bluuebunny/crossref_metadata_2025_split huggingface dataset:
Introduction
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
The years of Satie’s professional involvement in Parisian popular music (from 1888 to c.1909) witnessed rapid changes in, and exchanges among, the various locales of such entertainment. While some cabarets continued to harbour the semi-private gatherings of bohemian poets and artists, others were transformed into elegant chamber theatres (thé âtricules), where actors and singers hired from the troupes of the larger houses held the stage with chansonniers from Montmartre.
Satie at the Chat Noir
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
Montmartre was, circa 1885, what Montparnasse would be in the 1920s and Saint-Germain-des-Pres in the 1950s: a world teeming with ideas, where one rubbed elbows with geniuses, a nursery of failures, a market for every pleasure, a village where one became famous in a single night. But unlike Montparnasse and Saint-Germain, Montmartre was exclusively French with a Rabelaisian side, a ferocious humour.
Satie and the Divan Japonais
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
On 27 October 1888 the Chat Noir announced an event that, for the Parisian entertainment world, was not without novelty: the Divan Japonais, a modest cafe-concert at 75, rue des Martyrs (just off the boulevard Rochechouart), had been purchased by, of all people, a poet. In cabaret circles the attitude towards the cafe-concert was generally scornful. Salis, when his audience failed to appreciate one of his sallies, would drily remark, ‘You’ll find the Concert European in the rue Biot!’ implying that their stunted tastes might be better served by such an establishment.
Satie at the Auberge du Clou
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
When Dominique Bonnaud first entered the Chat Noir one autumn afternoon in 1893, he found the place as empty and imposing as a museum. ‘The swarms of artists, writers, and bohemians for whom this had long been the sole rallying point, had taken their tumultuous gatherings to other brasseries.’ One of the most frequented of these new ‘rallying points’ was the Auberge du Clou.
Satie and Hyspa
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
Vincent Hyspa’s career as a chansonnier began in February 1892. After a hiatus of three years, he had returned to the Chat Noir, and Salis invited him to perform at the next goguette. Hyspa, yielding to ‘serious pecuniary reasons’, appeared at the cabaret on Sunday morning and recited a poem indebted for its theme to Mac-Nab’s ‘Vae soli’, which Hyspa would surely have performed in his colleague’s stead before leaving the Chat Noir.
Of Pantomimes and Pears
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
Once employed by Hyspa, Satie did not stop working for himself He entered into collaborations with two other bohemian friends, Jules Depaquit and Contamine de Latour, and produced a string of works that all came to little or nothing, at least during his lifetime. The score of Jack in the Box may never have left the flat in Arcueil, to judge from the account of Darius Milhaud. Entering the dingy room after Satie’s death, Milhaud discovered the manuscript behind the piano; Satie had claimed to have lost it in a bus.
Introduction
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
It was Maurice Ravel who would bring Satie out of bohemian obscurity into the limelight of Parisian concert life. The two had kept in touch over the years, since their first meeting c.l 893 at the Nouvelles Athenes. Ravel had introduced Satie to other members of his circle, eventually dubbed the Apaches: the pianist Ricardo Vines (at a Chevillard concert in December 1900) and the composer Florent Schmitt. Satie and Schmitt must have hit it off rather well.
Autour de Cocteau, or the Uses of Popular Music
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
For better and for worse, the last decade of Satie’s career was to be dominated by the poet Jean Cocteau. In Cocteau’s case, the designation poet stood for many other roles: librettist, dramatist, novelist, caricaturist, and film-maker; also propagandist, theorist, intriguer, and concert organizer. During the war years Cocteau completely displaced Ravel as Satie’s guardian-angel. Satie had learnt, from experience, to be wary of those who promoted him; but it is not difficult to explain why he fell in with Cocteau. Ravel, by touting him as a ‘precursor of genius’, had found a worthy place for Satie in the musical past.
Musical Performance Studies as a ‘Discipline’
Authors: Dunsby Jonathan 
Published: November 2023

