bluuebunny/crossref_metadata_2025_split huggingface dataset:
Introduction
Authors: Mcgee Timothy J 
Published: November 2023

Abstract
All musicians understand that for much of the repertory there is a substantial difference between music as it appears on a page and as it sounds in performance.’ Regardless of how detailed the notation, in all repertories there is always something a performer must add in order to bring a composition to life, the amount and the nature of the additions varying according to the repertory. For the music of the Middle Ages the gap between the written form and the performed version is substantial. The problem of conceptualizing the sound of medieval music is compounded for the modern scholar by three elements: the early notation system that is still only partially understood; a complex: and involved tradition of extemporized ornamentation; and a vocal style that is basically different from the one currently employed for art music.
Graces
Authors: Mcgee Timothy J 
Published: November 2023

Abstract
The ornaments described in this chapter under the general heading of ‘graces’ are those to be added directly to a particular note, as differentiated from those added between notes, which are discussed in the next chapter. All ornaments discussed here were to be improvised, both their content and placement: there are no marks or signs in the music for their addition. Information about the nature of the ornaments, the technique of performance, and their placement is found only in theoretical writings. Much of what is discussed here is an exten sion or variation of the kinds of vocal techniques and nuances that were a part of the execution of the written ornaments discussed in Chapter 3.
The Early and Mid-Renaissance Periods 1500-1580
Authors: Spring Matthew 
Published: November 2023

Abstract
The first eighty years of the sixteenth century would appear to lack coherence as a chapter unit of English lute history. The period is not circumscribed by any change of monarch, specific historic event, or easily defined stylistic change. Yet we have seen that, as regards the lute, fundamental change was occurring on the Continent, particularly in Italy, with the introduction of new making and playing techniques in the years up to and around 1500. It is after this point that these changes took hold in England, as they did throughout much of western Europe. The years 1578 –9 saw the appointment of Mathias (or Mathathias) Mason and John Johnson as royal lutenists and, in the following years, the appointment of several more lutenists of note, and the instigation of a specific consort of lutes among the Queen’s Musick. Johnson is the first native English lutenist composer of real merit, and his appointment marks a turning point.
Under the Ear and Far Away
Authors: Beamnt Jams 
Published: November 2023

Abstract
We have to learn to play, but we must also learn to listen, and there are odd beliefs about listening, apart from those about ‘tone’. Experienced players may judge an instrument almost entirely by exploring its responsiveness to bowing, but they usually ask for the opinion of listeners and often like to listen while others play it. Performers believe that some instruments ‘project’ better than others, meaning that some can be heard well in an auditorium, and there are also explanations for some odd ideas that audiences have about hearing solo instruments.
The Early Piano I
Authors: Cole Michael 
Published: November 2023

Abstract
It Would Hardly be overstating the case to say that before the advent of the early classical era, even as late as 1765, the pianoforte had barely any influence on musical composition or performance. For all practical purposes—in the performance of instrumental music, the accompaniment of songs, in the opera-house, the theatre, the home, and in any kind of quasipublic concert—the overwhelmingly popular choice of keyboard instrument was the harpsichord. Its limitations as an expressive instrument, in that its plucking action could not produce the subtle variations of dynamic level that were so essential in the performance of songs or violin music, were generally overlooked (or at least forgiven), since its virtues-clear articulation and a sonorous tone—were more than sufficient to compensate. In fact, in 1765 the great days of harpsichord making had arguably only just begun.
Into the Nineteenth Century
Authors: Cole Michael 
Published: November 2023

Abstract
DuringThe Firstdecade of the nineteenth century much of the diversity in pianoforte design disappeared as instrument makers and their customers developed clearer ideas of the sort of designs that provided good instruments. Pianoforte tone was now universally recognised to be something much mellower than a harpsichord’s. Further, if the full capability for wide dynamic variation was to be achieved, instruments needed an escapement action and soft leather hammer coverings. Hybrid and aberrant forms such as the Tangentenflugel, the harp-shaped Pantalon, and the Clavecin Royal died a natural death with the harpsichord itself. Players in the new century had no further use for harpsichords, combination instruments, or anything that recalled the jingling tones of former times.
Albergati’s La Beata Caterina da Bologna (1697)
Authors: Crowther Victor 
Published: November 2023

