bluuebunny/crossref_metadata_2025_split huggingface dataset:
Mediterranean Summers
Authors: Thomson Andrew 
Published: November 2023

Abstract
With the end of the Great War, d’lndy’s exhilaration knew no bounds. At last, it seemed that the German menace was a thing of the past, and the question of Alsace-Lorraine resolved. To add humiliation to defeat, Clemenceau insisted that the peace treaty be signed in Louis XIV’s Palace of Versailles, where, in 1871, in the same Hall of Mirrors, Bismarck had proclaimed William I Emperor of Germany. But if d’lndy had regarded the war itself as a terrible though necessary purgation of the corrupt state of France, he was painfully to discover that its aftermath would fail to bring the expected moral and cultural regeneration. Indeed, the chief political preoccupation was with the disastrous state of the economy and galloping inflation.
The Social Context: Vienna and her Ruler
Authors: Steptoe Andrew 
Published: November 2023

Abstract
The appearance of Vienna in the eighteenth century was unusual for a major European city. Whereas the medieval centres of other towns were surrounded by the ordered, elegant signs of urban expansion, no building in Vienna had been erected within several hundred yards of the old walls (see Plate 1). This was a consequence of the great Turkish siege of 1683, during which the suburbs had been demolished. When Vienna was reconstructed and fortified in 1704, a wide protective glads and rampart were built around the city (now the site of the Ringstrasse development). As a result, the inner city was densely packed, while extensive suburbs grew up at a distance. The latter contained not only the factories and workshops of the new industrialization, but also the magnificent mansions and parks of the nobility and rising middle class. During the summer, the wealthy would move to these semi-rural suburbs, returning to their city residences only in the autumn.
New Variants of Formal Models
Authors: Shreffler Anne C 
Published: November 2023

Abstract
The second part of Trakl’s poem ‘Abendland’, to which Webern returned two years after completing Part III, forms a lyrical interlude between the two powerful outer sections of the poem. The lines ‘So leise sind die griinen Wälder | Unsrer Heimat’ begin the poem with a pastoral quality, invoking standard imagery of German romantic poetry.
‘Gesang einer gefangenen Amsel’ (Op. I4 No. 6): A Two-Year Preoccupation
Authors: Shreffler Anne C 
Published: November 2023

Abstract
Webern worked longer and more intensively on ‘Gesang einer gefangenen Amsel’ than on any other Trakl poem. Between 1917 and 1919, he sketched nine distinct drafts, the last of which became Op. 14 No. 6 (these are shown in Table 15). The ‘Amsel’ sketches document years of experimentation. Calling for instruments ranging from a trio of flute, viola, and bass clarinet to a large chamber orchestra, they range in length as well from a single phrase to a setting of the whole poem.
External Musicians: Maestri and Composers
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
PART Three reviews the activity of musicians in the ospedali, the external musicians, that is, male teachers and composers from outside the institutions, those greater and lesser figures in music history who guaranteed acclaim for the cori (this chapter) and exemplars from among some ten generations of internal female musicians (Chapter 8). This chronological scheme covers the three major periods of the history and marks the stages in the ascent of the cori from being noteworthy church choirs to becoming, urban¬ wide, then internationally acclaimed, musical entities. Documents for the employment of external musicians at the ospedali and statistics derived from them draw attention to the further break-down of the three major periods into the nine phases into which the story of the cori is shown to divide itself. These nine phases correspond to the partition of the history of music into periods delineated by Suzanne Clercx in Le Baroque et la musique. Supporting the narrative are excerpts from contemporary commentaries.
The Renaissance Flute
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
The increasing interest in early music in general, and in the baroque flute in particular, has in recent years carried over to the Renaissance flute. This instrument is, however, very different from the baroque flute. Perhaps it is just because it appears so deceptively simple that it has long been neglected. In fact it is only recently that a comprehensive study of the extant instruments has been made. This research indicates that the instruments have certain characteristics in common which are quite distinct from those of later flutes. In order to do justice to the instrument, and thus to the music performed on it, the player must be aware of these inherent features, and accept them.
The Classical Flute
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
The classical flute emerged gradually, almost imperceptibly, out of the baroque flute-this is a modern distinction-just as the classical style of music was a gradual development from the baroque style. Indeed, the traverso’s development was a reflection of the changing musical styles of the eighteenth century.1 As the thicker contrapuntal textures of the baroque orchestra were transformed into the lighter, more transparent textures of the classical orchestra, so the darker sounds of the baroque flute turned into the lighter, brighter sounds of the classical flute. The higher pitches, higher tessitura, and greater flexibility of the classical orchestra were mirrored in the higher pitches, tessitura, and flexibility of the classical flute.
Care and Maintenance of the Instrument
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
All musical instruments need good care and maintenance, and the traverso is no exception. These wooden or ivory instruments are very different from the metal Boehm-system flute; while they are mechanically simple and do not usually need delicate adjustments, they do require special handling. Proper restoration of an antique traverso should bring the instrument up to maximum playing condition (if restoration is feasible) and, in the case of both antique and modern replica flutes, careful maintenance should keep them in good playing condition for an indefinite period of time. Moreover, there is a financial factor to be considered: an instrument in fine condition is worth more than a similar one in poor condition. Common sense tells us to conserve and preserve our assets.
Sources: Technique
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
The technique of playing baroque and classical flutes is well served by primary sources dating from the period under consideration in this book. Although few of these sources were originally written in English, many have now been translated. Of the original source materials in English included in this chapter, only those available in modern reprint are discussed. A few treatises exist only in the original language (usually French). Some of these will be commented upon here because they are available in facsimile editions and contain easily understood fingering charts as well as musical examples which are useful as learning material.
Bringing It All to Life: Advice to the Contemporary Player
Authors: Solum John , Smith Anne 
Published: November 2023

