bluuebunny/crossref_metadata_2025_split huggingface dataset:
Scale Game
Authors: Debost Michel 
Published: November 2023

Abstract
The Scale Game has been devised out of exercise no. 4 in Dix-sept grands exercices journaliers de mécanisme de flûte by Paul Taffanel and Philippe Gaubert. Paul Taffanel taught them at the Conservatoire National de Paris at the turn of the twentieth century. They were formalized by Gaubert and published in 1923.2 Scales are the essential part of daily instrumental practice, as much as or more than tone exercises, because tone is always present in them. For greatest profit, they should be considered as music, which, in truth, they are. The transition that concludes each scale and introduces the new one through modulation serves as relaxation, as reassessment of the sound, as an ever more refined intonation and flavor of the various keys’ color. Therefore, regardless of the tempo of the previous articulation, or of the next, this beautiful transition should always be played slowly and freely, slurred, phrased with the fingers as much as with the tone, with no precise reference to tempo. Structural breaths are mandatory and are placed after each low and high tonic. The tempo can then be suspended to perform noiselessly a good inhalation with the “hhaah” sound. This is the time to open your tone and reposition your instrumental playing. The tonic of the new key should be repeated. Emergency breaths are optional and caused by necessity. They can be taken at any time, provided that they are quick (without suspension of the tempo) and barely audible, and that the sound is balanced with the same dynamic on either side of the interruption. I prefer to place these “911 breaths” after the first note of a group of four, or after a strong beat instead of before.
Stepping-Stones
Authors: Debost Michel 
Published: November 2023

Abstract
Creators of Japanese gardens put a great amount of beauty into a small space. Their use of space and understatement is a model for musical interpretation. I love their stepping-stones: flat rocks symbolizing various stages of our existence or an imaginary river made of fine white gravel. Whatever they stand for, they are poetic images of suspended time. There are helpful stepping-stones in interpretation also: pacing a dynamic progression and tracking a change in tempo. (See Stepping Stones ex. 1, page 225.) The initial bar is p throughout. In the second bar, the primary notes are highlighted while the secondary patterns remain p. In the last bar, all the elements come forward. The figured-bass harmonic progression follows the same ascending dynamic progression. In the following example, since no harmonic progression exists in the accompaniment, the performer has two possibilities:
Tempo
Authors: Debost Michel 
Published: November 2023

Abstract
Are you sometimes uncomfortable listening or playing, without being able to define why? Often it is because the pulse of the music, the tempo, does not feel right. Tempo, like politics, has its ideologues and its terrorists. Verdicts and victims fall upon the altars of Truth and Beauty as decreed by a few. In ensemble playing, some (conductors as well as musicians) are inflexible. The wisest are those who know how to convince, or how to bend, or both. “If you can’t lick ‘em, join ‘em!” An imposed tempo may work, but what pleasure, what swing when it is lived with together! A good conductor or group leader feels the general response, the instrumental mass, and the acoustics. He should deal with the tempo accordingly, without putting a number on it once and for all. When one is a participant in a group, one must strive to accommodate the general pulse even if it does not feel right. In the last resort, “the boss is always right.” I do not think there is only one valid tempo marking. The tempo corresponds to a number of parameters, of which adrenalin and a fast heartbeat are not the least. Don’t hide behind the umbrella of a metronome marking. Take it for what it is: an indication, an idea. I have worked enough with great composers (Poulenc, Rivier, Ibert, Messiaen, Jolivet, and Boulez, among others) to know that they never conduct or play their works at the fixed tempi they wrote themselves. And these are alive or were until recently. So don’t let yourselves be imposed upon for the tempi of the past masters! Don’t take editions for granted. They are respectable as a good player’s opinion, but not as the gospel. Use your own judgment. Use your head. Use your heart and your heartbeat.
Trills
Authors: Debost Michel 
Published: November 2023

