drawn from either the first or last phrase of the chorus, the vamp anticipates the melodic beginning of the verse, and both verse and chorus are usually made up of four 4-bar phrases in – or four 8-bar phrases in other metres.
The Quest for Voice: Resituating Musical Autonomy
Authors: Goehr Lydia 
Published: November 2023

Abstract
Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear’d, Pipe to the spirit ditties of no tone.
(Keats2)
Music does not exist for the purpose of emphasizing … something which happens outside its own sphere. Musical expression only begins to be significant where words and action reach their utmost limits of expression It is only that which cannot be expressed otherwise that is worth expressing in music.
Music and Musicians in Exile: The Romantic Legacy of a Double Life
Authors: Goehr Lydia 
Published: November 2023

Abstract
The day I received the invitation to give the Bloch Lectures at the University of California, I happened to be writing about Ernst Bloch. I thought it quite fortuitous until I realized I was thinking about the wrong Bloch-the philosopher not the composer. But since I was writing about issues of double identity anyway, I decided to keep working on the one Bloch even as I was honouring the other. My decision subsequently turned out not to be too serious, because my lectures and then this book ended up focused on neither Bloch, but on Wagner, the composer to whom both Blochs were deeply devoted.
Passaggi
Authors: Mcgee Timothy J 
Published: November 2023

Abstract
The ornaments referred to here as passaggi are those that were used to connect written notes, or in some cases to replace what was written. The number of notes in a passaggio can vary from one to dozens, and there are statements in theoretical treatises that describe where and how they should be added. Petrus dictus Palma ociosa defines them very clearly when he speaks of them as flowers, and states that they consist of many sounds performed in the place of one. Arnulf of St-Ghislain mentions the addition of diminutions in a number of different contexts. In his description of musicians of the second class, for example, he notes that clerics add virtuoso passages to instrumental compositions (15:32):
Conclusions
Authors: Mcgee Timothy J 
Published: November 2023

Abstract
The theoretical treatises of the late Middle Ages describe an involved system of vocal practices and embellishment that extends to all types of music: sacred and secular, monophonic and polyphonic, vocal and instrumental. In order to present the breadth of the subject as well as the nature of the instructions, initially it was necessary to gather together as much information as possible on each subject area. This often meant pooling information from treatises written centuries apart and/or in widely separated locations, and without regard to the repertory to which any one theorist was referring.
The Vibration of Strings
Authors: Beamnt Jams 
Published: November 2023

Abstract
Terms have these meanings until developed further in the text:Frequency: the rate of vibration; the number of repetitions or cycles in a second. The frequency of violin open A is 440 cycles per second.Pitch: the characteristic of musical sound which enables the hearer to refer it for a scale of pitches.A note: the complete played sound of the simplest unit of music as produced by an instrument, which consists of a starting transient at the beginning followed by a sustained sound of constant pitch and loudness.
The Violin Body
Authors: Beamnt Jams 
Published: November 2023

Abstract
To many people a violin is a beautiful object; to a physicist it is a hideously complex shape. It would be difficult enough to predict its behaviour if it were made of uniform material symmetrically stressed. The complexity of its vibration is revealed by the striking pictures obtained by holography, but these do not explain anything. When the electron microscope first magnified fragments of animals many thousands of times, the pictures were enthralling but they did not explain how the bits worked or whether the structural complexities were significant in how they worked. We find in Chapter 5 that bowed instruments could not work unless they did vibrate in complex ways; that does not mean that any particular way is necessarily significant.
How Glue Works
Authors: Beamnt Jams 
Published: November 2023

Abstract
Glue is as essential a component of instruments as wood, yet little is written about it. The glue always used is derived from the inedible parts of animals and is often called Scotch glue. It is found in ancient Egyptian furniture and, apart from a casein glue derived from milk, it was the only adhesive known to woodworkers, including the first violin makers. During the past fifty years synthetic chemistry has created. a wide range of new adhesives, and there would be no reason for luthiers to continue using animal glue if any of the new products were better suited to the task. But animal glue has several properties which are of exceptional value both for instruments and in the making process, and which are not found in any other glue. This has nothing to do with tradition; one cannot foresee that any product is likely to replace it. In this chapter, ‘glue’ means this animal glue in water, unless qualified by a descriptive adjective.
In Vienna
Authors: Cole Michael 
Published: November 2023

