bluuebunny/crossref_metadata_2025_split huggingface dataset:
Conflicting Attributions and Anonymous Chansons in the ‘Busnoys’ Sources of the Fifteenth Century
Authors: Perkins Leeman L 
Published: November 2023

Abstract
In attempting to bring at long last to fruition a complete edition of the chansons of Antoine Busnoys - a project begun decades ago by the late Catherine V. Brooks-it has been necessary to face anew the fundamental problems posed by such a task. Among the most vexing of these, perhaps, continues to be the establishment of a relatively reliable definition of the total repertory to have survived.
False Concords in Busnoys
Authors: Urquhart Peter 
Published: November 2023

Abstract
The modern editorial practice of adding accidentals to fifteenth- and sixteenth-century music has been shaped in part by centuries of counterpoint instruction according to rules based on the pedagogy of J. J. Fux and the music of Palestrina. Editors commonly apply the harmonic rules of counterpoint quite strictly, and tl1en proceed to correct all the perceived problems by means of editorial accidentals in tl1e name of’ musicaficta’, or more properly, performer’s accidentals. However, a number of recent empirical studies of tl1e music have suggested that these supposed contrapuntal flaws may well be characteristic stylistic features. Thus, an editorial method designed to correct these features tends to mask an essential aspect of the music.
Conflict and Renown
Authors: Kendrick Robert L 
Published: November 2023

Abstract
The 1630–1 plague shattered the harmony and optimism of Federigo’s years, despite the ritual invocations of the memories of Carlo’s battles against the 1576 epidemic; due to clausura (ironically), it had less effect on nuns. In its wake, female monastic ensembles must have figured, if they had not already, among the largest and best-organized cappelle of Milan.
Ad usum Sanctimonialium
Authors: Kendrick Robert L 
Published: November 2023

Abstract
All the evidence raises one central question, a prolegomenon to any analysis of the repertory: given both the episcopal efforts to isolate these women from the musical life of their class origins, and the practical problems attendant upon the availability of solely female voices, how did monastic musicians transmit and perform polyphony? The first problem was education. The I 565 Lino-Borromeo correspondence had already addressed this issue, and the problem seemed insoluble for both sides: prelates who could not politically afford to ban music but who wanted to regulate female houses, and nuns concerned to have training.
A Nun’s Music among the Genres of Mid-century Lombardy
Authors: Kendrick Robert L 
Published: November 2023

Abstract
The works composed by Chiara Margarita Cozzolani and Rosa Giacinta Badalla represent difforcnt moments in S. Radegonda’s repertory. Because they spent their adult lives inside the house’s porous clausura, their music provides testimony to their reception of genres in Lombardy. Cozzolani’s production includes some of S. Radegonda’s repertory at mid-century, and her output represents one of the larger surviving body of works composed by a woman before 1800.
Anglican Chant and Chanting in England, Scotland, and America 1660 to 1820
Authors: Wilson Ruth M 
Published: November 2023

Abstract
This book presents, for the first time, a history of English liturgical chant as performed in the Church of England and its transmission to churches in Scotland and the United States. In the mid-sixteenth century Reformation, the complex ritual of the Latin rite was replaced by a one-volume Book of Common Prayer in English. The general nature of the new rubrics, expecially for music, left many of the details of performance to be worked out in traditional ways. Thus the music evolved from its Latin roots in oral, and later written practice. The body of music that makes up the chanting practice of Anglican and related churches around the world is indeed diversified. Some texts of the liturgy are harmonized in four or more voice parts, often with organ accompaniment, and others are sung in plainsong. The largest group of chants, those for the psalms and canticles, has an idiosyncratic written form and a performance practice that continues to evolve in oral tradition. This music is commonly known as Anglican chant. Its origins in the seventeenth century and its codification in the eighteenth are explored in the choral establishments of the Church of England and parish churches in England, Scotland, and the United States.
Questions of Interaction and Dissemination
Authors: Komlós Katalin 
Published: November 2023

Abstract
Musical culture and tradition evolved in widely different ways in the Habsburg Empire, in Germany, and in France and England durin! the eighteenth century. In the second half of that century, Italian influence was strongest in Vienna and London; Paris fought its battles for and against this influence; north Germany remained largely autonomous and isolated. Indeed it is ironic that Vienna, which seemed somewhat provincial and conservative at the time, produced the fundamental values of the ‘classical style’,1 and, from a historical perspective, all other European trends and schools proved to be peripheral.
Chamber
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
Title A ‘znělka’ (plural ‘znelky’) is a Czech term for a sonnet. Straková (1959, 171-3) suggests several reasons why Janacek might have chosen this otherwise rare term for a short piece of music, mentioning the disciplined rhyme scheme and the fact that in Czech, quatrains are known as ‘quartets’ (perhaps reflected here in the scoring). The first Czech znělky were written by Josef Jungmann in the late eighteenth century. Straková speculates that at school Janacek would have studied the znělky by Jan Kollar (1793-1852) and would certainly have known Susil’s sonnets, which came out in a collected edition in 1869.
Jenkins and the Cosmography of Harmony
Authors: Field Christopher D S 
Published: November 2023