Abstract
Even when a trill is performed with one finger, there are still three problems: how to make it smooth, how to start it, and how to terminate it. One clue for smoothing the trill itself is to focus one’s energy not on the shaking finger, but on the stability of the flute. If force is used in the trilling finger, that is, if it comes down hard on the instrument, it is all the more difficult to lift it. This slows the trill and makes it bumpy. How can this be helped? Since the trill is performed by one hand, it is the nontrilling hand that should provide stability: If you are playing a trill with a finger of the right hand, the left can anchor the stability without risk through some energy applied by the first joint of the left index against the embouchure plate and all of the left fingers resting on the flute. When the left hand is the triller, it might seem more difficult to stabilize with the right, which is mostly off the flute. One solution is to use one right finger in a “silent” position, that is, on a non–tone producing key. The B lever helps to stabilize for G–A, G –A, or D–E trills. Using the right ring finger as a “silent” balance for A–B or B–C trills helps release the tension in the trilling finger.
Tuning
Authors: Debost Michel 
Published: November 2023

Abstract
This vital activity is often a pretense even in major orchestras. First, a few sobering principles: There is no such thing as an in-tune flute. The last fashionable instrument, the X schema, the Z scale, are at best a workable approximation of sharp or flat because our tone’s center has a brighter or darker timbre, which affects our compatibility with other instruments in actual playing. In the course of music making, verify your tuning as often as possible by comparison. The influence of dynamics cannot be ignored. Everyone knows that f will raise the pitch and p will pull it lower, which does not always work the same way with oboes, clarinets, and bassoons, your immediate neighbors. Learn how to keep up your air speed in p and to lower your center of gravity in f. It takes more energy to play soft than loud. So if you must jut your chin, it should not be to play louder, but to keep the pitch from dropping on soft notes and releases. When you play loud, lower your shoulders and your jaw while opening the throat, and let the flute play out.
Vibrato
Authors: Debost Michel 
Published: November 2023

Abstract
There are many theories. Extensive measurements1 show that the diaphragm has no role in vibrato. Since you cannot produce vibrato with your lips or your chin, its mechanism must initiate somewhere in the throat area. This does not mean that it needs to be of the nanny goat variety, very fast and very narrow. In fact, it is safe to say that vibrato is a modulation in the pitch of the flute tone, making it rise and fall in a more or less controlled fashion. String players do the same thing more visibly. But it confirms the fact that vibrato is not spontaneous. String players show us it is a oscillation of the finger tips on the fingerboard. I think that vibrato is wrong when it is the first thing I notice in someone’s playing or singing.
Introduction
Authors: Yoshihara Mari 
Published: November 2023

Abstract
Madame Butterfly has for over a century been one of the classic narratives of East-West relations. It tells the story of Lieutenant Benjamin Franklin Pinkerton, a U.S. naval officer stationed in Nagasaki who adds comfort and excitement to his foreign assignment by having a broker arrange his marriage with a “native” woman, Cho-Cho-San—or, Madame Butterfly. Innocently believing that the relationship is permanent, Cho-Cho-San severs ties with her Japanese family, converts to Christianity, and strives to acculturate to an American lifestyle in order to prepare for a life in America with her husband. After Pinkerton’s departure to the United States, Cho-Cho-San gives birth to his child, and anxiously awaits his return to Japan. Pinkerton does return, but with his elegant American wife—Mrs. Pinkerton—and only to claim his child. Believing that death with honor is better than living a dishonorable life, Cho-Cho-San kills herself.
Visualizing Orientalism : Women Artists’ “Asian” Prints
Authors: Yoshihara Mari 
Published: November 2023

Abstract
White women’s relationships to Asian objects were vividly portrayed in a series of paintings by William McGregor Paxton, a turn-of-the-century American Impressionist. Just as Edith Wharton’s novels recall the morals, protocols, and women’s place in Old New York, Paxton’s paintings depict the physical, social, and mental space in which women lived in turn-of-the-century America. Whether they be kitchen maids or socialites in shimmering gowns, Paxton’s female figures are part of the domestic land- scape, the nature of their existence defined by the visual objects and physical space surrounding them.
Concerning Compositions Put Together Out of Diverse Pieces, Such as the Messanza and the Quodlibet
Authors: Praetorius Michael 
Published: November 2023

