bluuebunny/crossref_metadata_2025_split huggingface dataset:
Composer, Theorist, Composer/Theorist
Authors: Dubiel Joseph 
Published: November 2023

Abstract
This has been a surprisingly difficult essay to write. I began it thinking that, as a practitioner of musical composition and theory, I must have plenty to say about the subject. After a while, though, I found myself almost at a loss to identify the subject. Exactly what is the issue about combining composition and theory? What is it that’s supposed to be special about the composer/theorist? To me, the combination of activities is as natural as can be: wanting to write music has always involved wanting to explore ideas about how to write it and how it is heard, and I honestly cannot think of any theoretical work that I’ve ever done or encountered that seemed valid ‘as theory’ yet irrelevant to composition.
Reception Theories, Canonic Discourses, and Musical Value
Authors: Everist Mark 
Published: November 2023

Abstract
The study of music has always been rooted in the study of history, and music history balances precariously between an account of musical compositions and an account of musical cultures. In the 1970s and 1980s, an enthusiasm for histories based on musical compositions, coupled with a leaning towards formalist analytical procedures, had the effect of dissolving the history of music into a series of more or less unrelated critical readings. Despite this popularity, the hegemony of text-based, formalist criticism is now as much under threat from a study of history as were such procedures in literary scholarship in the late 1970s. An alternative to formalist criticism need not be an old-style literary or musical history that chronicles canonic genres and composers with household names. Nor need it trade in historiographical constructs and value-judgements based on criteria that are never made explicit. A return to history could be marked by a discourse in which canonic boundaries are transcended, in which musical cultures are seen as important as musical works, and in which the subjects of history could be allowed to speak a language that it is the historian’s task to translate.
The Musical Text
Authors: Boorman Stanley 
Published: November 2023

Abstract
The principal subject of this chapter is that form of musical information which is written or printed, whether or not it is intended for use in performance. Given a number of developments during this century, questions can be asked as to whether a musical text need be written, whether a recording does not constitute a text, and indeed whether a performance, ephemeral though it is, may not also be a musical text. I shall return to these matters later in the chapter. But I propose to begin with a tacit assumption that the text being discussed is preserved on paper.
Finding the Music in Musicology: Performance History and Musical Works
Authors: Bowen José A 
Published: November 2023

Abstract
Fundamental questions are always the hardest, so perhaps it is not surprising if we avoid defining our terms before we begin. While it would seem essential to begin any study of musical works with the acknowledgement that they exist in a very different way from both performances (which are events) and scores (which are physical objects), most of us assume that we and our audience know what we mean when we speak of a symphony or any other ‘work’. After all, it doesn’t help our credibility not to be able to define the very thing we are hoping to study. Still, I want to propose that the awareness of musical works as neither stable nor fixed phenomena does not have to be paralysing; rather, the fact that musical works change through both the creation and reception of performances presents us with a fundamentally new field of study.
Singing and Imagination
Authors: Hemsley Thomas 
Published: November 2023

Abstract
This book is written in the belief that the essential basic principles underlying good singing are in themselves rather few, and very simple, but that their application is amazingly varied in light of the individual's needs. It is not intended as a manual of voice production, and does not concern itself with medical matters, nor directly with anatomy, physiology, and acoustics. While not belittling the value of appropriate scientific investigation, Hemsley believes that modern methods of training have gone too far in the direction of the materialistic approach; that singing in all its aspects and at all times should be guided by the imagination, the feelings, and the intuition; that we have become so pre-occupied by voice per se and the vocal function since the advent of vocal science, that we too easily forget that singing is not voice, but modification of voice - `not only a language through which we understand the emotions of others, but also a means of exciting our sympathy with such emotions.' (H. Spencer). This book can be seen as an attempt to redress the balance. Quote from reader's report by Professor David Galliver: "Here is a comprehensive and well-ordered philosophy of the art of singing; one which integrates both technical and interpretative aspects. While the technical principles of the classical tradition of singing as expounded by the late Lucie Manén lie at its basis, what is put forward here is very much an extension and development, illumined by Thomas Hemsley's long and exceptionally wide experience as a professional singer and teacher, as well as by a wealth of historical evidence. The second part of the book applies these principles, emphasising the fundamental role played by artistic imagination aund understanding. The picture which emerges is essentially comprehensive, and offers a holistic approach to the art of singing. "The book is addressed to those `with a gift for singing who would like to understand better how to approach putting that gift to use'. It will appeal to a wide range of singers, professional and others, and will challenge those pedagogues who rely heavily on the so-called `scientific' approach at the expense of fundamental human and artistic considerations. Hemsley's own scientific qualifications give additional authority to his hard-hitting arguments. The book is engagingly written, with many personal examples and anecdotes; it certainly makes good reading."
The Singer ‘s Ear
Authors: Hemsley Thomas 
Published: November 2023