Abstract
The flute treatises from the eighteenth and nineteenth centuries contain sufficient instruction to enable the old instrument to be played well by contemporary players without requiring a comparative knowledge of the modern flute. However, many modern traverso-players have come to the instrument from the Boehm flute, and many will continue to do so. Comparisons between the two types of flutes can be helpful. Such basic musical concepts as tone, pitch, intonation, tuning and temperament, acoustics, articulation, vibrato, tempo, and notation should be reconsidered by the modern player when preparing to learn the traverso because these concepts may have somewhat different meanings to the modern player from those they had to flautists in previous centuries.
Commentary
Authors: Crookes David Z 
Published: November 2023

Abstract
Praetorius properly begins with the sacred trumpets of Moses, choosing to ignore both Tubal, a descendant of Cain (Gen. 4), and Miriam, a mere woman percussionist (Exod. 15) There is no basis for the assumption, which Praetorius makes here, that the trumpets of Moses and Gideon were identical in size.
Jérusalem
Authors: Budden Julian 
Published: November 2023

Abstract
Sooner or later an aspiring Italian composer of the nineteenth century was bound to want to make his debut at the Paris Opera; and not for financial reasons only. On the whole, Italians, little as they liked to admit the fact, produced their best work for Paris. The grandiose scale of French serious opera with its choruses and ballet oftered them more scope, while the more intelligent, more dramatic quality of the average French libretto forced them to take greater thought for the drama instead of relying for their effects mainly on the quality of the human voice.
Luisa Miller
Authors: Budden Julian 
Published: November 2023

Abstract
In August 1848 Verdi wrote from Paris formally cancelling the contract that he had entered into three years earlier to write an opera for the San Carlo theatre, Naples.*But it was not to be got rid of quite so easily. The management turned on Cammarano and threatened him with imprisonment for having failed to supply the libretto. He was not a wealthy man, and he had a wife and six children to support. He wrote a desperate letter to Verdi begging him to renew his Neapolitan contract for the following year; and Verdi with a rather bad grace consented, ‘just so that you won’t have to suffer anything ... I’m making this sacrifice for your sake only.’t A letter from Flauto followed thanking him for getting Cammarano out of his difficulty in a way which ‘does great honour to Italy’s supreme Maestro’.; But it was some time before Cammarano felt completely secure.
Don Carlos
Authors: Budden Julian 
Published: November 2023

Abstract
We considered suggesting to you Schiller’s Don Carlos. Of course it would merely serve as a point of departure, and we should modify it so as to provide you with a scenario that would satisfy you in every respect.. You have already drawn on Schiller for the plots of I Masnadieri and Luisa Miller. Don Carlos I would say offers you a much larger and more poetic frame. It has all the emotional power you need....
Introduction
Authors: Harrán Don 
Published: November 2023

Abstract
There were Jewish musicians before Salamone Rossi, but Rossi was the first of them to leave an indelible imprint on European music history as a composer. We know little of his predecessors: most appear to have been instrumentalists, perhaps accompanying themselves while they sang—Abramo dall’Arpa, active in Mantua around the mid-sixteenth century, comes to mind. Of early Jewish composers we know even less. It stands to reason that some may have written one or more works, probably for a single voice, as, for example, Obadiah the Proselyte, thought to be the author of music to a prayer and part of a hymn in the twelfth century. The larger part of the instrumentalists and composers are likely to have yielded to external pressures by converting to Christianity, as did Mahieu le juif, a trouvere from the thirteenth century, or the lutenist Giovanni Maria ebreo, active in Rome, until 1523, under Leo X, Adrian VI, and Clement VIl.
Music and the Comedia nueva, 1600–1690
Authors: Stein Louise K 
Published: November 2023