Abstract
This oratorio, like Perti’s Beata Imelde (see Chapter 11) and Albergati’s L’iride di pace o sia il Beato Nicolo Albergati (1690), was composed in honour of a Bolognese saint. The embalmed body of Caterina de’Vigri had a place of honour in an ornate chapel in the church of the Poor Clares, Corpus Domini. Pirro Albergati, whose family palace lay in the same quarter of the city, com posed his oratorio about Caterina when the Catholic Church venerated her as a ‘Beata’. She was canonized and rose to the rank of ‘saint’ in 1712. That is why the composer, when he published the oratorio as part of his opus 10 in 1714, altered its title to Santa Catterina Vigri da Bologna.
South East Asia
Authors: Fletcher Peter 
Published: November 2023

Abstract
The area now known as South East Asia consists of the two archipelago republics of Indonesia and the Philippines, and of a land mass that tails off in a long peninsula. The landmass separates southern India from southern China. Throughout its history, this area has been one of migration, trade, and conflict, involving such peoples as the Malays, Chams, Khmers, Mons, Pyus, Burmans, Laos, Shans, and Thais, as well as traders, or would-be conquerors, from China, India, West Asia, Europe, and, more recently, the USA. The mainland now comprises Myanmar (Burma), Thailand, Laos, Cambodia, Singapore, and Malaysia.
Europeans North of Mexico
Authors: Fletcher Peter 
Published: November 2023

Abstract
Few Would have thought, when a motley bunch of British adventurers landed on a swamp in Chesapeake Bay in 1607, that their settlement would mark the start of a new and momentous chapter in colonial history. The survivors of this expedition named their settlement, optimistically, Jamestown, after their king. Earlier, Elizabethan n1ariners had explored this stretch of North An1erica ‘s eastern seaboard and named it Virginia, after their then queen. Before them, in 1540, a Spanish land expedition from Mexico had penetrated as far north as the border of what is now Nebraska, in search of the ever-elusive ‘Seven Cities of Gold ‘; and before the Spanish even, as early as 1504, Bretons had started fishing the cod banks off Nova Scotia, and moving inland up the St Lawrence River to trade in furs. Fur generated income; but fur was not gold. For almost two centuries after Cortes first plundered the wealth of Mexico, settlement north of Mexico was seen as inferior to settlement further south.
The Postmodern West
Authors: Fletcher Peter 
Published: November 2023

Abstract
For some four centuries-not a long span in human history-educated Europeans believed their political, cultural, and artistic systems were superior to any others, a belief reinforced by the spread of these systems in Africa, Asia, and the Americas. That these systems were built on knowledge and skill generated by much earlier civilizations in Africa and Asia was neither recognized nor understood. When the USA assumed leadership of the Western world after the Second World War, Europe still held most of its Afro-Asian empire. European civilization, believed to have its roots in the unique cultural achieven1ents of Ancient. Greece, appeared to demonstrate a level of social and scientific advance with which the rest of the world would forever he struggling to catch up.
The Science of Music
Authors: Maconie Robin 
Published: November 2023

Abstract
Apart from providing an outlet for human emotions, does music have a use? Is a Mozart symphony intelligent, and is music a language? If so, what does it say and how does it say it? In this perceptive and revolutionary sequel to The Concept of Music, Robin Maconie teases out the musical science underlying subjects as diverse as Pythagoras’s theorem, Plato’s city state, mysteries of religion, myth, and folklore, theories of the mind, and key insights of Newton, Freud, and Wittgenstein. Western civilization is based on a foundation of universal laws derived from acoustics and hearing. Music is not only the product of that civilizing process but also the key to understanding the hidden structures and rituals of established belief. Beneath the surface of mass entertainment lie musical notations, images, instruments, and ensemble interactions to be understood afresh as models and mind games in an ongoing programme of scientfic discovery, information management, and social organization. That understanding is exciting in itself, has important educational and cultural implications, and is essential for future progress in musical composition.
Consciousness
Authors: Maconie Robin 
Published: November 2023