Abstract
This is a particularly difficult chapter to write, because it is one of the most difficult things that singers have to learn: to be guided by the ear, without falling into the error of listening to themselves ‘from outside ‘. It is something intangible, but once experienced, once achieved, the results are most profound. Singers must table to learn from what they hear; from performances of the best singers, and from listening to music of all kinds. They must train their ears by listening intently, and consciously, to music. In particular they must acquire an acute awareness of harmony, of musical timbres, and phrasing. They must learn to apply this musical awareness to their singing. This training and conditioning of the ear, together with awareness of their own physical actions and reactions, are essential aspects of learning to sing.
The Pitch-Intensity Effect
Authors: Hemsley Thomas 
Published: November 2023

Abstract
In spite of my resolution to avoid strictly scientific matters in this book, there is one such subject which I feel I must touch on, which I believe to be of important significance for singers, and indeed for all practising musicians, and which for some reason is almost totally ignored. That is the ‘pitch-intensity effect ‘; the fact that perceived pitch is not only a function of the frequency of tone, but also, under certain circumstances, and to a measurable extent, on its intensity, or loudness. Many scientists have observed this phenomenon, but it was only first investigated fully by an American scientist, S. S. Stevens, who first published his findings as long ago as 1935, and again, in a book called Hearing: Its Psychology and Physiology published in 1938. Stevens ‘s observations seem to me to be of such importance that I cannot understand why they are not more widely known. My attention was drawn to them by Professor Denis Fry, Professor of Phonetics at University College, London, himself incidentally an accomplished amateur singer.
Songs from the Good Person of Sichuan (1989)
Authors: Muldowney Dominic 
Published: November 2023

Abstract
These songs were written for performance in the context of the play at the National Theatre. Intended for actors, not trained singers, they should prove a great boon to both amateur and professional singer-actors. The composer asks us to bear in mind their original purpose, and one should not forget that these are Chinese characters. The main requirement is to project the drama with persuasive clarity and conviction. A polished vocal technique, with impeccable legato and good breath capacity will not be called upon. It is always refreshing to adapt to different priorities and characteristics, and for trained singers it is challenging to be asked to abandon some of the ingrained habits acquired with care over the years.
Adlestrop (1989)
Authors: Payne Anthony 
Published: November 2023

Abstract
This enchanting miniature sets a well-loved poem with perfect economy and clarity. The music is ideally sensitive to the especially nostalgic and poignant atmosphere of the poem. The exciting piano part carries the images of the text throughout, depicting the motion of a train at the beginning. It needs effortless virtuosity and the player must take considerable responsibility for shaping the work. By contrast, the singer’s spare, uncluttered lines make their point most touchingly. The piece lies comfortably in mid-voice, and is equally suitable for a soprano or mezzo. It could also work for a light baritone, since G is the highest note, but tenors may be less happy with some of the lower-lying phrases.
The Maldive Shark
Authors: Skempton Howard 
Published: November 2023

