bluuebunny/crossref_metadata_2025_split huggingface dataset:
From Chanson to Melodie and Back
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
One day towards the end of September 1914, Satie took his brother on a tour of his old haunts on the Butte, the ‘places where he had a good time’. He chatted about the Chat Noir and about Peladan, he pointed out the many changes since he had left the rue Cortot. Coming to musical matters, Satie described the ‘slow formation of his calling as a humorist’ and his ‘new manner’-a calling and a manner for which twenty years of bohemian life in the very district the brothers that day were revisiting had provided the models.
The Romantic Legacy
Authors: Dunsby Jonathan 
Published: November 2023

Abstract
In my experience of taking bright students through their music analysis classes, dissecting the forms, textures, rhythms, tonalities, notations, texts-whatever there is to try to under stand in the works of fine composers-I have been confronted countless times by one question: ‘Did the composer know about this?’ It takes a long time to put all the facts in a particular case that may persuade the student both that the composer did not know and, however, that this is not relevant, that what matters is what we ourselves know. Long ago I put this pedagogical problem to a lively American colleague noted for her ability to spread knowledge and enlightenment among her charges: ‘Just tell them “Sure! The composer knew!”‘ she said, ‘then change the subject’.
The red-haired priest
Authors: Talbot Michael 
Published: November 2023

Abstract
The surname Vivaldi is known from the twelfth century. In 1165 one Guglielmo Vivaldi from T aggia near San Remo was Governor of Sicily. In 1291 the Genoese brothers Guido and Ugolino Vivaldi were members of the ill-fated expedition led by Tedisio Doria, which, in search of a sea route to the Indies, disappeared mysteriously somewhere off Morocco. From the fifteenth century members of the Vivaldi family were prominent in Genoa, giving the Republic senators, ambassadors, a general and even a doge (Gerolamo Vivaldi, 1559–61). At the beginning of the sixteenth century Bernardo Vivaldi, an exile from Genoa, took refuge in Savona, founding a branch which is said to have multiplied rapidly and spread throughout Italy. Today the name Vivaldi is concentrated in no particular locality, though, perversely enough, it seems especially rare in Venice.
Years of travel
Authors: Talbot Michael 
Published: November 2023

Abstract
The duchy of Mantua, bordering the Veneta, was a flourishing centre of the arts during the seventeenth century. Indirectly, lavish spending on court entertainment led to the downfall of the Gonzaga dynasty, for the last duke, Ferdinando Carlo, being greatly in debt, was bribed into an alliance with the French during the War of the Spanish Succession. As Mantua was a fief of the Austrian Empire, this constituted treason; accordingly, the victorious Austrians made Mantua an hereditary imperial possession, appointing as governor the younger brother of the Landgrave of Hesse-Darmstadt, Prince Philip. Fortunately, Mantua’s cultural life continued much as before under Philip’s governorship (1714–35).
The movement of musicians between Venice and Mantua was a two-way traffic of long standing. If Vincenzo di Gonzaga had lost Monteverdi to Venice in 1613, Ferdinando Carlo’s recruitment of Caldara in 1700 showed that the pull could as well come from the other direction. A period of service at even a small court like Mantua’s offered a musician from republican Venice a type of experience and a species of patronage for which his city provided no equivalent.
The vocal music
Authors: Talbot Michael 
Published: November 2023

