bluuebunny/crossref_metadata_2025_split huggingface dataset:
Norwich
Authors: Spink Ian 
Published: November 2023

Abstract
Lord, what work was here, what clattering of glasses, what beating down of walls, what tearing up of monuments, what pulling down of seats, what wresting out of irons and brass from the windows and graves ... what to[o]ting and piping upon the destroyed organ pipes, and what hideous triumph on the market day before all the country, when, in a kind of sacrilegious and prophane procession, all the organ pipes, vestments, both copes and surplices ... and the service books and singing books that could be had, were carried to the fire in the public market place, a lewd wretch walking before the train, in his cope, trailing in the dirt, with a service-book in his hand, imitating, in an impious scorn the tune, and usurping the words of the Litany, used formerly in the church.
Peterborough
Authors: Spink Ian 
Published: November 2023

Abstract
Simon Gunton in his History of the Church of Peterborough (1688) has left us a horrifying account of the destruction of the Peterborough organ in 1643 by soldiers directly under the command of Cromwell: the next day after their anival, early in the morning, these break open the church doors, pull down the organs, of which there were two pair. The greater pair, that stood upon a high loft over the entrance into the choir, was thence thrown down upon the ground, and there stamped and trampled on, and broke in pieces, with such a strange, furious, and frantick zeal, as cannot be well conceived, hut by those that saw it.1
Wales
Authors: Spink Ian 
Published: November 2023

Abstract
The four Welsh cathedrals of Bangor, Llandaff, St Asaph, and St David’s were all ‘old foundations’, modest in size, poorly endowed by English standards, and geographically isolated. There was even a proposal soon after I 660 that the see of St David’s should be moved to Carmarthen due to the ‘melancholies and loneliness of the place’, but nothing came of it.
Worcester
Authors: Spink Ian 
Published: November 2023

Abstract
On 20 July 1646 after the surrender of the royalist forces at the siege of Worcester ‘the organs were this day taken down out of the cathedral church’. Another three days and the last service according to the Book of Common Prayer was performed; next day the parliamentary army entered the city. Ten years later, the old organist Thomas Tomkins died, having in 1647 commemorated the execution of the Earl of Strafford and Archbishop Laud with elegiac pavans, and the king himself with ‘A sad paven For these distracted Tymes Fehr. 14. 1649’.
Collegiate Parish Churches
Authors: Spink Ian 
Published: November 2023

Abstract
In addition to the cathedrals of England and Wales, and the collegiate chapels of Oxford, Cambridge, Winchester, and Eton, there were four foundations with choirs of vicars (or chaplains), clerks, and choristers endowed to perfom1 the cathedral service despite their status as parish churches. Manchester, Ripon, Southwell, and Wimborne had all been collegiate foundations in the Middle Ages, and though they were suppressed under the Chantries Act of 1547, gradually, for different reasons and in different ways, they reacquired choral establishments during the reigns of Queen Elizabeth I and the first two Stuart kings.
Daily Operations and the Production Process
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
This chapter is a detailed study of how the company managed its business and staged its shows. Some of these problems have been raised in Chapter I, but before plunging into particular seasons and their operas and ballets we need to try to convey some sense of the internal organization and dynamics of the company, its hierarchies and administrative procedures. The basics of performance circumstances also need to be explained. What follows is all pertinent to the succeeding chapters on the opera and ballet repertoires. If the discussion of such matters as scenery, machines, and lighting sometimes seems fragmentary, that is the nature of the evidence available.
Opera under Sheridan (1778–1781)
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
Richard Brinsley Sheridan’s regime as proprietor of the King’s Theatre (1778–81), despite its consequences for the long-term financial stability of Italian opera in London, was artistically a continuation of previous practice. No one commented on any radical change in production style or in the calibre of the performers engaged.
The Ballet
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
Ballet was at least as important as opera in the repertoire of the King’s Theatre, Haymarket, during the 1780s. Enormous amounts of money were spent on importing international superstars. The company often presented the best to be had in Europe, but when it economized and failed to satisfy the audience the result could be riots.
Studies in the History of Italian Music and Music Theory
Authors: Palisca Claude V 
Published: November 2023

Abstract
Claude V. Palisca has long been acknowledged as a leading authority on Italian music of the late sixteenth and early seventeenth centuries. These nineteen essays, originally published between 1956 and 1989, draw together a body of significant research into Italian music and music theory, and make readily available papers widely scattered and most now out-of-print. They have further been selected because of their relevance to current research, as evidenced by their continued citation in publications and dissertations. The book is in two parts, providing studies on the History of Italian Music Theory and studies in the History of Italian Music. The thread that runs through the book is the interaction between music theory and practice and between the humanist revial of antiquity and modern ideals of expression in the decades around 1600, a time of transition between the Renaissance and Baroque. A prefatory note — sometimes extensive — accompanies each of the older essays, reviewing recent research on the topic, including the author's and reactions and responses to the original article. Footnote references have been brought up to date. The test is complemented by over a hundred music examples and a number of illustrations.
Background of the Later Rubato
Authors: Hudson Richard 
Published: November 2023