Abstract
I trot out the term ‘discipline’ of musical performance studies as if it clearly existed, but it is as well to state that this term at present stands merely for ‘subject’ or ‘topic’. ‘Discipline’ carries the implication of a received body of knowledge and an orderliness in whatever is conducted in its name, however subversively. I shall repeatedly comment on the fact that this does not really seem to have been the case in musical performance studies.
The Sound of Music
Authors: Dunsby Jonathan 
Published: November 2023

Abstract
Clearly, I am going to try to do something more here than reassert that the hills are alive with it-though the sound of music be impossible to convey in words. I stick to my insistence that music makes us think in performance or as per formers, and it is certainly no less the sound than other of its aspects that stimulates our pondering, speculation, desire to understand. Studies of this particular aspect, apart from the ecstatic ones, naturally tend to veer either towards the minutiae of acoustics, which for the specialist is an endlessly fascinating subject, or towards the psychology of perception.1 These poles will always be within sight in what follows in this chapter, but viewed from the middle path of practical considerations.
The path to rediscovery
Authors: Talbot Michael 
Published: November 2023

Abstract
By the ‘rediscovery’ of a composer we seldom mean much more than his rescue from a presumably unmerited neglect, and sometimes as little as the dutiful revival of some of his major works on the anniversary of his birth or death. Vivaldi is one of the very few important composers to whom the notion of rediscovery applies in the most literal sense. He died over two and a half centuries ago, yet until about 60 years ago the musical world was totally unaware of the existence of the great majority of the works, totalling over 770, that can today be ascribed to him. Until then not one opera, not one sacred vocal piece, had, it seemed, survived for scholars to inspect and audiences to hear. Now scarcely a year passes without the announcement of some fresh discovery: one might mention a partly autograph set of 12 violin sonatas (seven hitherto entirely unknown and the rest known only in incomplete or variant form) as well as two violin concertos unearthed in Manchester in 1973, and a highly original sonata for violin, oboe and obbligato organ, also autograph, preserved in Dresden, which was brought to light as recently as 1976.
Vivaldi’s musical style
Authors: Talbot Michael 
Published: November 2023

Abstract
Many listeners must have discovered how much easier it is to mistake one Vivaldi composition for another than to identify its composer wrongly. To say this is neither to endorse Stravinsky’s supercilious observation, inherited from Dallapiccola, that Vivaldi could ‘compose the same form so many times over’,1 nor to make an obvious deduction from the fact that he borrowed copiously from his own works but sparingly from those of other composers. Even by the standards of his age, when plagiarism from other composers was frequently castigated by critics but self-borrowing raised hardly a murmur, his style remained remarkably constant. It was almost fully formed in op. 1 (1705) and complete in its essentials in op. 2 (1709); thereafter it underwent little change except in its more superficial melodic characteristics, which evolved continuously to keep abreast of current fashion. Had his style been half as malleable as that of his contemporary Telemann (1681-1767), who began as a neo-Corellian and ended as an immediate precursor of the Classical style, he would hardly have countenanced including his contributions to the 1714 revival of Ristori’s Orlando furioso in his own Orlando of 1727, or using movements from the original version of Farnace (1727) in the ill-fated score for Ferrara of 1738.
Stringed keyboard instruments
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
There are three distinct types of stringed keyboard instruments in common usage, the clavichord, the harpsichord and the piano. These have their origins in the dulcimer and the psaltery which originated about a thousand years ago and are closely related to the harp. Both of these early instruments consist of strings of varying length stretched on a frame over a soundboard. They have no mechanical action, the strings being plucked on the psaltery and struck with light hammers or beaters, held one in each hand, in the case of the dulcimer. Various forms of dulcimer are used today in school percussion and folk groups.
Woodwind instruments
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
The woodwinds are part of the aerophone class of instruments. There are two distinct types of woodwind, those where the resonance is excited by a mechanical reed and those where the excitation is by an air reed mechanism. Mechanical reeds can be either of the single type, as in the clarinet and saxophone, or the double, as in the oboe and bassoon. The air reed instruments are essentially the flutes, recorders and ocarinas.
The musical environment
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
The acoustics of the room or auditorium in which music is played greatly influence the sound which a listener hears and consequently his feeling of satisfaction or otherwise. The quality of musical performance can also be affected very significantly, so much so that there are many orchestras, bands and solo artists who will not play in certain auditoria which do not have acoustics to their liking. The acoustical characteristics considered to be most desirable are dependent to a great extent on the type of music being performed and also on the subjective assessment of different users. What may suit a rock band, for example, would possibly be quite unacceptable for a solo flautist. Up until the turn of this century concert hall designs were based solely on the experience gained from previous constructions.
Opera
Authors: Whittall Arnold 
Published: November 2023