Abstract
There are three kinds of quodlibet: Some have a unique and complete text carried through each voice part in its entirety. I particularly like the one I found in which the first voice sings Erhalt uns HERR, the second Ach Gott vom Himmel, the third Vater unser im Him[melreich], the fourth Wir gleuben, the fifth Durch Adams Fall, by an unknown composer.
Concerning Compositions Sung by Laborers and Peasants, Such as Vinettas, Giardinieras, and Villanellas
Authors: Praetorius Michael 
Published: November 2023

Abstract
Vinettas or vinata is a ditty by a wine-grower or vintner who works in the vineyard, for vinetto means vintner or wine-grower. Vinette, however, is an undistinguished table wine. Vinatas are drinking songs or, to use the proper title, boozing songs, which are neither unusual here in Germany nor uncommon. It is my belief that there is no vanity or triviality found in the world that has not been sung or set to music. Giardiniera is a gardener’s song such as they sing while working in the garden; for giardiniero means gardener, gardino a garden or orchard.
Concerning the Small Strokes Necessary for Comprehension in Compositions and Also in Relation to the Meter [Tactus] in Fusas and Tripla Concerning the Use of SmallStrokes and Tactus
Authors: Praetorius Michael 
Published: November 2023

Abstract
In quite a few compositions, particularly textless sinfonias that contain many fusas in succession, many mistakes can easily occur when sightreading because of the meter [tact], especially in proportions. Therefore I think it is important that a small stroke be placed either below or above the staff between each measure [tact] (as is found in my Terpsichore), so that at a faster tempo one can follow the beat much more easily; and should one get lost, one can get back into the measure [Tact] more accurately and quickly. It is particularly important in proportio tripla and sesquialtera that the first and second beats at the very beginning are distinguished by a little stroke so that the meter [tactus] whether a large triple meter notated in semibreves, or a small triple meter notated in minims may be ascertained straightaway (because up until now, and even still, most musicians employed the meter signs for tripla and sesquialtera indistinguishably, as previously mentioned in chapter, so that it was not possible to distinguish between them).
Concerning the Diagram for the Recognition of the Modes A Table Showing How to Recognize Quite Easily the Mode or Tone of a Composition
Authors: Praetorius Michael 
Published: November 2023

Abstract
I have added here a few items concerning modes, which in the books of many authors may not have been made completely obvious to everyone. Indeed, in the fourth volume, God willing, I wish to offer the musical reader the opportunity of learning something concerning these matters and the many famous men [writing] in Italian and the Latin language, among whom is also Seth Calvisius, who have related most cogently the doctrine of the modes and why they should begin from the pitch “C”.
Concerning Meter (Tactus), or the Measurement of Notes (Battuta in Italian) and the Signatures What Sort of Distinctions to Observe in Meter (Tact), Signatures, and Characters; Also, How Sextupla May Be Understood
Authors: Praetorius Michael 
Published: November 2023

Abstract
Since different characters and signatures are found prefixed in the partbooks [libelli] of certain musicians, it seemed fitting to touch on their effect, meaning, and peculiarities in a few words, and to depict their forms. Not that I would bring back the monstrosities of signatures (which in Glarean’s testimony, book III, chapter 12, result in endless effort, but are in fact of no utility), but so that I would serve those who, when confronted by these signatures, either do not perform them with facility or stumble over them, despite being musically accomplished. For instance, some will still remember that Jakob Handl, that most polished musician, incurred the serious disgust of certain musicians to whom the meaning of the obsolete signatures (now distant from daily use) was no longer known; they were prefixed to the composition Subsannatores, subsannabit Deus, etc.,which he composed withsingular artifice (which I add to the end of this chapter).
Explanation of the Terms: Instruments, Instrumentalists, Concertant Parts; Instrumental and Vocal Choir, Choir of Viols (etc.), Ritornello, Intermedio, Ripieno, Forte, Pian, Lento, Adagio, Largo, Praesto, Bassetto
Authors: Praetorius Michael 
Published: November 2023