Abstract
‘Vivaldi, who wanted to be active in both fields [vocal and instrumental], always got himself hissed in the first, though he enjoyed great success in the second.’ Thus Tartini, arguing his case that vocal and instrumental composition, being so different in character, could not be mastered equally by one man. This opinion, which smacks of sour grapes, is belied not only by the facts of Vivaldi’s career but by remarks of other contemporaries, notably Mattheson, who, having observed that vocal writing does not tolerate the leaps found in instrumental writing, states: ‘Vivaldi, albeit no singer, has had the sense to keep violinleaps out of his vocal compositions so completely that his arias have become a thorn in the flesh to many an experienced vocal composer.’
The sheer mass of Vivaldi’s vocal music, sacred as well as secular, would not disgrace a composer who never wrote a note of instrumental music: over 45 operas, of which 16 survive in their entirety and four (including Vivaldi’s contribution to II Tigrane) in sufficiently complete form to merit analysis; eight shorter stage works (three extant); 40 cantatas; over 60 sacred works, including four oratorios (one extant).
The creation and transmission of musical sounds
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
In the first paragraph of the Introduction we described the start of a performance of Beethoven’s ‘Emperor’ Concerto. We identified the process of communicating between performers and listeners as the musical heart of the matter. Let us now return to the concert hall to examine this process, taking the point of view of a musician equipped with a lively curiosity and some useful scientific tools of investigation.
Sound production in musical instruments
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
In this chapter we shall consider the basic physical principles by which sound is generated in different musical instruments. The range of instruments available to the musician is so vast that at first sight this might seem an insurmountable task. Nevertheless, many of these have similarities which enable us to group them together for the purpose of analysis. In this connection it will be helpful if we start by considering how instruments fit into the different classification groups.
Symphonic Music II
Authors: Whittall Arnold 
Published: November 2023

Abstract
The first chapter on tonal symphonic music dealt principally with composers who, in respect of date of birth, were the seniors of Bartók and Stravinsky. This chapter gives its main emphasis to Hindemith, Prokofiev and Shostakovich, who were born between 1890 and 1910 and thus came to creative maturity after the principal issue of early twentieth-century music – to retain or abandon tonality – had already been raised.
Alban Berg
Authors: Whittall Arnold 
Published: November 2023

Abstract
Alban Berg (1885–1935) became a pupil of Schoenberg’s in 1904, and developed over the next decade into a composer whose differences from his teacher were of the greatest significance. His first opera, Wozzeck, was begun before the end of the First World War, Berg adapting his own libretto from Biichner’s play, and it occupied him until 1922: it was first performed, with great success, in Berlin in 1925.
Seven Europeans
Authors: Whittall Arnold 
Published: November 2023

Abstract
The early works of Witold Lutoslawski (born in Poland in 1913) display a wide range of influences from among those modem composers who retained an ultimate commitment to tonal emphasis. Of their very nature, however, these influences were likely to stimulate further exploration rather than mere imitation, and the music of Szymanowski and Bartók was of particular importance in providing Lutoslawski with ideas about how he might develop a more personal, more radical style.
The Midsummer Marriage
Authors: Bowen Meirio 
Published: November 2023

Abstract
I picked up once off a book barrow in Berne a mid-nineteenth-century brochure, which was a set of lectures given by a von Stein about the theatrical relations of Schiller to Goethe. I have an idea that the lecturer was the son (or grandson?) of Goethe’s Frau von Stein, but I have lost the brochure and cannot be certain. In any case the tone of voice was of someone very close to the Weimar circle. As I have not read Schiller properly or seen his plays, I found all von Stein had to say about him interesting and new. Von Stein examined Schiller’s idea that one of the roles in a drama might be a collective personality, not an individual. Schiller, he said, called his play ‘Wallenstein’s Lager’, instead of just ‘Wallenstein’, to emphasize that the camp is to be apprehended as playing just such a collective role.
Introduction
Authors: Williams Peter 
Published: November 2023

Abstract
This book presents examples of how gifted composers have made use of one particular theme or idea and have thereby, wittingly or unwittingly, developed a common pursuit. Having gradually become aware of the number of ways in which this theme occurs in music, I have looked for historical threads connecting them, and if at times readers are not convinced that a certain excerpt does show a chromatic fourth as it is defined below, I can only say that at some point I heard it to be so. Seldom does any observation here lead to deep theory or complex analytical structures. But almost .all of the book’s examples have struck me while playing or listening to music, and being few (considering the vastness of music), they may well lead readers to find other examples, especially in repertories with which they are more familiar than I.
Pavanes and Fantasias
Authors: Williams Peter 
Published: November 2023

Abstract
In calling the chromatic fourth a ‘point which our organists use’, Thomas Morley might have been implying some disdain for organ music as distinct from madrigals. But he could also have been reporting common practice: by 1597, keyboardists had come to include it amongst the standard themes in the counterpoint they wrote or improvised, with or without melancholy associations, which in any case Morley does not mention.
Beethoven
Authors: Williams Peter 
Published: November 2023