Abstract
Attempts to argue that opera in the modem age is an anachronism have never carried much purely musical weight. Composers who represent all the diverse styles of the present have felt drawn to some kind of ‘music theatre’, even if they reject the term ‘opera’ as such, and even amongst opera composers who retain tonality and remain relatively close to nineteenth-century forms and idioms, ample variety and vitality can be observed.
The Chromatic Fourth During Four Centuries of Music
Authors: Williams Peter 
Published: November 2023

Abstract
Despite its rather forbidding name, the `Chromatic Fourth' is one of the most familiar short themes in virtually all western music over the four hundred years before the middle of our century. It is a sequence of six notes that can be heard in a huge variety of ways, most originally, effectively, and beautifully in the work of the greatest composers, from the madrigalists to Stravinsky, from Byrd to Bartók, with telling examples in the operas of Monteverdi, Mozart, and Wagner, or in the keyboard music of Bull, Bach, and Schubert. Although the existence of the chromatic fourth has long been recognized, and occasionally mentioned by music historians, this is the first thorough-going attempt to trace its likely origins and its evolution over four hundred years. With over 200 music examples, Peter Williams demonstrates the theme's wonderful variety, and shows that it was used by composers not only as a means of emotional expression, but also as a structural device.
Handel to Haydn
Authors: Williams Peter 
Published: November 2023

Abstract
Like any German composer of his time, Handel followed conventions in his use of the chromatic fourth, whether for certain texts or as an adaptable line in counterpoint, or both. Scarlatti too used it in counterpoint, but also for the marked Affekt it can bring to more galant music. His handling is deft and astute, like Frescobaldi’s, though seemingly offhand and without pedantry.
Pianists and Violinists
Authors: Williams Peter 
Published: November 2023

Abstract
Some indication of how a majority of musicians—countless music teachers and organists—continued to harmonize or compose according to formulas is given from time to time by pupils, or pupils of pupils, of J. S. Bach. Such habits provided a constant and fertile background. J. G. Milthel (d. 1788) was one of many to continue using the chromatic fourth in harmonizing organ chorales, such as ‘Jesu, meine Freude’, aJesus-hymn now brought up to date by being marked ciffettuoso. J.P. Kimberger, a Bach pupil from the late Leipzig period, relayed Protestant tradition for two or three generations of Berliners, thus over the first period of the Bach Revival as well as during Beethoven’s later years.
Introduction: Opera and the Culture of Fascism
Authors: Tambling Jeremy 
Published: November 2023

Abstract
The philosopher must be the evil conscience of his age-but to this end he must be possessed of its best knowledge. And what better guide, or more thoroughly efficient revealer of the soul, could be found for the labyrinth of the modern spirit than Wagner? Through Wagner modernity speaks its most intimate language: it conceals neither its good nor its evil; it has thrown off all shame. And conversely, one has almost calculated the whole of the value of modernity once one is dear concerning what is good and evil in Wagner. I can perfectly well understand a musician of today who says, ‘I hate Wagner but I can endure no other music.’ But I should also understand a philosopher who said: ‘Wagner is modernity in concentrated form.’ There is no help for it, we must first be Wagnerites.
Verdi and Imperialism: Otello
Authors: Tambling Jeremy 
Published: November 2023