Abstract
Changes of tempo during the course of continuous music occurred even before the word rubato was associated with it. Tempo markings first appeared during the Baroque period. Words for the modification of tempo, such as ritardando, rallentando, and occasionally accelerando, began to appear during the second half of the eighteenth century in the works of Haydn, Mozart, and Beethoven. Before this time, however, flexible tempo sometimes occurred as a part of the performance practice of certain kinds of music.
Both Types of Rubato in Keyboard Music
Authors: Hudson Richard 
Published: November 2023

Abstract
Quantz mentions tempo rubato in relation to the keyboard accompanist in 1752, and it is first presented in books on keyboard playing by Marpurg in 1755 and 1756. In keyboard music of the Classic period a homophonic style develops in which the functions of melody and accompaniment are ordinarily assumed by the right and left hands, respectively.
The Later Romantic Rubato
Authors: Hudson Richard 
Published: November 2023

Abstract
The second half of the nineteenth century and the early years of the twentieth represent a high point of freedom for the performer. Pianists and conductors especially—but, indeed, all performers in general—felt they had a right, if not a duty, to apply all manner of rhythmic flexibilities, and even to alter the composer’s score on occasion, in order to achieve their own personal concept of expression. The word rubato now referred generally to the later type. The various methods of applying it were transmitted by Liszt and his numerous pupils and acquaintances to other countries and to later generations.
Steinway and the New Technology
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
In the history of the modern piano one firm has been pre-eminent. Its rise to a position of world leadership in the industry was meteoric, its influence upon standards of technology and quality pervasive. Within two decades, the Steinway family emigrated to America, transformed the instrument’s technology, establishing the essential features of the pianos we use today, assumed leadership of the American industry and then returned to conquer Europe. Pianos made before the Steinway revolution are of interest today primarily to music historians, antiquarians and collectors of furniture. Those made since have adopted the Steinway’s main features or earned a rapid obsolescence. The verdict of the market is unequivocal. Steinways dating from the 188os are still in regular use by practical musicians, and those a little younger are eagerly sought.
France
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The history of the modern piano in France and America presents an extreme contrast, a polarity against which the experience of other countries can be measured. In France the story is one of stagnant production and parochial conservatism in an industry which consisted of a few old firms determined to preserve an outmoded technology, and a number of small makers, proud of their traditional skill and seemingly indifferent to new techniques or commercial opportunities. In the United States, a large and rapidly growing market stimulated the growth of a dynamic industry, with many new large firms wholly committed to modern technology and machine production, alert to the values of the market place, and sceptical, even brashly dismissive, of past tradition. There were exceptions of course: Antoine Bord was a pioneer in the manufacture of cheap massproduced uprights, and another French business, Herrburger-Schwander, became the world’s leading manufacturer of actions.
Between the Wars
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The post-war decade is an ambiguous and confusing period in the piano’s history, a bewildering mixture of genuine and false achievements by men whose major inarticulate assumption—a return to pre-war conditions of demand—was only briefly fulfilled. By European standards, American production had been comparatively unaffected by the war, although the greatest makers were unable to maintain supplies of concert grands. Rather than lower standards they restricted output, and to such an extent that in 1919 leading pianists who wanted instruments by Steinway, Knabe, or Mason and Hamlin were temporarily asked to make other arrangements. Generally, however, the industry continued to thrive.
Scene and Personae
Authors: Cohen Sara 
Published: November 2023

Abstract
It is difficult to describe and characterize a city, particularly one as complex and varied as Liverpool. For the media, Liverpool has been a newsworthy place, a provider of headlines, a colorful backdrop to inner-city decline, scene of numerous soap operas, documentaries, and socially relevant plays. It is famous for its football teams and supporters, its rock bands and other performance arts (poets, playwrights, comedians), and for passionate politics.
The Deal
Authors: Cohen Sara 
Published: November 2023

Abstract
The struggle and hardship at the grass roots of the record industry were overshadowed by huge profits and glamour at the top which enticed thousands of bands and conditioned much of their music making activities. The gap between the two worlds was enormous and only a very small percentage of bands ever managed to cross it. Yet there was always that element of luck, the hope of being in the right place at the right time, the belief that persistence, talent, and sound planning would win through in the end.
Music in the Making
Authors: Cohen Sara 
Published: November 2023