Abstract
Two-thirds of the way through the first movement of Beethoven’s Violin Concerto, preparation is made to return to the main theme (see Ex. 7. r). So a movement already of unsurpassed beauty is made more affecting still by the ‘threat’ of the chromatic fourth just before the main theme returns, which it does a few bars later, now not lyrically but tutti fortissimo. Such music seems to narrate, such that one might speak figuratively of a ‘sense of arrival’ or an ‘emotional stability’ when the fortissimo announces a tonic finally achieved-’the D major of this life’, as Browning might have put it.
‘Entartete Musik’: Reading the Nazis and the Schreker Case
Authors: Tambling Jeremy 
Published: November 2023

Abstract
This chapter explores decadence and nihilism in the senses in which these terms are constitutive of fascist rhetoric and also a critique of fascism. Two odd couples run through my consideration of this: Wagner and Nietzsche, Wilde and Schreker, with Franz Schreker (1878-1934) opening and dosing the chapter. His reputation was made by his ‘decadent’ opera Der feme Klang (1912). In the 1920s he taught in Berlin, a city reckoned since the 1890s to be at the heart of decadence. Romain Rolland thought that Salomes decadence, along with Strauss’s modernism and rejection of past musical traditions, originated in his association with fin de siicle Berlin. After the war, Berlin represented Weimar culture.
lvanov’s Last Ballets
Authors: Wiley Roland John 
Published: November 2023

Abstract
In the six years remaining to Ivanov after Swan Lake, he was involved in the production of three new ballets, one revival, and a substantial addition to a classic of the repertoire. Of the three new ballets, one was a brief pastoral (Acis and Galatea), one was a major enterprise on which much state money was spent (The Mikado’s Daughter), and one-not brought to the stage during his lifetime-was for a private imperial staging (An Egyptian Night). The revival was of Delibes’s Sylvia, which Ivanov began but Pavel Gerdt finished during Ivanov’s final illness; the substantial addition was a setting of Liszt’s Second Hungarian Rhapsody performed as a czardas in Saint-Leon’s The Little Humpbacked Horse .
Two Performance-Related Problems
Authors: Atlas Allan W 
Published: November 2023

Abstract
Some of the pieces in the Edition—and many more that are not—call attention to two aspects of performance practice that are, we might say, concertina specific. First, throughout the nineteenth century there were-as there still are—two different systems of fingering: one with the fourth (or little) finger and one without it; and the difference between them goes beyond mere choice and convenience, for without the fourth finger, some compositions simply cannot be played precisely as written. Second, at least for the first three decades or so of its existence, the concertina utilized mean-tone tuning, and thus differentiated between the pitches of the normally enharmonic pairs G#/ A and D#/E ; this drew the scorn of such critics of the day as Hector Berlioz, and now raises questions about the use of the concertina with other instruments, especially the piano.
The Early Songs I
Authors: Brown David 
Published: November 2023

Abstract
Wo or Three Years Before His Death In 1911 The French musicologist Charles Malherbe, archivist-librarian and avid collector of musical autographs, came into possession of a bound manuscript of Russian provenance. The acquisition surprised him, for Russians were not accustomed to sell their manuscripts and, as Louis Laloy explained, this one was no sketch but a carefully written autograph copy Moreover, the composer was a major one: Musorgsky It was entitled, in Musorgsky’s own hand, ‘Years of youth: a collection of romances … (from 1857 to 1866)’, and the composer himself had been responsible for having it bound in St Petersburg.
The Early Songs II
Authors: Brown David 
Published: November 2023

Abstract
Ne Crucial Fact Marked Out The Childhood Years of Glinka and Musorgsky from those of the other major figures of nineteenth-century Russian music. Balakirev, Borodin, Tchaikovsky, and Rimsky-Korsakov all grew up in urban environments; by contrast, Glinka and Musorgsky were bred on rural estates, thus imbibing folk culture to a degree probably denied the others during their most formative years.
Biographical Note
Authors: Evans Peter 
Published: November 2023