Abstract
By the close of the sixteenth century, commercial theatres were operating in several major Spanish cities, including Madrid, Seville, Valencia, and Valladolid. The Madrid public theatres, the corral de la Cruz and the corral del Principe (opened in 1579 and 1582, respectively), were the focal point in the early part of the seventeenth century, because Spain’s greatest playwrights worked in Madrid and wrote mainly for their enthusiastic public.
Case Study One
Authors: Alvin Juliette , Warwick Auriel 
Published: November 2023

Abstract
Sarah is Anne and Mark’s elder daughter. Her birth was a forceps delivery following a straightforward pregnancy. However, Anne was admitted to hospital a week before the birth as it was suspected that she might have diabetes. Although the tests proved to be negative, it was decided that she should be induced a day before the baby was due. The birth was a long process during which Anne became very tired but as she had heard of longer deliveries, she was not worried. She believed she had a perfect baby-until Sarah was eight months old. Sarah was born with a squint and when Anne took her back to her doctor she was referred to the paediatrician.
The First Movement
Authors: Frogley Alain 
Published: November 2023

Abstract
How does a symphony germinate and grow in its creator’s mind? One might immediately object that such language is tendentiously organic. Indeed, the readiness with which it springs to mind offers a salutary reminder of the weight of organicist assumption that has been so influential in the history of studying compositional process, and which can all too easily be adopted without critical examination in any new investigation. The temptation is doubly strong when dealing with a symphony, given the prevalence of organicist metaphors in critical and analytical approaches to the genre.2 The manuscripts for Vaughan Williams’s Ninth Symphony provide, in fact, a good deal of evidence to support certain aspects of the organic view of composition, at least in the case of this composer; yet they also reveal processes which run sharply against it. Both sides of the equation are important in the sketches for the first movement.
The Second Movement
Authors: Frogley Alain 
Published: November 2023

Abstract
In terms of formal process and of tonal concerns, the second movement sees a hardening of features familiar from the first movement. It is as if the earlier failure to integrate and to resolve decisively has been accepted, and the consequences of division are now being explored; juxtaposed ideas are contrasted more sharply, and the overall impression is more static. This is reflected in the sketch origins of the movement, which are both more complex than those of the opening movement, involving a relatively large amount of material scattered amongst many different books, and more sectional, often treating individual parts of the movement in isolation. Yet if the finished piece prepares us for this aspect of the compositional process, we shall see that the manuscripts also contain many other features which could not have been predicted.
The Fourth Movement
Authors: Frogley Alain 
Published: November 2023

Abstract
It is an axiom of the symphony after Beethoven that, of all the movements, the Finale presents a composer with the greatest challenge: the pressure to surpass, to draw together, to resolve the issues of the preceding movements is intense. In his symphonies before the Ninth, Vaughan Williams solved the finale problem in a number of contrasting ways, according to the compositional issues explored in the preceding movements. In the first three movements of the Ninth the restlessly shifting tonal relationships, especially those involving semitones, and the frequent alternations and interruptions of blocks of contrasting material, induce a feeling of circularity, of frustrated expansion and development. The Finale confronts these issues, and in the realm of development there is impressive compensation. The question of tonal resolution is more complex, however: although earlier tensions are addressed, most particularly those of the first movement, the final assertion of E major emerges more as a kind of leap of faith than as an inexorable out come, and the ambivalent and shifting tonal relations are never fully clarified. Given the weight of responsibility carried by this movement, and the fact that it is the longest in the symphony, it is no surprise to discover that it is represented by far the greatest number of sketches and drafts. What could not have been predicted, however, is that the manuscripts should include a large amount of music that did not find a place in the finished symphony; indeed, if such material is discounted, the Finale did not require significantly more written work to reach its final form than the other movements, although we shall see below that the rejected material seems nevertheless to have been essential to the arduous process of concretizing the complex com positional vision underlying this unique movement.
Post-Romanticism, 1914–1945
Authors: Caldwell John 
Published: November 2023

