bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Modern Rubato
Authors: Hudson Richard 
Published: November 2023

Abstract
The dominating musical style of the first part of the twentieth century involves, in some essential respects, a complete reversal of the ideals of late Austro-German romanticism. Debussy represents a sub stantial but still romantic reaction to this tradition. The new neo classical style emerges when composers turn from a subjective to an objective point of view,1 and when performers reject excessive personal interpretation in favour of fidelity to the musical score. Along with the new spirit come new concepts of time and rhythm which involve a far greater adherence to strict tempo. Influence comes occasionally from the rhythms of folk-music, the music of other cultures, or Western music of the past. Some of the popular music of this period incorporates the earlier type of rubato.
The Future of Rubato
Authors: Hudson Richard 
Published: November 2023

Abstract
The overlapping arcs in Figure 1 depict my own conception of music history. Each arc represents a unified system of musical ideas which gradually evolve toward a moment of fulfillment, then decline. As one cycle declines, it overlaps with the beginning of the next. The process is essentially unrelated to artistic quality, since a great or trivial work may be created at almost any point in a cycle. Furthermore, the evolving musical elements themselves bear no absolute value, for any particular idea such as imitation or counterpoint may be cultivated during one cycle and carefully avoided or restricted during another. The systems of ideas are generated by two opposing factors: the need for change and for something new, and the desire to retain sufficient features from the past to assure a sense of continuity.
Preface to the Revised Edition
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The piano has been many things and performed many tasks. The pre¬ dominant musical instrument, for tyro and virtuoso, it was also once a potent symbol of social advance. Precursor of our coveted goods, it therefore pioneered the law and finance of hire purchase. Its development, requiring new technologies and systems of manufacture, epitomized the industrial history of competing nations. If its historian, like some of its makers, cannot afford to be tone-deaf, he should also take note of economic and social contexts. He must stress orders of magnitude (how large? how many? how typical?), as music historians seldom do, and then attempt to give coherence to the whole.
The English Industry, 1870-1914
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The piano industry in late Victorian and Edwardian England consisted of three disparate and unrelated groups of firms. First there were three old-established, high quality manufacturers, self-conscious guardians of a fine but obsolete technology who tended to live in the past and faced dwindling sales with varying degrees of equanimity. They are listed in Section I of Table IX. Poles asunder were some two to three hundred garret masters who do not appear in Table IX. Each produced alone, or with a handful of men, a supply of cheap and mostly shoddy pianos and ‘dovetailed’ their highly seasonal activities with summer work in cabinet making, hop picking or even professional cricket. Although every year brought its crop of failures, and the slightest recession could be disastrous, this pool of small makers was constantly replenished by workers from the larger factories tempted by independence, ease of entry into the industry and a pervasive system of subcontracting by larger masters.
The Development of the Violin and Bow in the Early Seventeenth Century
Authors: Boyden David D 
Published: November 2023

Abstract
By the early seventeenth century the violin was so well known, according to Praetorius, that nothing more needed to be said about it. With our advantage of hindsight, one further thing might be said about it now: at the beginning of the seventeenth century the capabilities of the violin and probably the bow were well in advance of the demands made upon them by composers and violinists, who needed to catch up with the musical and technical possibilities inherent in this remarkable instrument. Consequently only a few changes had to be made in the violin in the early seventeenth century; and it is noticeable that new changes in violin design vrerlargely decorative rather than functional (see below, p. ro8). Certain refinements took place in the bow, as will be described presently, to meet demands of players for new effects.
The Violin and Bow of the Early Eighteenth Century
Authors: Boyden David D 
Published: November 2023

Abstract
Antonio Stradivari, whose early works and experiments have already been described (p. 197), continued to make violins steadily until the end of his long life (1737), a career uniquely distinguished by its productivity and consistent output of extraordinary instruments. Having abandoned his ‘long’ model violin about 1700, Stradivari produced shortly afterwards a ‘classical’ model which embodied the tonal and acoustical principles that served him to the end of his life.1 The earliest celebrated example of this model was the ‘Betts’ violin of 1704 (Plate 33a), with which Stradivari enters his so-called ‘golden’ period. Among the great violins of this time were the ‘Alard’ of 1715, the ‘Messie’ of 1716,2 and the ‘Rode’ of 1722, the last of the ornamented violins. While Stradivari continued his experiments to the end of his life, this classical flat model created a standard that has prevailed to the present. The significance of Stradivari lies partly in establishing and perfecting a model more influential than any other in history, and partly in the extraordinary perfection of his instruments. The latter combined the highest standards and beauty of craftsmanship, wood, and varnish with exceptional tonal properties, ease of playing, and carrying power. Stradivari enjoyed an immense fame in his lifetime, although (as has already been pointed out) he shared the highest esteem with others.
Practical Hints to Modern Violinists
Authors: Boyden David D 
Published: November 2023