Abstract
20 September 1870, Italian troops entered Rome by PortaPia, and the imperial city joined with the emergent nation-state. The Italian parliament first met in Rome on 27 November the following year. It was headed by a constitutional monarchy: Vittorio Emanuele II until 1878, Umberto till 1900, and Vittorio Emanuele Ill until 1946. It was a kingdom and monarchy which satisfied few, and successive governments seemed to contain in themselves the seeds that would produce Mussolini’s march on Rome at the end of October 1922. And the founding of Mussolini’s organization the Fasci ltaliani di Combattimento (on 23 March 1919), which became a party in November 1921, seems to belong to a narrative set in place by 1871. Its constitutive elements and discursive structure were never so self-consciously articulated as by Nietzsche in the German case, but I want to examine these elements, which add up to a culture of fascism, through late Verdi and Puccini.
Daughters of Kundry: Salome and Elektra
Authors: Tambling Jeremy 
Published: November 2023

Abstract
The music is the ultimate in modernism. Nobody has ever gone beyond it. Strauss’s so-called ‘progress’ is all twaddle. Every one of them continues to feed and draw on Parsifal What a terrifyingly expressive art! The accents of contrition and torment that he practised all his life achieve their ultimate intensity only here. Tristan’s longing pales beside this Miserere. Piercing details, gripping moments, the most refined and ardent cruelties. It happened that the first Austrian performance of Salome, conducted by the composer himself, was to take place in Graz, the capital of Styria, in May 1906. Adrian and Kretschmar had gone to Dresden to see its actual premiere, and he told his teacher... that he wanted to be present at this gala performance, and hear again that successful revolutionary work whose aesthetic sphere did not at all attract him, but which of course interested him in a musical and technical sense, particularly as the setting to music of a prose dialogue.
Conducting from the Right: Strauss, Kitsch, and Nihilism
Authors: Tambling Jeremy 
Published: November 2023

Abstract
Strauss operas involve questions of kitsch and camp, and the differences between these two. Adorno, considering Wagner, put kitsch and camp together: if Strauss’s operas art kitsch, they offer little to offset the culture of fascism (which showed its opinion of Hofmannsthal when his statue in Salzburg was destroyed by the Nazis in 1938 and his books were banned). But in so far as they are camp, they suggest at least the existence of a gender politics to contest the reactionary discourse about women and femininity I have referred to already and which I summarized under the name of Weininger. They may subvert quasi-fascist discourse from the inside. In this chapter, I want to go into these issues again, by considering Hofmannsthal / Strauss operas later than Elektra, and then by looking at one detail–the nihilism Strauss was forced into in the 1930s, which is traceable in his encounter with Zweig, his collaborator after Hofmannsthal, and with the Nazis, who made him a collaborator.
Post-Opera? After Brecht
Authors: Tambling Jeremy 
Published: November 2023

Abstract
On1y opera persists in its ‘splendid isolation’. The opera-going public still represents a closed group seemingly removed from the large theatre-going public. ‘Opera’ and ‘theatre’ are still treated as two completely separate concepts. In recent operas the dramaturgical style employed, the language spoken and the subjects treated would all be completely unthinkable in contemporary theatre. And one still hears, That might work in the theatre, but not in opera!’ Opera was established as an artistic genre of the aristocracy, and everything one calls ‘operatic tradition’ only underlines the class basis of this genre.
Wheatstone’s English Concertina: The Standard Instrument at Mid-Century
Authors: Atlas Allan W 
Published: November 2023

Abstract
In his excellent and admirably concise article on the concertina in The New Oxford Companion to Music, Julian Pilling distinguishes between the two national traditions of concertinas—English and German—and then proceeds to describe the three different types of concertinas within the English tradition: the Wheatstone English (or just ‘English’), the somewhat unfortunately named Anglo (or ‘Anglo-Continental’ or ‘Anglo-German’), and the equally misleading named duet (this last also developed by Sir Charles Wheatstone, who called it the ‘double’ concertina).1 And though the Wheatstone English is our main subject, a brief, even oversimplified, description of the other types is helpful, if only to highlight the characteristics that make the Wheatstone English concertina stand out among the others.
Childhood and Early Years
Authors: Brown David 
Published: November 2023