Abstract
This chapter begins and ends with a period of war, not just to pad out an inconveniently short inter-war period of little more than twenty years but because 1914 and 1945 were more of an end and a beginning respectively than 1918 and 1939 were a beginning and an end. There had been ‘ends of an era’ before 1914—at the death of Victoria in 1901 and at the death of Edward VII in 1910—but the outbreak of war in August 1914, even though its full consequences could not then be foreseen, was accompanied by the instinctive feeling that whatever the outcome, certain qualities of life would have disappeared for ever by the time it ended. Perhaps there were similar emotions during the autumn of 1939; but this came after two decades of political and diplomatic turbulence, and there was less left by then to bemoan. 1945, in contrast, was marked by a determination not to repeat the mistakes of the 1920s and 1930s; and with hindsight we can see that, whatever mistakes there may have been, they were not the same ones. 1945 did genuinely mark a fresh start.
England and Its Music
Authors: Caldwell John 
Published: November 2023

Abstract
At the end of a lengthy narrative it seems appropriate to consider again its basic premisses; to ask whether they are borne out by the evidence laid before the reader, and to offer some conclusions about the nature and relevance of what has been described.
Foremost among these premisses is that there is such a thing as English music, the music of the English people as distinct both from that of other nations and from that of the larger entities to which the English belong or have at one time belonged. A second is that the music of a nation or people acquires a self-sustaining impetus that enables it to retain its individuality over a long period embracing profound historical and social changes. The music itself has self-evidently evolved in ways that are at least as farreaching; but it is an underlying presumption that a connecting thread, a characteristic reaction to changing conditions and to musical fashion elsewhere, has determined its course throughout.
Western Plainchant
Authors: Hiley David 
Published: November 2023

Abstract
Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the wake of the Carolingian renaissance of the 8th and 9th centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced studies. It begins with an explanation of the liturgies which plainchant was designed to serve. All the chief genres of chant, different types of liturgical book, and plainchant notations are described. The later chapters are complemented by plates, with commentary and transcriptions. After an exposition of early medieval theoretical writing on plainchant, a historical survey follows the constantly changing nature of the repertory through from the earliest times to the restoration of medieval chant a century ago. The historical relations between Gregorian, Old-Roman, Milanese, Spanish, and other repertories is considered. Important musicians and centre of composition are discussed, together with the establishment of Gregorian chant in all the lands of medieval Europe, and the reformations and revisions carried out by the religious orders and the humanists. Copiously illustrated with over 200 musical examples transcribed from original sources, the book highlights the diversity of practice and richness of the chant repertory characteristic of the Middle Ages. As both a self-contained summary and also, with its many pointers to further reading, a handbook for research, it will become an indispensable reference book on this vast subject.
The Carolingian Century
Authors: Hiley David 
Published: November 2023

Abstract
The events which led to the establishment of the chant repertory we know as ‘Gregorian’ are inextricably bound up with political developments of the eighth century, principally the establishment of a strong and extensive Frankish kingdom, which by the end of the reign of Charlemagne (768-814) covered an area roughly corresponding to that of modern France, West Germany, and north and central Italy.
Gregorian Chant and Other Chant Repertories
Authors: Hiley David 
Published: November 2023

Abstract
In this chapter I shall attempt to summarize the relationship of Gregorian chant to other types of early chant in the West, so that Gregorian chant itself may be understood in a rather broader context than would otherwise be possible. Something of the similarities and differences in liturgy between Roman, Milanese, Old Spanish (Mozarabic), and Gallican uses has been indicated in previous chapters (VI.4-5). Now the musical aspects of this relationship are sketched in.
British Folk Music
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Lack of harmony. In general European folk music is non harmonic, at least as regards the older styles. There is a tradition of instrumental accompaniment in the south, and here and there one finds traces of ancient harmonic practices of a completely non-classical kind, in Iceland or Sardinia for instance. Whether such practices survived in Britain, and, if so, whether they had any influence on vocal harmonization in the United States, are interesting questions. The Copper family of Sussex is known for its two-part unaccompanied vocal harmonies, but this style gives a strong impression of being derived from eighteenth century glee singing. Apart from such isolated and problematical survivals, the only harmonic effect of any importance in British folk music is supplied by drones.
Some Fundamentals of African Music
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
This chapter pretends to be no more than an introduction to the fundamentals of African musical practice. Details of rhythm, melody, harmony, and form find their places later on; here, I am attempting merely to sketch in some of the attitudes, assumptions, and habits that shape those details. In dealing with such generalities, it seems permissible to use the words ‘Africa’ or ‘African’ without qualification, though, as the previous chapter should make clear, it is difficult to make a really foolproof generalization about African music. All I really claim is that my generalizations are true of that part of African music that influenced American practice.
Modality
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
One reads a great deal about something called the major-minor system of tonality, born c.1600, died c.1900, RIP. As regards popular music, at least, this obituary seems a little suspect. On the one hand, you could say that the major-minor system is still going strong; on the other, that it never really existed at all.