Abstract
In the body of this book I have presented the details of the history of violin playing from its origins to the middle of the 18th century in connexion with the development of the violin, bow, and music concerned. Is this information of more than historical interest? The answer to this question depends very much on the readers of this book and especially on the attitude of individual violinists toward performance. Some violinists say in effect, ‘I play the music just as I feel it’ -an intuitive approach. Others wish to base their interpretation, as far as possible, on the intentions of the composer, and play accordingly. Naturally, no performer’s attitude is ever quite as simple or clear-cut as this, but, nevertheless, these two points of view are basic. They are also fundamentally opposed.
The Earliest Instruments
Authors: Rice Albert R 
Published: November 2023

Abstract
The makers, design, and construction of the clarinet with two or three keys, known as the baroque clarinet, are the subjects of this chapter. Such instruments were initially made during the first decade of the eighteenth century and continued to be constructed and played throughout the eighteenth century and into the nineteenth. Many common characteristics of construction shared by the extant baroque clarinets are discussed below, along with differences in construction which appear to reflect, the preferences and techniques of their makers.
Town and Court Musicians: The Composer in Context
Authors: Webber Geoffrey 
Published: November 2023

Abstract
The nature of the output of any seventeenth-century North German composer was determined principally by two related factors, the type of employment he held, and the extent of his exposure to Italian music. The post of cantor at a large town church (sometimes called Director Musices or Kapellmeister) held great responsibilities in connectionwith the provision of the regular liturgical music, the leading of the congregational singing, and the instruction of the boys at the adjoining school.
Compositional Styles
Authors: Webber Geoffrey 
Published: November 2023