Abstract
In chapter 1 of the second part of the second volume it is suggested that the word or name instrumentalist [Instrumentist] does not refer to organists who play harpsichords [Clavicymbel] and Symphonie as well as the organ, but to those who play on all manner of melody instruments such as cornetts, sackbuts, flutes, curtals, violins, viols, and the like. Therefore it is better for one to say one plays a harpsichord [Clavicymbel] or Sy phony, as the word instrument must only be used when referring to melody instruments such as cornetts, violins, etc.; it will otherwise result in confusion and errors, if one is not properly differentiated from the other.
String Consort or Players Capella Fidicinum or Fidicina
Authors: Praetorius Michael 
Published: November 2023

Abstract
I have observed in my humble way that this consort is not unwarranted, because some among us Germans are still unfamiliar with the new Italian convention of periodically having one soloist, at times two or three, sing to the accompaniment or an organ or regal. They do not like this style as they believe the composition is too sparse, and that it has no particular attraction or charm for those who have no understanding of music. Therefore I had to come up with the solution of adding a four-part choir or consort of either sackbuts or violins [Geigen] that could play along at all times.
And because such a sound [Harmonia] is somewhat more pleasing to the ear when arranged in this fashion in the church, I have earned the public’s approbation.
Classification of Instruments
Authors: Praetorius Michael 
Published: November 2023

Abstract
In the last chapter of the second part of volume 1 as well as in chapter 1 of the first part of volume 2, I presented several distributions and classifications of all musical instruments in theses and tables, so it is unnecessary to repeat it all here again, except that it must be pointed out in the present work that musical instruments are divided succintly into two categories, namely: Or, as the outstanding musicians Agostino Agazzari and Girolamo Giacobbi call them, “fundamental” and “ornamental” instruments.48We also want to retain these terms here.
A Quick and Easy Method for the Arrangement and Distribution of Parts in Concertos and Motets for Few or Many Choirs and All Sorts of Instruments and Voices
Authors: Praetorius Michael 
Published: November 2023

Abstract
Although I could have been somewhat more detailed in my discussion of the various ways a concerted piece might be arranged — by varying the instrumentation and otherwise — I have, however, thought it over some more. Music has reached such heights these days that even in our country there are outstanding musicians who have not only had quite magnificent German and Latin concertos and songs published, but who themselves know how to arrange and direct such multi-choir works better than I can explain or bring to light with my humble abilities.
All That Makes a Man
Authors: Berry Stephen W 
Published: November 2023

Abstract
In June 1849, Georgia Congressman Thomas Butler King traveled to San Francisco to survey the political and economic prospects. California was poised on the brink of statehood, and King wanted to sample the region ‘s ripeness for himself. The overland routes to San Francisco were so fraught with perils that most men of standing made the trip by steamer—itself a somewhat harrowing journey. The first leg took travelers from New York or Savannah to the Caribbean coast of Panama, where they picked up a flatboat on the Chagres River.
Introduction
Authors: Abramson Paul R , Pinkerton Steven D 
Published: November 2023

Abstract
Oscar Wilde, the master of paradox, once intoned, “I adore the simple pleasures, they are the last refuge of the complex.” Unfortunately, sexual pleasure, as Wilde discovered, is seldom simple. In many ways, Wilde is emblematic of the vagaries of sexual politics, having been disgraced and jailed for his homosexuality. What started as a simple (but brazen) libel trial—initiated by Wilde against the Marquess of Queensbury for claiming that Wilde was “posing as a sodomite” and thereby adversely influencing his son, Lord Alfred Douglas—ultimately backfired against Wilde when evidence obtained from previous lovers irrefutably demonstrated that he was, in fact, a “sodomite.”
This is a book about sex, and about sexual pleasure in particular. In it we assert the obvious—that sex is pleasurable—and examine the myriad implications of this seemingly innocuous assertion for evolutionary, cultural, and psychological theories of human sexual expression.
Facing Death
Authors: Nelson Scott Reynolds , Sheriff Carol 
Published: November 2023