Abstract
If a flat Map be but pasted upon a Globe, the farthest East, and the farthest West meet, and are all one. John Donne, letter to Sir Robert Ker (1623)Like other years 1592 had its ups and downs. On Bankside a new play, Rarey the vi, in which the up-and-corning Shakespeare is thought .to have had a major hand, was enjoying a good run till bubonic plague closed the London theatres in June. Before the year was out the epidemic had spread into Kent, and in Jenkins’s birthplace, Maidstone, the authorities had to try to combat ‘diverse infectious and dangerous savours and noisome airs’ around the town. English troops, sent to aid the Huguenot king Henri IV against the forces of the Catholic league, were constantly corning and going through Kentish ports during the year, while for the music-loving Sir Henry Unton (whose famous memorial picture of four years later (Plate 1) shows him playing the bass in a domestic consort of five viols) recall from his embassy to France meant relief from a particularly trying diplomatic posting. In September Queen Elizabeth was received at Ditchley in Oxfordshire by her retired champion Sir Henry Lee with a gallant. entertainment in which music contributed to the atmosphere of flattering enchantment, before going on to the University of Oxford to be regaled with Latin disputations and Christ Church choir singing the Te Deum. Thomas Morley was sworn in as a Gentleman of the Chapel Royal, and in October the orphaned Alfonso Ferrabosco the younger was taken on to the books of the English court at a yearly pension of £26. 13s. 4d.
Convention and Transformation in Ferrabosco’s Four-Part Fantasias
Authors: Bellingham Bruce 
Published: November 2023

Abstract
With the appearance of a complete edition in score and parts of the fourpart fantasias composed by Alfonso Ferrabosco the younger, and, in the same year, a thorough study of John Jenkins’s consort music,1 some observations concerning the fantasias of Ferrabosco and the emerging English instrumental style in the early seventeenth century are timely.
Mico and Jenkins:’Musitians of Fame under King Charles I’1
Authors: Hanley Andrew 
Published: November 2023

Abstract
The lives of Richard Mica and John Jenkins were in many respects so similar that it is somewhat surprising that there is no evidence of their ever having been acquainted. Mica was probably born in 1591 and Jenkins in 1592, both lived through ‘that blody difference between the King and Parliament’, and through the Restoration of the monarchy. Mica died soon after, in 1661, while Jenkins survived until 1678. Both came from comfortable, but essentially working-class environments: Mica’s family were cloth merchants based in Taunton, and Jenkins’s father was a carpenter in Maidstone. But, while Jenkins’s family was demonstrably musical, possessing ‘Seven Vialls and Violyns, One Bandora and a Cytheme’, there is no record to show that Mica’s was musically active. Yet, by the age of eighteen, Mica was proficient enough in the art to have been appointed resident musician at Thomdon Hall, near Brentwood, Essex, home of the noble Catholic Petre family, whose enthusiasm for music was of long standing.
Hamburg’s Pygmalion
Authors: Kennedy Michael 
Published: November 2023

Abstract
Hamburg has a long and honourable musical tradition. When Mahler arrived there the city’s symphony concerts were in the charge of another great conductor, Hans von Billow. Within the first few days of his regime Mahler conducted Siegfried. Billow attended the performance and wrote to his daughter Daniela on 24th April 1891: ‘Hamburg has now acquired a simply first-rate opera conductor in Mr Gustav Mahler … who in my opinion equals the very best conductors (Mottl, Richter etc.) … Recently I heard Siegfried under his direction … Without an orchestral rehearsal, he compelled the musical rabble to dance to his tune.’ Mahler quickly began to infuse into Hamburg the same zeal for artistic perfection which had marked his stay in Budapest. But now he had the advantage of an excellent orchestra and of gifted singers already under contract to the shrewd Pollini, among them the soprano Katharina Klafsky, a great Leonora in Fidelio, whose husband, Otto Lohse, was second conductor; the tenors Max Alvary and Julius Lieban, and the Czech contralto Ernestine Schumann-Heink.
Vienna
Authors: Kennedy Michael 
Published: November 2023

Abstract
When Mahler left Vienna in 1907 he described his decade at the Opera as ‘ten war-years’. Arnold Schoenberg, in a letter to him in 1910, referred to ‘our hated and beloved Vienna’. From his days at the Conservatory Mahler knew only too well how Vienna treated its great men, canonizing them when they were dead, often reviling them during their lifetime. The city repelled him yet fatally attracted him. It was, after all, the city of Haydn, Mozart, Beethoven, Schubert and Bruckner, the city of the Strauss waltz, of the coffee-houses, of the Prater and the Opernring. The city of light-hearted, easy-going, gracious living, of intrigue, callousness and spite where revolutionary ideas in art struggled for expression in a climate of conservative, sometimes reactionary, opinion. The years from 1897 to 1914 were Vienna’s ‘Edwardian’ age, an almost exact parallel to the London of the same period. With hindsight, it seems that the life of Europe then was illuminated by a garish light shed by the sun as it gradually became obscured by the storm clouds. In Vienna the opera had a golden age under Mahler; the operettas of Lehar and Oscar Straus were on everyone’s lips; science and medicine thrived; writers and painters abounded. But the Emperor was growing old; the political scene was seething; anti-Semitism grew fiercer and more open.
Characteristics
Authors: Kennedy Michael 
Published: November 2023