Abstract
On6 March1763 a relatively inconspicuous concert at the Burgtheatr in Vienna included a performance by an obscure musician called Johann Baptist Schmid on ‘a new instrument made like a harpsichord through which one may imitate the Pantalon’ . Despite all the attention that has been turned upon the origins of the Viennese piano, this remains the earliest known reference to such instruments in the imperial capital. The concert was mainly comprised of vocal items, and the diarist who noted this unusual instrument was unable to give it a precise name. Two months later, on 13 May, a similar evening’s entertainment saw the return of this performer, whose instrument is now said to be called Piano et Forte. No other information about the player or the instrument has come to light. This inaugural appearance (if that is what it was) and the form of the name when finally given exactly parallel the French experience, for, as we have previously noted, the piano first came before the public in Paris in the early 1760s as a harpsichord-like instrument given the name piano et forte. There is a very strong probability that Schmid’s instrument was of the Silbermann type, and we should not be surprised if other notices should come to light of similar debut concerts in other cities where court influence favoured French language and culture.
World Musics in Context
Authors: Fletcher Peter 
Published: November 2023

Abstract
This book contains a wide-ranging survey of musics of the world, in historical and social contexts, from ancient times to the present day. It starts by describing aspects of musical style and function in relation to the early developments of civilisations, as background to a study of later transformations. It then describes, in some detail, musical traditions of Africa and Asia, in relation to history/geography and to other aspects of culture. European music is subsequently treated similarly, and in relation to music-cultures elsewhere. A further section examines the consequences of Europe's appropriation of the Americas, and describes popular musical styles in both Latin America and the USA. The final section considers the nature of tradition and change, examines some African and Asian musical styles in their colonial and post-colonial contexts, and considers, in broad historical perspective, the effects of Westernisation. A concluding essay examines the consequences for the West of global Westernisation, and of increasing cultural interchange. The book includes a Foreword by Laurence Picken, an essay that presents a unique view of music and ethnomusicology by one of the most distinguished scientists and musicologists of our time. In part a compendium of information currently available, in part a dialectical examination of musical causation and function, this book aims to lead students, teachers, and those who practise Western music towards a deeper understanding of the various musical traditions that contribute to the modern, multi-cultural environment. The author's aim throughout has been to achieve clarity in the writing and to make the book accessible to those with no training in ethnomusicology.
Instruments
Authors: Maconie Robin 
Published: November 2023

Abstract
ALL musical instruments are transducers. A transducer is a device that converts one kind of energy, the physical input of a performer, into another form of energy, which is radiated chiefly as sound. In a musical context what is normally of primary interest to a listener is the quality and beauty of instrumental tone, in itself and in rela tion to the music composed for it; appreciation of performing artistry follows close after that. A listener can give due considera tion to an expert performance given artistic terms of reference, and these are embodied in the structure and techniques required of a musical instrument, and in the musical information to be con veyed.
‘Perks’ Joins the Frankfurt Gang
Authors: Bird John 
Published: November 2023

Abstract
The SS Gera was a small and very comfortable ship and Percy found the voyage an exciting experience. It reinforced his already strong passion for ships and the sea. He joined in all the deck sports and spent some of his time teaching himself German. The Graingers disembarked at Genoa and made the remainder of their journey to Frankfurt am Main by train in order that they might see a little of Europe before Rose found it necessary to settle down and earn a living.
Packed Houses and Zulu Warriors
Authors: Bird John 
Published: November 2023

Abstract
Ada Crossley and her touring party, consisting of Grainger, Jacques Jacobs (violin), W. A. Peterkin (bass-baritone) and Benno Scherek (accom¬panist doubling as tour manager), left England on the RMS Omrah of the Orient Pacific Line during the first week of August 1903. Grainger was able to practise his repertoire on the piano of the ship’s lounge, and before they arrived in Adelaide on September 7 the entire party had given several concerts for the ship’s passengers.
Beatless Music, Blue-Eyed English and a Nordic Princess
Authors: Bird John 
Published: November 2023