Abstract
If the eager recruits of 1861 imagined a short, glorious war, their fantasies soon faded. Over the course of four years, approximately 620,000 soldiers and sailors died—or about 2 percent of the United States population in 1860, a ratio that would correspond to about 5.5 million present-day Americans. Perhaps as many as fifty thousand Southern civilians also died, succumbing to warinduced disease, starvation, or guerrilla raiders, while a much smaller number of Northern civilians fell to guerrilla attacks, munitions explosions, or diseases transmitted by ailing soldiers. Mortality rates among both civilians and soldiers were much higher in the South, though more Union servicemen, when measured in absolute numbers, perished. A Union soldier had about a one-in-six chance of dying while in service, while approximately one in four Confederate soldiers met the same fate. In what became a war of attrition, a struggle to see which side could outlast the other, these death rates had significant strategic influence.
Diplomacy In The Shadows Cannons, Sailors, and Spies
Authors: Nelson Scott Reynolds , Sheriff Carol 
Published: November 2023

Abstract
By the summer of 1862, both the Union and Confederacy confronted resource crises. The spring’s bloodbaths at Shiloh and on Virginia’s Peninsula had depleted regiments. The Union’s blockade of the Confederate coastline, while only partially effective, nonetheless impeded the Southern nation’s ability to import the guns, ammunition, medicine, anesthetics, clothing, food, and salt it needed to keep its soldiers in proper fighting condition and to sustain civilian morale. To bolster their resources, both Union and Confederate leaders looked abroad, but when they did so, they did not always turn to recognized diplomatic channels. Civil War diplomacy took place not just in parliamentary halls, royal courtyards, and government offices. It took place in less expected venues as well, such as Irish pubs and churches, the decks and cargo holds of oceangoing vessels, the rough-and-tumble docks of New York and Boston, and the homes and tents of the millions of people—soldiers and civilians, Americans and Europeans—who followed the war’s development.
“ C Air, Anxiety, & Tryals” Life in the Wartime Union
Authors: Nelson Scott Reynolds , Sheriff Carol 
Published: November 2023

Abstract
When Joseph Gillit Wheat enlisted for three years as a bugler in the Fourth Illinois Cavalry in August 1861, he left behind relatively few responsibilities. Just two days shy of his twenty-first birthday, Wheat had neither a wife nor children to support. Both of his parents were alive, his two sisters were married, and his younger brother, just twelve, lived with his parents. While Joseph studied medicine, his parents grew crops—corn, hay, and onions—and raised bees. Although they had known poverty in the 1850s, by the time of the war, the Wheats lived in enough comfort to send their older children, including their two daughters, to college. Wheat’s parents supported his decision to enlist, but they worried about his safety; they knew that being a regimental musician did not insulate Private Wheat from the war’s dangers. Their concerns proved well founded, for he contracted such a bad case of “swamp fever” (typhoid) that he was discharged from the army in April 1862. But he remained devoted to the Union cause, reenlisted, this time in the 104th Illinois Infantry, and soon ended up in a Confederate prison camp, where he came close to starving before being assigned to duty as a nurse, which entitled him to slightly better rations. Before the war was over, he would do another stint as a prisoner of war. His experiences did not dampen his enthusiasm for the Union cause; he railed against Copperheads who agitated for a peace settlement and declared in June 1863 that he would sign up for another five years if that was what it took to bring the seceding states back into the Union. He did, in fact, stay until the bitter end, mustering out on June 6, 1865.