Abstract
A heavily pregnant woman lies on a couch in an antenatal clinic while the theme tune from the soap opera Neighbours is relayed to her unborn baby though a speaker taped to her abdomen. As it plays, every movement the baby makes and its heart rate are monitored by ultrasound. Research was car ried out on 70 women at Belfast’s Royal Maternity Hospital, half of whom regularly watch Neighbours. When the theme was relayed to the foetuses of the soap’s watchers, they became significantly more active. But when an unfamiliar tune was played to them, or the Neighbours theme was played to foetuses who had not been previously exposed to it, there was no such response. ‘This shows foetuses of this age have a memory and can recognise familiar tunes,’ Professor Hopper said.
Number
Authors: Maconie Robin 
Published: November 2023

Abstract
Aristotle represented the Pythagoreans as believing that ‘all things are number’. What the proposition ‘all things (the world) are number (numbers)’ is capable of meaning depends on what the Pythagoreans themselves may have meant by ‘the world’ and ‘number’. The universe, or the world, meaning the totality of cre ation, can mean everything knowable in human terms, or it embraces both the humanly knowable and the humanly imagin able, by sense and by intellect. The meaning of’number’ is another matter altogether. Number in the singular is a term of relationship; numbers in the plural is merely a term for quantities. One is pure mathematics, the other merely accounting.
Organization
Authors: Maconie Robin 
Published: November 2023

Abstract
Harmony is about multiplexing. Multiplexing is information management. For Edison, it was sending more than one telegraph message down a wire at the same time. In music, it is combining several lines of information in such a way that they can be followed independently. Music recognizes a variety of forms of multiplex ing, the most basic being voices or instruments in unison, and extending via heterophony (playing the same tune but with indi vidual decoration) through polyphony (playing the same music, but different parts) to counterpoint (multiple parts in call and answer mode based on a melodic model). For harmony to exist there has to be more than one message in transmission. The art of harmony lies in encoding multiple messages so that they do not interfere with one another in transmission and may be successfully decoded as separate strands by whoever is at the receiving end.
Melos
Authors: Maconie Robin 
Published: November 2023

Abstract
Plato required of melody that it consist of fixed and distinct pitches, be fit for singing, and noble in character. An approved melody is sung in tune and without deviating from the chosen mode; it respects the compass of the singing voice, and expresses the character consistent with the mode. Noises and gliding pitches (portamenti) are forbidden, extremes of range (which may distort voice quality) are discouraged, and a discriminating choice of mode (the heroic modes referred to in The Republic) is to be preferred. Plato regarded melody as an abstract ideal, in contrast to Aristoxenus, for whom melody was a natural form of expression to be rationally investigated. Plato’s attention is focused on the system within which a melody may be free to act; Aristoxenus is more concerned with the human motives that lead to expression in melody, and thus to the dynamics of a musical line. ‘Virtually all Aristoxenus’s harmonic laws are expressed as rules of progression’ (Barker 1991: 152).
The Little Half-Viking
Authors: Bird John 
Published: November 2023

Abstract
In a short essay written in 1938 Grainger described his knowledge of and feelings for Grieg’s music before he met the composer: In my childhood in Melbourne I heard a great deal of Grieg played by my mother and our dear friend R. Hamilton Russell-the first exquisite pianist in my life. Indeed my mother played more Grieg than any other music in the years 1888-1895.
‘Adieu Old World! I would hail a New World’
Authors: Bird John 
Published: November 2023