Abstract
T Has Been Observed That For A Russian To Claim Ryurik as his ancestor is akin to an Englishman boasting descent from William the Conqueror. In 862—so the twelfth-century Russian Chronicle records—the inhabitants of Novgorod, being weary of political turmoil, invited this Varangian prince to restore stable government. And so Ryurik took charge of the city and region, establishing a dynasty that quickly spread its domain south past Moscow to Kiev and the Black Sea. For some seven centuries it controlled much of what we still think of as Russia until, with the death in 1598 of Fyodor, the feeble-witted son of Tsar Ivan IV (the Terrible), the dynasty itself expired.
Boris Godunov: The Music
Authors: Brown David 
Published: November 2023

Abstract
Chaikovsky’s eugene onegin and musorgsky’s boris Godunov, for most musicians the two greatest of nineteenth-century Russian operas, have much in common. Both are founded upon major poetical works by Pushkin; in both the scenarios and libretti were devised by the composers themselves, using Pushkin’s text as far as it suited their requirements. And both operas run as a series of stage pictures, sometimes spectacular, sometimes intimate, each presenting a single crucial stage in the drama with perhaps massive time gaps between. Though these may require the spectator to guess at intervening events, in practice this proves no more of a problem than do the equally discrete moments in a strip cartoon.
Songs and Dances of Death: Last Songs
Authors: Brown David 
Published: November 2023

Abstract
Ong Composition is the One Thread That Runs Through Musorgsky’s entire creative life. Though as 1875 opened he was at last systematically working on Khovanshchina, he remained prepared to be deflected by other projects, and at the beginning of March he completed a new and substantial song, ‘Trepak’, which became the third of his four Songs and Dances of Death. This cycle was to be Musorgsky’s other major collaboration with Kutuzov.
Postlude: The Century Since
Authors: Brown David 
Published: November 2023

Abstract
Imsky Was as Good as His Word. Yet He Would Finally receive small thanks for his labours, especially when, a halfcentury after Musorgsky’s death, publication of Pavel Lamm’s complete edition brought into the public domain nearly all that composer’s original texts. After this it became fashionable to censure Musorgsky’s colleague for what was now seen as, at best, a patronizing service to his friend’s work, at worst a self-interested decking out of another composer’s creations in more glamorous and fashionable clothing that might advertise their couturier’s superiority in taste and workmanship. No accusation could have been more unjustified. When Musorgsky died Rimsky was already a composer with a personal reputation large enough and an output successful enough for him to need no reflected glory.
The Rape of Lucretia
Authors: Evans Peter 
Published: November 2023

Abstract
The success of Peter Grimes gave real substance to hopes for British opera that had for centuries been sustained more on intentions than on fulfilments. But it could not improve a national situation in which only two houses, both metropolitan, were devoted principally to opera throughout the main season. And since one of these, Covent Garden, was to become again a showcase for productions depending on internationally distinguished casts, while Sadler’s Wells had a demanding enough task in building its repertoire of classics-in-the-vernacular, practical prospects for native opera as any thing more than an occasional indulgence were not bright. Outside London, however, there was Glyndebourne, a small house intended for short summer seasons which, immediately after the war, was not yet able to draw together casts to revive the repertoire with which it had achieved fame. Presumably it was because the size of the house suited his purpose so well, and because productions of his new works helped towards a resumption of activities there, that Britten’s two chamber operas were presented at Glyndebourne in the summers of 1946 and 1947.
Billy Budd
Authors: Evans Peter 
Published: November 2023

Abstract
Britten’s opera, Billy Budd, to a libretto by E. M. Forster and Eric Crozier based on the novel by Herman Melville, was completed in Autumn 1951 and first performed at Covent Garden on 1 December of that year. Nine years later the composer conducted in a studio broadcast the first performance of a revised version in which the original four acts were drawn together into two; this operation was already foreshadowed in the original by the procedure (reminiscent of Wozzeck) of beginning Acts II and IV with the music that ended I and III.