Abstract
Towards the end of the seventeenth century the principal stylistic development in vocal music was the gradual polarization of recitative and aria; as the dominant recitative style became increasingly secco, consisting of short, formulaic passages, so the aria became more extended and elaborate. But during Buxtehude’s youth the demarcation between the two styles was much less clear, allowing composers to move more readily from one to the other and explore the shades of musical possibilities in between them, responding rapidly to the demands of the text. This fluidity of style was recognized by some contemporary theorists, who sought to identify a style unique to church music, part way between recitative and aria.
Ludwig van Beethoven
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Much has been written and said as to the legitimacy and scope of what is called ‘programme music’-that is to say music that, without employing the human voice or the aid of scenery or action, depicts external objects. But it may be doubted whether we shall ever find a better solution of the problem than Beethoven’s, as expressed so tersely in the superscription to his ‘Pastoral’ Symphony. ‘Mehr Ausdruck der Empfindung als Malerei’-’expression of feeling rather than pictorial expression’; the phrase has almost become a proverb.
Vincenzo Bellini Aria, ‘Casta Diva’’ From Norma
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
To the great enlargement of musical culture, a miniature score of Norma has been available since 1915; and musicians are thus able to see for themselves what grounds Wagner had for regarding with affection and respect a vocal and dramatic art so obviously at the opposite pole from his own. Among the many strange features of Italian opera in the first half of the nineteenth century, per haps the strangest is the predominance of blood and thunder in opera libretti. With early classical music, the instinct of librettists and composers led them to avoid a tragic outcome in an opera.
Antonin Dvoř ák Symphony No. 8 In G Major, Op. 88
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Before the days of broadcasting, the foreign composer was ill-advised in trying to hit the British popular taste in music. He had no means of guessing the enormous gulf between the tastes of people who wanted to listen to music and those who wanted merely to eat or to dance to it. He imagined the state of things that prevails in a continental beer-garden, where there is plenty of dance music and extracts from popular operettas but where there is also a symphony which is heard in perfect silence.
Ein Heldenleben (1902)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Herr Richard Strauss has now conducted the first performance in London of his most advanced and typical work; and it has given so much refined and healthy pleasure to the large audience that assembled in the Queen’s Hall last Saturday that the least we can do is show our gratitude by trying to clear the air from foggy theories that make the name of Strauss a terror to those who know and love classical art. For the new art of Straussian Tondichtung is not the first to be hampered by devotees of a kind that must be laughed out of existence if the sanity of the artistic world is to be preserved.
J. A. Fuller Maitland, The Age of Bach and Handel (1903)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
This book would need careful and sympathetic reading in any circumstances, but its position as one of the volumes of the Oxford History of Music will perhaps expose it to some degree of misunderstanding. Mr Fuller Maitland’s methods are not those of Sir Hubert Parry or Professor Woodridge,1 though any unprejudiced reader will soon realize that Mr Fuller Maitland has as much skill in his own methods and as much right to use them as his learned colleagues have skill and right to use theirs. Yet we cannot but think that his method is somewhat ill-timed for readers of the first and third volumes of the series, and his subject stands even more in his way than his method.
W. H. Hadow, The Viennese Period (1905)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
With the present volume we begin to feel that our impressions of the Oxford History of Music are taking shape, though it is unsafe to predict what they will be when the second volume shall have supplied its account of the ‘Golden Age’ of sixteenth-century polyphony, and the sixth volume shall have completed the scheme with a description of the ‘Romantic’ period that may be said to bring the history of music up to the present day. But, however our impressions may be modified hereafter, one thing is clear, that the Oxford History of Music com bines a high standard of work with a great variety of method.
Joseph Joachim, 1831-1907 (1907)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
What have we lost by the death of Joachim? The answer is not found easily. To the thousands of music-lovers who perhaps heard him only once or twice in his later years, and whose judgement has been confused by the conflicting voices of more knowing folk, the answer may be-an interpreter who, in youth a noble pioneer of art, defied the weakness of advancing age; one whose spirit so rose above physical limitations that he could at all times inspire his audience to read the message of his art.
A Composer on Composition (1911)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The appearance of Sir Charles Villiers Stanford’s little treatise on Musical Com position [London: Macmillan, I 9 II] means far more than the inauguration of ‘The Musician’s Library’, excellent as that series promises to be. It is the first treatise for three centuries in which composition has been treated by a com poser whose own works have claims to live. Certainly since the Compositions Regeln of Sweelinck1 no work on composition can claim any such authority of practical mastery, wide musical and general culture, rhetorical power of melody and harmony, and unswerving devotion to the purest artistic ideals as this latest opus of the composer of Eden, the Irish Symphony, Shamus O’Brien, and that noble choral symphony the Stabat Mater.
Christoph Willibald Gluck (1714-1787)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Christoph Willibald Gluck, the operatic composer, German by birth, French by his place in art, (was born in the Upper Palatinate on 2July1714. His father was gamekeeper to Prince Lobkowitz. At the age of 13 or 14 he went to Prague, where he maintained himself by hand-to-mouth musical jobs, sometimes at village fairs and dances. Prince Lobkowitz introduced him to the best families of the Austrian nobility; and when in the 1730s he proceeded to Vienna he was hospitably received at his protector’s palace.
Note on the Text
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The lectures survive in the form of typed transcriptions deposited in the Tovey Archive, Reid Library, University of Edinburgh (the Beethoven series being from the collection of Mrs Mary Firth): the result of typing-up after the event from the note-pads of a very competent stenographer, or succession of stenographers, who tried to get down everything Tovey had to say. The standard of recording and transcription seems to be high, though there are a few fairly obvious mistakes of hearing or typing (‘Fidele’ for ‘Fidelio’, ‘falline stanza’ for ‘four-line stanza’ etc.), some passages in the Beethoven lectures where the recording angel simply did not grasp what Tovey was talking about, and several lacunae where she or he was defeated by some recherche word of the speaker’s and left a gap.
The Enjoyment of Music (1901)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
In these days of incessant concerts and incessant production of novelties, musical culture becomes a very different matter from what it was fifty years ago. In one sense the common report is true, that musical culture is much more universal than it used to be-that is to say, that there are enormous masses of per sons who now take a more or less intelligent interest in good modern music, whose representatives in former generations could not have listened with pleasure to anything beyond the poorest type of sentimental song.
Dame Ethel Smyth: Two Introductions (1928, 1931)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Dame Ethel Smyth has, on previous occasions elsewhere, supplied notes on her works. These notes are given here. They are extremely terse and, at the same time, masterly in their completeness. Interpolations would be an impertinence; but some introductory remarks seem desirable, since the composer has instinctively avoided anything that could be construed as self-praise or even as egoism. The first thing that must be grasped about this music is that we have no business to take it seriously as the work of a woman. Our business is to take it seriously as music.
The BBC Symphony Orchestra in Edinburgh (1937)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The present programme displays the wide range of music that we have learnt to expect from the BBC Symphony Orchestra, with the important exceptions that it does not represent what may be called the pre-orchestral period before Haydn and Mozart, nor the ‘romantic’ period that lies between Beethoven and the most recent times. But one of the most important of recent tendencies takes the form, consciously or unconsciously, of a ‘return to Bach’; that is to say, a return to a musical texture in which every note is necessary in its own melodic right and never merely accessory to complete the harmony.
The Pleasure of Hearing
Authors: Maconie Robin 
Published: November 2023