Abstract
The Graingers’ decision to leave London was made hastily. Only three weeks before they left, Grainger wrote to Delius saying that he had been chosen to play his friend’s piano concerto on February 8, 1915 with the London Symphony Orchestra. The penultimate sentence in his letter was ‘Here everything is normal, no signs of war.’ The Great War was then six days old, and with matters quickly worsening, Rose became tormented with worry over her son’s career prospects.
Intentional and Innocent Misdescriptions
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
When a seller makes incorrect statements regarding a violin’s authenticity, value, provenance, condition, or title, several potential claims may arise, including claims for fraud (intentional mis representation), negligent misrepresentation, breach of contract, or breach of express and implied warranties. As discussed by Brian Harvey in Chapter 2, violin makers and dealers have long engaged in the practice of making and selling copies of well known violins. Such efforts are sometimes innocent, and some times not.
Shostakovich and Chekhov
Authors: Bartlett Rosamund 
Published: November 2023

Abstract
Thanks chiefly to the notorious events of 1936, Shostakovich was able to complete only two operas in his lifetime, and the projected Wagnerian-style tetralogy which was begun with Lady Macbeth of Mtsensk was to remain forever unfinished. It was as an opera composer, however, that Shostakovich had originally wished to make his name, and the fact that he never gave up the idea of writing further operas after the traumas of 1936 is testament not only to his abiding interest in the medium but also to the inescapable truth that opera composition was his true métier. The Nose and Lady Macbeth, the two operas which Shostakovich composed while still in his twenties, were both settings of famous short stories by nineteenth-century Russian writers, and it was Russian literature which continued to inspire the composer with ideas for operas in later years. At the beginning of the 1940s, for example, Shostakovich began work on a treatment of Gogol’s play The Gamblers, working much as Musorgsky had done in the nineteenth century, by trying to write music to Gogol’s text without changing a single word.
A case study in rhythmic analysis: instrumental vilambit and madhyalay gats in the repertoire of Deepak Choudhury (Maihar hara na )
Authors: Clayton Martin 
Published: November 2023

Abstract
I will now apply the principles and theories outlined thus far in a case study, not only in order to back up my theoretical speculations with a more concrete example, but also to show how such analysis can shed light on issues of wider significance. I would like to suggest not only that it is possible to characterize a specific repertoire in considerable detail in terms of its rhythmic parameters; more importantly, that analysis can throw considerable light on issues of great importance to theorists and historians of Indian music, including the historical development of Hindustani music and the relationships between the various genres and styles.
North Indian rhythmic organization in cross-cultural perspective
Authors: Clayton Martin 
Published: November 2023

Abstract
I suggested earlier that any study of rhythm in a specific repertoire ought to generate observations which contribute to the development of rhythmic theory in general. In this light, a number of questions present themselves immediately. Might it be possible, by pulling together data and analysis from many different music cultures, to develop generally applicable theories of rhythmic organization, according to which each individual system is shown to have certain fundamental features, explicable in general terms? Could each rhythmic system be described in terms of general parameters founded on psycho-physiological universals, with limits for each parameter determined locally? Or, on the contrary, is musical rhythm’s boundless diversity beyond the reach of such general or comparative study.
First Thoughts
Authors: Talbot Michael 
Published: November 2023

Abstract
In His School of Practical Composition Carl Czerny endeavored to demonstrate how the finale of a sonata might suitably differ from its first movement. He begins with an affirmation that despite their possible similarity of tempo and temper, the character of their respective opening themes ought to be different. We have already observed that the commencement of the first movement of a Sonata may be either energetic, or melodious; excited, or soft and tranquil. The same may be said of the Rondo or Finale; but there must be a palpable difference between the two, in regard to the description of the leading idea: for rarely would a suitable commencement for a first movement, serve also for the theme of a Finale.
The Valedictory Finale
Authors: Talbot Michael 
Published: November 2023