Abstract
Howard Skempton is a genuine original, with a sharp ear and great imagination, and his music is at last getting the recognition it deserves. He belongs to a group of politically committed composers who have determinedly ploughed their own furrow without regard to current fashion or material success. Always concerned with music’s accessibility to all kinds of people, Skempton has consistently supported and encouraged other composers with typical courtesy and generosity.
Five Songs of Innocence and Experience
Authors: Gregson Edward 
Published: November 2023

Abstract
A most beautiful and moving song cycle from a composer of natural gifts, and great sensitivity. This is a delightful recital item, well proportioned and consistently absorbing. It makes a satisfying whole, despite the fact that the songs were written at different times: the first two in 1965 while the composer was still a student, and the remaining three ready for the first complete performance in 1980. The composer says that he has used William Blake’s title because, although the poems are not by him, the sentiments are closly allied. Aptly, the two early songs symbolize Innocence and draw parallels between Love and Nature.
Prelude 8
Authors: McGuire Edward 
Published: November 2023

Abstract
The Scottish composer Edward McGuire has long been a personal favourite. An innate musicality and thoroughly original approach make his work consistently fascinating, full of surprises. Endearingly idealistic and politically committed, he always seems able to produce something fresh and memorable, drawing on an extraordinarily diverse range of influences from many cultures. A clarity of utterance is his special gift, and this is often spiced with a droll and distinctive sense of humour. Yet his work remains inherently Scottish in flavour.
Earth Hold Songs
Authors: Cary Tristram 
Published: November 2023

Abstract
A welcome song cycle from this distinguished British composer now resident in Australia. One of the leading pioneers in the field of electronic music in this country, and also composer of many notable film scores, Cary has perhaps been less well known to us as a concert composer of acoustic music. His fine ear, wide cultural background (he is the son of the author Joyce Cary), and strong structural sense pervade all of his music, which is unfailingly well organized and presented with meticulous care and clarity. This is a rewarding virtuoso showpiece for singer and pianist.
Nachtlied
Authors: Harvey Jonathan 
Published: November 2023

Abstract
The finished tape, for use in concert performance, is available on hire from the publishers. Recent advances in technology mean that a DAT copy may now be the best option, more practical and portable. Otherwise, the original version is on reel-to-reel tape: a good quality recorder is needed. There must also be two matching speakers, amplifier, and a technician available for setting and adjusting balance. During the work’s course the tape has to be switched on and off at intervals, so an assistant armed with an extra copy of the score (and someone able to follow the manuscript!) is also essential.
But Stars Remaining
Authors: Lefanu Nicola 
Published: November 2023

Abstract
It remains a great favourite in my own repertoire, with its freshness and immediacy. Doubtless, her mother, the late Elizabeth Maconchy, provided an ideal role model during her compositional development, and like her she shows a special awareness of the needs of the performer. Her music is eminently practical and meticulously worked out, the notation always clear, with exceptionally careful attention to interpretative nuances.
Second Level Dominants
Authors: Pratt George 
Published: November 2023

Abstract
In Chapter 2 we experienced the tension of V(7) which is released by its resolution to I. Similarly the supertonic generates tension which is resolved by V. The supertonic is the ‘dominant of the dominant’, is V of V, or a second-level dominant.
The apparent constraints of a key signature make the supertonic appear, at first sight, to be a minor chord in major keys and diminished in minor keys. In practice However, the chord can be almost as readily major (indicated by II) as minor (ii) while the pinched sound of the diminished form is relieved by using it in first inversion, Ex. 4a.
Interlude II: A Note on Inversions
Authors: Pratt George 
Published: November 2023

Abstract
Chapter 1 included an explanation of root position and first inversion of a chord, if only to provide resources with which to write some harmony of your own. At several points in analyses, though, you have come across further inversions of chords which you have probably not yet used imitatively.
Chords can be inverted freely provided that they do not contain a perfect fourth above the bass.
Segments of the Circle and Excursions on the Way Round
Authors: Pratt George 
Published: November 2023