Abstract
Edward Benjamin Britten was born at Lowestoft, Suffolk, on 22 November 1913, a happy chance that was later to allow musicians to celebrate St Cecilia’s Day and his birthday together. His father, a dentist, appears to have had no artistic interests, but his mother was an amateur singer who encouraged him to compose, even before formal musical tuition began. At a time when Bach, Beethoven and Brahms dominated the orthodox canon, she predicted his becoming ‘the fourth B’, sowing the seeds of his later compulsive work ethic, but also of his depressions when he doubted the quality of his invention.
Early Chamber and Piano Music
Authors: Evans Peter 
Published: November 2023

Abstract
The first span of Britten’s activity, up to his return from America, is bounded by two chamber works, the Sinfonietta and the first string quartet, both of which demand examination in some detail if the composer’s precocious command of structural thinking is to be made clear. What happens in the nine years between them is partly a strengthening of faith in tonal mechanisms and partly a development of idiosyncratic melodic and harmonic procedures; sometimes a big step comes in a slight work, and at this formative stage it is worth while to look carefully at even those scores which may seem peripheral.
Paul Bunyan
Authors: Evans Peter 
Published: November 2023

Abstract
Though several works to which Britten assigned opus numbers were subsequently withdrawn, like the Occasional Overture for the opening of the BBC Third Programme in 1946 (see p. 555), only one piece, the operetta Paul Bunyan, of 1941, continued to attract much comment after its suppression. And comment was necessarily speculative for, whatever its significance as a trial essay in a medium the composer was later to cultivate with such success, and as his only operatic collaboration with Auden, it had been seen neither on stage nor in score by any of the writers who discussed Britten’s work; not surprisingly therefore it acquired a mysterious aura during the thirty-five years between its first and second productions.
Gloriana
Authors: Evans Peter 
Published: November 2023

Abstract
Two Covent Garden premières of full-scale operas only eighteen months apart must constitute a record in recent times—one that seems unlikely to be wrested from Britten. After the introverted action and music of Billy Budd, he had turned to an undertaking of an unprecedentedly ‘public’ nature in choosing to provide an opera in honour of Queen Elizabeth II’s coronation and in basing it on incidents in the reign of her illustrious namesake.
Later Instrumental Works
Authors: Evans Peter 
Published: November 2023

Abstract
The Second String Quartet, Op. 36, was first performed on 21 November 1945, the 250th anniversary of Henry Purcell’s death. On the following evening, also in the Wigmore Hall, Britten and Pears gave the first performance of Op. 35, the cycle of Donne Sonnets. Not surprisingly, both works are heavily influenced by the composer’s admiration for his great predecessor, but it is in setting texts that Britten has learnt the more profoundly. The quartet’s tribute lies chiefly in its final Chacony, its first two movements inviting comparison rather with the classical quartet literature.
Aspects of Eighteenth-Century Roman Catholic History in England
Authors: Zon Bennett 
Published: November 2023

Abstract
As the revival of plainchant and the revival (or emancipation) of the Catholic community in England were very much bound up with one another, an examination of the plainchant revival would be incomplete without providing a picture of the social context of Catholics of the time. Below, therefore, are presented various aspects of Catholic history which not only formed English Catholic identity but also either directly or indirectly influenced the progress of the revival of plainchant.
Background to the Revival
Authors: Zon Bennett 
Published: November 2023

Abstract
The Anglican plainchant revival is to some extent the aesthetic realization of high churchmanship within the Established Church, the most obvious manifestation of which is Tractarianism or the Oxford Movement. The name Tractarian was one associated with those individuals adopting a theological stance evinced in the pages of theTracts for the Times (1833–41), the principal organ of the Oxford Movement. The main figures of the movement, and hence of theTracts, were John Henry Newman (1801–90), John Keble (1792–1866), and Edward Bouverie Pusey (1800–82). The movement itself was begun nominally in 1833 when Keble preached an assize sermon entitled ‘National Apostasy’ in the university church of St Mary the Virgin, Oxford, and from then onwards Oxford was always associated with the movement. Numerous well-known figures like Thomas Belmore (1811—90),John Mason Neale (1818—66), and Walter Kerr Hamilton (1808-69) fell under its sway as Tractarianism and Oxford became inextricably linked. The first of the Tracts for the Times was written in 1833 by Newman, who roundly defends the doctrine of apostolic succession, or in this case the belief that the hierarchy of the Church of England represented an unbroken lineage with the Apostles and Christ.
At Home
Authors: Poznansky Alexander 
Published: November 2023