Abstract
It would not be wrong to regard the valedictory finale as a, deviant, variant of the summative finale. Like the latter, it resolves unfinished business rather than initiating new business-and in this important respect it differs from the relaxant finale, which insists (albeit without precluding thematic connections with other movements) on its autonomous status. In an aesthetic sense, however, it could not differ more sharply from both other types. It is slow rather than fast, calm rather than agitated, introverted rather than extroverted, soft rather than loud. It favors regression as against cumulating, simplicity as against artifice.
Hybrid Solutions
Authors: Talbot Michael 
Published: November 2023

Abstract
Hybridity in finales comes in two main forms. One is the movement di mezzo carattere that exhibits concurrently features belonging to more than one type of finale. We have already spoken of the many symphonies, concentrated in the second half of the nineteenth century, that are summative by virtue of weight and length but not according to content or hermeneutic import. About some of these it would be possible to debate at length, without certainty of an agreed conclusion, whether the summative or relaxant model was uppermost.
The Professional Dilettante: Ludovic Vitet and Le Globe
Authors: Walton Benjamin 
Published: November 2023

Abstract
The third edition of Grove’s Dictionary passes the following judgement on Baron Henri Blaze de Bury, son of Castil-Blaze: ‘in literary skill he surpassed his father; in musical knowledge he was decidedly his inferior’. As sentence length summaries go, this may be fair enough. But the way the judgement is presented is significant, the two halves causally balanced as though any increase of literary ability will occasion a decrease in musical expertise. The assessment thereby hints at an academic bias that has only become more familiar since: suspicion of the musical amateur.
Ceremony, Celebration, and Spectacle in La Juive
Authors: Newark Cormac 
Published: November 2023

Abstract
Fromental Hal é vy’s La juive, famously one of the most spectacular and crowd pleasing productions of Parisian grand opéra, was criticized for being more like circus than opéra, dubbed an ‘opéra-Franconi’, after the owners of the Cirque-Olympique. Yet it proved particularly popular with audiences at the Opera, increasingly familiar with, and appreciative of, the delights of suppos edly less high-brow theatres.
God’s Perfect Minstrels: The Bands of the Salvation Army
Authors: Herbert Trevor 
Published: November 2023

Abstract
Your temptation will be to play what is pleasing, what will bring out the music, what will impress the people with its charm—and with the ability of those who produce it. But beware! Let us have good music, but music which has a message in it. Tunes that whenever and wherever they are sung will bring God, and Calvary, and Eternity nearer. In January 1992, a press release was issued from the International Head-quarters of the Salvation Army in London: ‘The Salvation Army, after more than a hundred years, is scrapping the regulation, which has prevented its instrumental music from being sold to, or performed by, non-Salvation Army musicians. For too long The Salvation Army has had a ghetto mentality when it comes to music.’ It went on to announce the abolition of all restrictions on the sale and consumption of Salvation Army music. This meant that, for the first time since the opening decade of the Army’s existence, anyone was free to buy and perform music which the Salvation Army published, or for which it.
The Brass Band in the Antipodes: The Transplantation of British Popular Culture
Authors: Bythell Duncan 
Published: November 2023

Abstract
When we speak of an international popular culture today, especially in music, we are likely to think of an American-dominated world whose origins lie in the gramophone record and whose current symbols are the transistor and the personal stereo. But at the beginning of the twentieth century, there was a rather different European-derived musical popular culture, whose essence lay in making music rather than merely listening to it. Amateur bands playing popular works by contemporary European composers, on various combinations of cheap, mass-produced wind instruments, were a major element in this culture, which was carried round the world not by the airwaves or in electronic devices, but in the heads, hearts, and hands of tens of thousands of ordinary European emigrants who took their home-grown customs, institutions, and pastimes with them when they put down new roots in strange places. The British strand within this transplanted popular culture was particularly important, and it was best able to thrive unchecked and little-changed in those small and distant communities where immigration from places other than the United Kingdom was negligible, and where cultural links with the ‘Old Country’ were kept strong by being continuously renewed. Not surprisingly, Australia, New Zealand, and Canada met these conditions perfectly in the late nineteenth and early twentieth centuries.