Abstract
Music is notoriously difficult to describe and analyse. The discussion in this chapter focuses upon the ways in which it was created through composition and rehearsal. Composition could be the work of an individual or of pairs of band members, the whole band, or a combination of these. It could involve rearranging older songs, or adopting and sometimes adapting sequences of music or whole songs from other bands to reproduce as ‘covers’ or as part of the band’s own material. Compositions could also develop from an idea, from short sequences of notes, from a lengthier and more structured sequence, or from lyrics. They could be continually recomposed or improvised upon with each performance, or relatively .fixed. Generally, only one or two members of a band wrote the lyrics, one of whom was usually the vocalist who had to sing them, but many bands also discussed and altered lyrics collectively after they had been written. Thus lyrical composition could be both an individual and a collective activity.
The Technique and Sound of the Violin in the Early Seventeenth Century
Authors: Boyden David D 
Published: November 2023

Abstract
In any technical advance, the status quo, the dead tradition of the past, is altered only by some compelling need or fresh idea from the present. In the sixteenth century the violin was inseparable from vocal accompaniment and dance music, which, being simple, demanded little except rhythmic animation from the player. It is not surprising that where violin playing was so restricted the technique of the violin remained static at an elementary level. A classic case was France, whose devotion to dance music and whose scorn of the new Italian sonata inhibited her technical progress throughout the seventeenth century.
Origins
Authors: Rice Albert R 
Published: November 2023

Abstract
The word ‘clarinet’ was classified by Hornbostel and Sachs (1914) as a generic term for all pipes, usually made of cane, in which the sound is produced through the vibration of a single reed which is either cut from the pipe itself (idioglot) or produced separately and attached to a mouthpiece (heteroglot) (NGDMI ‘Reed instruments’; Sachs 1930: 338). This book includes the further stipulation that the clarinet is an instrument which overblows, functionally, at the interval of a twelfth above the fundamental notes (NGDMI ‘Overblowing’). These two characteristics-the production of sound by means of a mouthpiece with a single, vibrating reed and a cylindrically bored body providing the capability of being overblown at the twelfth-are what distinguish the present-day clarinet from all other woodwind instruments. To examine the clarinet’s ‘prehistory’, however, we will use Hornbostel’s and Sachs’ generic definition. The more specific definition will become useful when we discuss the earliest manifestations of the eighteenth century clarinet and distinguish these from the closest relative of the clarinet-the chalumeau with a heteroglot reed.
The Use of the Baroque Clarinet by Amateurs and Professionals
Authors: Rice Albert R 
Published: November 2023

Abstract
The use of the clarinet before 1760 is documented in various sources including iconographical documents, concert reviews and notices, listings of orchestral players, and biographical accounts. In this chapter iconographical documents are discussed along with the concert appearances and orchestral posts of several individual clarinettists. Their positions, obligations, and privileges within eighteenth-century society are also noted.
Music in the Lutheran Liturgy
Authors: Webber Geoffrey 
Published: November 2023

Abstract
Although the Reformation was brought about through disagreement over matters of religious doctrine, the new freedom that resulted from the separation from Rome affected all aspects of church life, including the liturgy. In England, the church, now under the authority of the sovereign, soon developed its own liturgy, which was adopted throughout the kingdom. However, in the German Lutheran territories the complex political situation militated against the adoption of a single new form.
Performance Practice
Authors: Webber Geoffrey 
Published: November 2023