Abstract
In Chapter 7, all the circles were complete: they all contained eight chords, one for each of the seven letter names in the octave and an extra one to allow them to end where they began.
If frequently happens, though, that a composer uses only a segment of a circle to carry the musical material forward on a of purposeful harmony. This segment may be:
More Colourful Dominants: Diminished Sevenths
Authors: Pratt George 
Published: November 2023

Abstract
The first-level dominant, V, is so powerfully directional that it can tolerate considerable additions and alterations without losing its identity. The addition of ninth, eleventh and thirteenth to the triad (root, third and fifth) and the strongly gravitational seventh, results in a tower of seven notes, all the notes, in fact, of a diatonic scale. And still, with suitable spacings and the omission of some notes part-way up this tower, a sense of strong ‘V’-ness can remain.
Such chords however belong rarely if ever to the period of harmonic history which we are considering. Major ninths above the dominant, or any other, bass are almost always suspensions or appoggiaturas. Elevenths and thirteenths have the same kinds of aural justification and do not appear as unprepared entities, chords in their own vertical right, until the very end of the nineteenth century.
Harmonic Puns and Further Modulations
Authors: Pratt George 
Published: November 2023

Abstract
15.1 In Chapter II, diminished sevenths were analysed as ‘dominant minor ninths with the roots missing’ on the first-level dominant (I I. I), the second level dominant (11.2) and the third-level dominant (11.3). However, a phenomenon of the diminished seventh is that it remains the same however much it is inverted, whichever way you look at it or listen to it. This must be so as its notes are an infinitely repeating pile of minor thirds. It follows, therefore, that it is a chord particularly prone to double meaning, to the musical pun, as any one of its notes can be the leading note of a subsequent chord. Look at Ex. 15a:
The chord marked I is the diminished seventh created out of the ‘dominant minor ninth with the root missing’ of C major: the fundamental bass proves it, and it resolves accordingly with the leading note, B, rising to C (and seventh, F, and ninth, A , falling). But chord 2 proves, equally conclusively, that the same notes, spelled differently, are the ‘dominant minor ninth with the root missing’ of U: the leading note, D, rises to Eb and seventh and ninth, Ab and Cb, fall.
Thyroid problems in infants, children, and adolescents
Authors: Vanderpump Mark P J , Tunbridge W Michael G 
Published: November 2023

Abstract
Thyroid overactivity in children and adolescents is less common than in adults and is rare in neonates. In all three groups, the cause is nearly always Graves’ disease, as in adults. Most aspects of thyrotoxicosis (and Graves’ disease) in the newborn, children of any age, and adolescents are similar to those in adults, but a few are age specific. For example, in neonates (the first month of life) the thyrotoxicosis is transient and has effects on the growth and development of the nervous system. In children, thyrotoxicosis has effects on growth, pubertal development and the skeleton that do not occur in adults. Graves’ophthalmopathy is seldom as severe as in adults and pretibial myxoedema is extremely rare. With respect to treatment of Graves’ disease there has historically been more reluctance to undertake destructive therapy with radio-iodine or surgery, although radio-iodine is increasingly gaining acceptance in adolescents.
Who should be referred to a thyroid specialist?
Authors: Vanderpump Mark P J , Tunbridge W Michael G 
Published: November 2023

Abstract
Any person with hyperthyroidism can reasonably expect to be referred to an endocrinologist for a specialist opinion at diagnosis. If the person has no features of hyperthyroidism, treatment does not need to be initiated by a family doctor in primary care. If the person has features of hyperthyroidism, treatment may be initiated in primary care while waiting for the specialist assessment. Beta-blockers are the fi rst choice unless contraindicated. Anti-thyroid drugs may be initiated in primary care after confirmatory thyroid function tests if beta-blockers are contraindicated or in addition to beta-blockers if features of hyperthyroidism are marked. Specialist advice should be sought for treating hyperthyroidism in pregnancy or in breast-feeding women.
Mrs Duberly’s War
Authors: Duberly Frances Isabella , Kelly Christine 
Published: November 2023