Abstract
Letter to Anatoly Brandukov— cellist, Tchaikovsky’s student at the Moscow Conservatoire, and a close friend of the composer; he was the first to perform the Pezzo capriccioso (1887), which Tchaikovsky also dedicated to him. As I wrote to you, my new symphony is completed. I am now working on the scoring of the (third) concerto for our dear Diemer. When you see him please tell him that when I proceeded to work on it, I realized that this concerto is of depressing and threatening length. Consequently I decided to leave only part one which in itself will constitute an entire concerto. The work will only improve the more since the last two parts were nothing very much.
Hope
Authors: Poznansky Alexander 
Published: November 2023

Abstract
By Saturday morning all choleraic attacks had indeed disappeared and [Tchaikovsky] had been rescued from cholera proper. He had recovered to the point that after the disinfection process it became possible to allow his friends into the patient’s room. They came and shook his hand, and he, smiling, responded with a feeble handshake. . . . The physicians made the visitors wash their hands in a solution of mercuric chloride as they left, but primarily as a formality, for they were quite confident that the infection, already driven out of the patient, had been completely eliminated.
Aftermath
Authors: Poznansky Alexander 
Published: November 2023

Abstract
Today I read [Modest] Tchaikovsky’s description of the illness and death of his celebrated brother. Here is a reading helpful to us: sufferings, cruel physical sufferings, fear: can it be death’? Doubts, hopes, an inner conviction that it is death, and still, all the while, unceasing suffering and exhaustion, a dulling of the senses and almost a reconciliation and oblivion, and, just before the end, a kind of inner vision, an elucidation of everything-‘So that’s it“-and ... the end. Here is for us a necessary, a good reading. cSo that’s it”—and . . . the end. Here is for us a necessary, a good reading. Not that we should think only of this and not live, but rather we must live and work, yet constantly with one eye seeing and remembering this source of everything steadfast, true, and good.
‘The Hieroglyphics of Love’: The Torch Singers and Interpretation
Authors: Moore John 
Published: November 2023

Abstract
The first law of love is subjective: subjectively, jealousy is deeper than love, it contains love’s truth. This is because jealousy goes further in the apprehension and interpretation of signs. It is the designation of love, its finality. Indeed, it is inevitable that the signs of a loved person, once we ‘explicate’ them, should be revealed as deceptive: addressed to us, they nonetheless express worlds which exclude us and which the beloved will not and cannot make us know…Love’s signs…are deceptive signs which can be addressed to us only by concealing what they express: the origin of unknown worlds, of unknown actions and thoughts which give them a meaning. They do not excite superficial, nervous exaltation, but the suffering of a deeper exploration. The beloved’s lies are the hieroglyphics of love. The interpreter of love’s signs is necessarily the interpreter of lies.
‘Everybody’s Lonesome for Somebody’: Age, the Body, and Experience in the Music of Hank Williams
Authors: Leppert Richard , Lipsitz George 
Published: November 2023

Abstract
‘He was so ordinary he merges with the crowd in my memory.’ (Mrs Lilly McGill, teacher, Georgiana, Alabama, on her former pupil, Hank Williams.) Houston Baker locates the blues at the crossroads of lack and desire, at the place where the hurts of history encounter determined resistance from people who know they are entitled to something better (Baker 1984: 7, 150). Like the blues singers from whom he learned so much, Hank Williams (1923 to 1953) spent a lot of time at that particular intersection. There he met others whose own struggles informed and shaped his music. Williams’s voice expressed the contradictions of his historical moment—post-Second World War America—a time when diverse currents of resistance to class, race, and gender oppressions flowed together to form a contradictory, but nonetheless real, unity of opposites. Standing at a crossroads in history, at a fundamental turning point for relationships between men and women, whites and blacks, capital and labour, Williams’s songs about heartbreak and failed personal relations indentified the body and the psyche as crucial terrains of political struggle in the post-war era.