Abstract
Grainger determined that the only way he could accommodate the grief of his mother’s death would be by submerging himself in hard work, and he immediately set himself to planning his involvement with the Evanston Music Festival, a five-week teaching session at the Chicago Musical Col¬lege and his European tour. He slept and ate as much as he could and the few moments of rest he allowed himself were given over to reading the works of his friend Edgar Lee Masters.
Anton Webern
Authors: Whittall Arnold 
Published: November 2023

Abstract
About 1911 I wrote the Bagatelles for String Quartet (Op.9), all very short pieces, lasting a couple of minutes–perhaps the shortest music so far. Here I had the feeling, ‘When all twelve notes have gone by, the piece is over’ In my sketchbook I wrote out the chromatic scale and crossed off the individual notes. Why? Because I had convinced myself, ‘This note has been there already’ The inner ear decided quite rightly that the man who wrote out the chromatic scale and crossed off individual notes was no fool.…In short, a rule of law emerged; until all twelve notes have occurred, none of them may occur again.
Time in Indian Music
Authors: Clayton Martin 
Published: November 2023

Abstract
Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag, or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertories-including that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation). More generally, the volume addresses the implications of performance practice for the organization of rhythm and metre. Written in a clear and accessible style and illustrated with 102 music examples and diagrams, it will appeal to anyone interested in Indian aesthetic forms and the study of musical time. The book contains a free CD of authentic recorded performances closely referred to in the text.
Introduction
Authors: Clayton Martin 
Published: November 2023

Abstract
Before any performance of rāg music in North India can begin, a number of rituals are enacted, marking the time from the entrance of the performers to the sounding of the first pitch of the recital. Performers must be introduced-often with a lengthy speech, in which the speaker (on behalf of the programme’s patron) charts the lineage and lists the achievements and honours of the soloist (and, to a lesser extent, accompanists) whose services have been secured for the event. Musicians may be presented with garlands, which they will accept gratefully before removing as a gesture of humility. Accompanists take the stage, standing respectfully until the soloist makes his entrance, acknowledges the audience’s welcome, sits and gestures to his colleagues that they should do likewise.
Theoretical perspectives I: musical time in Indian cultural perspective
Authors: Clayton Martin 
Published: November 2023

Abstract
I turn now to the wider cultural context within which Indian rhythmic organization operates-and to a critical discussion of how, if at all, cultural ideology, patterns, and norms may be reflected in music. As I noted in Chapter 1, a relationship is often postulated between ideology and cultural norms on the one hand and musical theory and practice on the other.
Lay: tempo and rhythmic density
Authors: Clayton Martin 
Published: November 2023

Abstract
Lay is one of the most important rhythmic concepts in Indian music. It has long been recognized as the principle which regulates musical time; it has also been appreciated that lay is partly responsible for the aesthetic character of music. Lay is a difficult concept, however, because its meaning and significance have changed substantially over history. It is an ancient concept which may be only imperfectly applicable to modern music, and from this fact arises considerable ambiguity in meaning.
The bandiś
Authors: Clayton Martin 
Published: November 2023

Abstract
The fixed composition, called either bandis’ or c-zz in vocal genres and either bandis’ or gat in instrumental genres, holds a position of central importance in North Indian ,āg performance. The vocal bandis’ is essentially a song-a text set to ,āg and tāl-which exists both as a piece of music in its own right, and as the basis of further musical development. In instrumental music the composition is either an imitation or adaptation of such a vocal bandis’, or a piece based instead on idiomatic stroke patterns, in which case it is called a gat (the term bandis’ is used in the discussion which follows to cover all kinds of compositions).
The Relaxant Finale
Authors: Talbot Michael 
Published: November 2023

Abstract
The relationship of any finale to its companion movements is partly one of similarity, partly one of difference. If it is totally similar, it loses its raison deter as a separate movement; if it is totally different, it violates the broad principle of unity or (if one prefers) coherence. In a conventional three-movement or four-movement plan its relationship to the first movement is crucial for two reasons: the two movements are both fast (a factor that makes their direct comparison appropriate), and they occupy strategically equivalent (though, as we saw, very different) positions framing the rest of the work To a lesser extent, a finale has to position itself visavis the interior movements, and in particular the minuet, scherzo, or similar movement in a four-movement cycle. Its relationship to the minuet (etc.) is naturally most conspicuous when the two movements are adjacent: that is, when the minuet comes third rather than second, as it does most often from Haydn onwards until the late nineteenth century.