Abstract
Details concerning the size and nature of the musical forces employed in seventeenth-century North German church music survive either in the form of original documents or in nineteenth- and early twentieth-century musicological studies of sources that were lost in the Second World War. The archival studies by Lisette Krilger on Hamburg and by Hermann Rauschning on Danzig are particularly interesting as they contain transcriptions of several documents that provide information going far beyond a mere listing of numbers of musicians available.
Johann Sebastian Bach
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
This is one of the greatest as well as the most elaborate of Bach’s solo cantatas. It lends itself especially well to performance in a room which possesses a fine organ, and yet is not too large for chamber music and for Bach’s rich ornamentation, which even in his most massive works so urgently demands many of the conditions of chamber music. Moreover, though it was, like all Bach’s church cantatas, written expressly for a certain church service, on a certain day of the church year, it happens to be in a form which does not absolutely demand the production of the service itself to justify it as a scheme with an artistic climax.
Granville Bantock Hebridean Sea-Poem, Caristiona
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The Lady Clanranald sat on the shore of Moy dart watching the setting sun, and as she watched, she saw with the keen eye of a mother’s love and a mother’s pain, two ships sailing through the Western Sea. From the one, though sailing seaward, came the sounds of harping and of song, and of a bride’s laugh that was sweeter than both-while from the mast-top waved the Clanranald badge, a spray of purple heather fresh with the bloom of the hillside. From the other ship, though sailing homeward, came the sound of the croon and the keening for the dead-the bride of yesterday-the one-no-more of to-night-while from the mast-top drooped and withered a spray of purple heather.
Frank Bridge Phantasy In F Sharp Minor For Violin, Viola, Violoncello, And Pianoforte
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Some years ago Mr W.W. Cobbett instituted a prize, or rather a series of prizes, to stimulate the production of pieces of chamber music in the form of a single design not broken up into the four typical movements of the sonata style. Wagner’s Siegfried Idyll, or some short symphonic poem, might be taken as the nearest existing approach to a model in orchestral music for what was desired in chamber music; but the term Fantasy was chosen as being the special English name used throughout the seventeenth century for the voluminous, if not always inspired, activity we showed then in instrumental music.
Fryderyk Chopin Romance From The Pianoforte Concerto In E Minor, Op. II
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The unity of a sonata or symphony is inviolable; all the more because it is so easily broken up. But there are cases where this unity is an illusion, and the detached movements of a work may show a perfection which is ruined by fatal flaws in the construction of the larger whole. The arias of Handel’s operas are a conspicuous example; it is the aria itself that is an important art-form, and Handelian opera as a whole represents nothing more than a bad habit of dressing up the singers expensively and putting them on a pantomime stage to please an eighteenth-century public that would not listen to music for music’s sake.
12 [L]
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The early and sudden death of Louis Fleury is a loss which will be deeply felt by lovers of music who a generation ago would never have believed that the death of a flute player would be of higher consequence than a change in the personnel of a first-rate orchestra. In the memories of all who heard him, Fleury’s art will have defined the status of his instrument as the art of Miihlfeld defined the status of the clarinet. Miihlfeld had his Brahms; this is not an inverted way of putting the case, for it was Miihlfeld’s playing that inspired Brahms to the composition of his last four pieces of chamber music; and the position of authoritative and quasi-originative interpreter of those works was the foundation of Miihlfeld’s unique position.
Keyboard Talks: First Series-Beethoven
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Ladies and Gentlemen, I hope that these talks are passed for Universal Exhibi­tion, without age limit in either direction. 1 What I have to say is of no impor­tance except in so far as it illustrates what I have to play. These Keyboard Talks are not talks illustrated by music; they’re music illustrated by talk. And Beethoven is a master whose music nobody who can listen is too young to enjoy.
German Music (1915)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Music is, of all the arts, perhaps the most impossible to explain in words; and writers on music deserve more sympathy than blame for the readiness with which they welcome topics that distract attention from the difficulties of purely musical questions. Where it is difficult to say anything without entering into principles and details which, to most readers, must seem purely technical, there is great temptation to discuss the first side-issue which connects the subject with ethics or politics, religion or science; and if all that has been written on the history of music were reduced to that portion of it in which the history is musical and the view of music is historical, the bulk would be conveniently small, but far from easy to read.
The Reid Foundation and Music in Edinburgh (1920, 1916)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
It is hoped that this Festival Concert [to celebrate the first twenty-five given by the Reid Orchestra] will bring about a wider and a clearer understanding of the aims of the Reid Chair of Music. General Reid’s will provided for the foundation of a Professorship of Music in the University of Edinburgh, and also for an annual Reid Concert, to be given on or conveniently near to his birthday, 1 3 February.2 This bequest took effect in 1839 when the first Reid Professor was appointed.
No. 2 (1939)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
One of the chief barbarities of musical Romanticism, Academicism, Neo classicism and Musikgelehrsamkeit in the last hundred and thirty years has been the neglect of Haydn’s middle works. The other day my orchestra played one of the most beautiful of the Paris symphonies, the work in G minor known as ‘La Poule’.1 Trustworthy modern orchestral parts were available, but the score had to be copied from them, though four-hand arrangements are in print. If the symphony had not happened to have a fanciful title I doubt whether it would have been so accessible.
An Old Soldier Never Dies
Authors: Thomson Andrew 
Published: November 2023

Abstract
The year 1914 began in an increasing mood of tension between France and Germany, even though the war cloud which was to engulf them at the end of the year seemed as yet no bigger than a man’s hand. Even on the cultural plane, the prevailing virulent nationalism on both sides diminished each country in the eyes of the other. If Debussy was not properly appreciated beyond the Rhine, Gustav Mahler likewise was rejected by the French, with d’lndy calling his Fourth Symphony ‘a piece for the Alhambra or the Moulin Rouge’—fit only for music-halls and sex shows.