Abstract
Mrs Duberly’s journal is one of the most vivid eye-witness accounts we have of the Crimean War. Fanny Duberly, then aged 25, accompanied her husband to the Crimea in 1854, and remained there until the end of the fighting, the only officer’s wife to remain throughout the entire campaign. She survived the severe winter of 1854-55, witnessed the battle of Balaklava and the charge of the Light Brigade, and rode through the ruins of Sebastopol. Spirited and courageous, she was known by sight to British and French soldiers across the battlefields, regarded often with enthusiasm and sometimes with disapproval. Witty and beautiful, she enjoyed flirtatious friendships with many of the most important men of the campaign.Her Journal kept during the Russian War was published in 1855 and caused a sensation. Although widely praised as the ‘new heroine for the Crimea’, Fanny was also censured, ridiculed, and even parodied in Punch. She had stepped into a man’s world, and written about it in a way that seemed to some at the front an invasion of privacy and to others at home an abandonment of gentility. A best-seller at the time, the Journal was not reprinted after its second edition of 1856, and this is the first edition since that time.
Embarkation and Encampment at Varna
Authors: Duberly Frances Isabella , Kelly Christine 
Published: November 2023

Abstract
The French and British armies arrived at Varna in early June and set up camp in the countryside around the town, ready to aid the Turks besieged at Silistria, seventy miles away (see map, p. 20). After invading Wallachia (modern Rumania), the Russians had concentrated their attack on Silistria in an attempt to cross the Danube, march into Bulgaria and advance on Constantinople. In the event no troops were sent by the Allies (apart from two young British officers), and it looked as though the fortress would fall despite the Turks’ determined stand against increasingly overwhelming odds. But the siege ended abruptly when the Austrians, who had earlier declared their neutrality, issued an ultimatum to the Tsar on 18 June: either he withdrew his army from the principalities north of the Danube or Austria would support Turkey. Four days later the Russians withdrew. Meanwhile the Austrians agreed to occupy the principalities for the duration of the war.
Balaklava
Authors: Duberly Frances Isabella , Kelly Christine 
Published: November 2023

Abstract
From late November to February action at the front consisted of little more than a desultory exchange of artillery fire and occasional sorties from the opposing trenches. Both sides concentrated on surviving the harsh winter. The Russians, hampered by the naval blockade of Black Sea ports, were forced to transport their supplies (in primitive ox-carts) over hundreds of miles of rough tracks. The French, with a tradition of self-sufficiency from their overseas campaigns, lived comparatively well and were the envy of their allies (see p. 289, note 33).
The Euro in a Global Context: Challenges and Capacities1
Authors: Cohen Benjamin J 
Published: November 2023

Abstract
The birth of the euro in 1999 was expected to create a new power in international monetary relations. Even without the participation of Britain and some other European Union (EU) members, the Euro Area would constitute one of the largest economic units in the world, rivalling even the United States in terms of output and share of foreign trade. Consequences for the geopolitics of finance promised to be momentous. Europe’s Economic and Monetary Union (EMU) would become a major player on the monetary stage. Europe’s new money, building on the widespread popularity of Germany’s old Deutschmark (D-Mark), would pose a serious threat to the predominance of America’s greenback as an international currency.
Fiscal Policy Coordination and Discipline: The Stability and Growth Pact and Domestic Fiscal Regimes
Authors: Hallerberg Mark , Bridwell Joshua 
Published: November 2023

Abstract
Has the Stability and Growth Pact improved fiscal discipline in European Union states? Simple comparisons of means for budget deficits suggest that the SGP has had a beneficial effect. The average budget deficit for the eight years after the signing of the Treaty of Maastricht (1991–8) among members of the Euro Area was 3.9 per cent while it was 0.60 per cent for the eight years after the introduction of the euro (1999–2006).