Abstract
Some basic distinctions: Music: the idea behind or beyond the sound. A musical composition: the idea in sound, usually but not always imagined in terms of musical instruments. Music, the performance: the sound which actually emerges from an interpretation of the composer’s instructions, and which may aspire to communicate the composer’s original idea. The sound of music: a listener’s perception of the idea conveyed by a musical performance or expressed in a feature of the sound environment.
Sounds Like Reality
Authors: Maconie Robin 
Published: November 2023

Abstract
In order to prove that music takes its imagery from the world of sound as painting and sculpture do from the visible world we have to know something of how the world of sound is actually perceived and manipulated in real life. Not all that much is recorded. Stereophonic recording has contributed some insights into how an illusion of aural space may be created artificially. Clement Ader’s demonstration of stereophonic transmission at the Paris Exhibition of Electricity in 1881, transmitting from spaced telephone pick-ups on the Opéra stage to ear-pieces several blocks away, set in motion a lengthy process of research and development which was eventually to lead to the launch of commercial stereophonic recording in the late 1950s. However, because industi:y rather than science was the driving force behind much of this research, it tended to be guided more by intuition than by science, and on occasion products were launched which did not prove to be based on as complete an understanding of aural perception as the industry and its publicity machine affected to claim.
Time
Authors: Maconie Robin 
Published: November 2023

Abstract
Music is an experience of transience. Sounds do not last. Silence attracts the same apprehensions as townspeople used to feel about the untamed countryside: surrounded by it, we soon begin to seek anxiously for evidence of human occupation, whether the elegant and magisterial intelligences overseeing a Gainsborough landscape or the naturalized toilers in the field of a Constable. Silence, like Nature, is tireless and invincible: however grand a sound we make, silence will invade and inexorably overwhelm it. If silence is to be kept at bay, sound must be constantly renewed. But if sound did not die away, we would not have the option of repeating, or better still, replacing it with something different. Without silence there could be no music.
Grandmother’s Footsteps
Authors: Thomson Andrew 
Published: November 2023

Abstract
Paul Marie Theodore Vincent d’lndy was born with the blood of military and public service in his veins; the course of his long and active musical life revealed how loyal he remained to the patriotic, idealistic spirit of his ancestors. The family can be traced as far back as 1388, when Enguerrand Indy was Governor of the Dauphine; the junior branch established itself at Annonay in 1490. Little subsequently is remarkable until the era of the Napoleonic wars, which gave Vincent’s great grandfather and grandfather the opportunity to show their mettle. Joseph d’lndy was Prefect of the Ardeche in 1814, remaining faithful to Louis XVIII during the ‘Hundred Days’ of Napoleon’s return from Elba, but rewarded in 1819 with dismissal from his post by Decazes, the King’s minister.
Morally Bracing Mountain Air
Authors: Thomson Andrew 
Published: November 2023

Abstract
D’lndy was definitely enjoying more success than many of his friends and colleagues, some of whom, like Franck and Fauré, were sorely pressed by their economic circumstances. By comparison with the well-received Le Chant de la cloche, Fauré’s Symphony in D minor, which d’lndy conducted at Anvers on 14 October 1885, must have been a failure, for the composer destroyed it afterwards; he had doubtless been following a false trail in this instance, but he was by no means alone.
Breaking the Boundaries
Authors: Thomson Andrew 
Published: November 2023

Abstract
All his friends could call on d’lndy for fatherly advice at times of difficulty and crisis. He himself well understood the dark night of the soul through which the creative artist must pass in order to arrive at a clearer knowledge of himself and his capabilities. Writing to de Breville, afflicted by a mood of total discouragement, he advised him that his state of mind seemed to indicate a musical transformation:
Webern and the Lyric Impulse
Authors: Shreffler Anne C 
Published: November 2023

Abstract
This study provides a new view of a composer long considered to be one of the century’s most rigorously intellectual creators, Anton Webern. By examining a central pre-twelve-tone work, the Trakl cycle, Op 14, in the context of the Viennese intellectual and artistic climate, Professor Shreffler shows how Webern’s responses to Trakl’s complex verse enabled him to expand his musical vocabulary. The author’s emphasis on Webern’s compositional process is of particular importance: whether because of the anxiety of creating a new musical language, or because of an innate hyper-perfectionism (or both), Webern rejected most of what he composed. A close examination of the manuscript sources—fragments, sketches, and fair copies—of Webern’s comparatively neglected middle-period lieder enables her to shed light on Webern’s musical language and his working methods. A focus on the sources also helps to modify the view that his music progressed steadily in the direction of the twelve-tone technique. The works reveal instead a concern with expressing the essence of the text; this lyricism, rather than articulating a substantially different aesthetic from the later works, provides a better understanding of the consummate lyricism of all his music, however compressed or fragmented its utterance in the `classic’ twelve-tone works.