Abstract
The tendency for discussion of Mahler’s music to move into realms of philosophical and psychological verbiage is perhaps familiar to readers. His music lends itself easily to extra-musical analysis, indeed it is among the most autobiographical music ever written, and to pretend that it exists only in terms of musical procedures is to miss an element which Mahler explicitly commanded us to take into account. Each of his symphonies is an extension of his personality, an exploration of himself, and in his case, as in Elgar’s and Berlioz’s, it is not possible – in fact it is wrong – to separate the music from the life of its composer as though it was an isolated activity. At the same time one must guard against a too-literal association of life and music and make due allowance for the creative imagination.
Wunderhorn Symphonies
Authors: Kennedy Michael 
Published: November 2023

Abstract
The Second, Third and Fourth Symphonies are usually classified as the Wunderhorn symphonies because of their links with Mahler’s settings of poems from Des Knaben Wunderhorn. This could apply equally to the First Symphony, for the words of Das klagende Lied and the Gesellen cycle are Mahler’s pastiche of the Wunderhorn poems, proving how deeply embedded in his mind were the style and spirit of the anthology. Mahler’s first settings of Wunderhorn poems were for voice and pianoforte, although obviously conceived for orchestral accompaniment, and were written in the late 1880s. Twelve more, originally entitled Humoresken, date from 1892 to 1901. They alternate between a charming fairy-tale delicacy and a grimly ironic, nightmarish realization and interpenetration of the moods of military bluster and nocturnal mystery. They are outstanding for the quivering sensitivity of the composer’s response to the text of each poem and, once again, for the beauty and aptness of sound with which this response is matched. The cornerstones of Mahler’s style were cross-reference, variation and development, and even in such small-scale works as the songs the constant change enacted gives them a scope beyond the ordinary. Even in such an overtly simple and ‘innocent’ (though seductive) song as Rheinlegendchen, the range of tonality beyond the nominal home key of A major is remarkable. In Das irdische Leben the development by means of major-minor contrasts gives the song its psychological depth. Mahler’s exploitation of contrast, his genius for savage juxtapositions, can be heard at their starkest in the ‘duologue’ Wunderhorn songs such as Der Schildwache Nachtlied.
Symphonies 9 and 10
Authors: Kennedy Michael 
Published: November 2023

Abstract
Mahler’s last two symphonies and Das Lied von der Erde are already barnacled with romantic mythology. Because they were performed for the first time after his death, because he died comparatively young, leaving a beautiful young widow (and, better still, an unfinished symphony), because he regarded them as excessively difficult to conduct, and because he had been under medical sentence of death, they have invited every kind of subjective interpretation, to some extent justified by their elegiac nature. While I would not suggest that the subject of death was not present in his mind from 1907, I doubt if it obsessed him to the pitch of morbid superstition which has led to statements that he dreaded the idea of performances of Das Lied von der Erde and the Ninth Symphony. I do not believe there is any portentous significance in the fact that Mahler did nothing to promote performances of these two works. Here are the practicalities:
The Music 1831-1841
Authors: Macdonald Hugh 
Published: November 2023

Abstract
The stay in Italy was a distraction rather than an inspiration. Italian music, whether by Palestrina, Bellini or anyone else, had an entirely negative effect, for Berlioz disliked it all, and he devoted his fifteen months to walking and exploration more than to composition. The three-week interlude in Nice produced another Shakespeare work, the Roi Lear overture, inspired by his reading of King Lear in Florence, but it reverts to the model of the Les francs-juges overture, with a slow introduction and extended Allegro, rather than to the fantasy form of La tempetê. Like the first movement of the Symphonie fantastique (which it closely resembles) it is in C major, but it gains an extra breadth in the opening Andante by slipping tacitly into 12/8. This is especially noticeable when the oboe’s dolce C major melody is repeated on the trombones in E flat, a passage of almost Wagnerian grandeur. The opening theme itself looks forward more to Liszt, setting a fashion for emphatic rhetorical openings in the bass; Tchaikovsky’s Hamlet is one such offshoot of Roi Lear. Whether it portrays Lear himself, and the oboe theme Cordelia, is not clear; all we can assert with confidence is that the mood and character of the play are contained in the music, and one passage - the timpani solos at the end of the introduction -is known, from one of Berlioz’s letters, to depict the king’s entry into his council chamber, in imitation of a similar drum signal used at the court of Charles X to announce the King’s entrance.
1838–44
Authors: Radcliffe Philip 
Published: November 2023

Abstract
The next few years were spent for the most part at Leipzig and involved much musical activity. The concerts flourished; there was an enterprising historical series, including works by composers as unfamiliar as Naumann, Righini and Vogler; there were performances of Beethoven’s little-known cantata Der glorreiche Augenblick and of Felix’s own setting of Psalm XLII. Much music was written in I 838, including the Cello Sonata in B flat, op. 45, the String Quartets in E flat and D from op. 44 and the setting of Psalm XCV. On 7 February 1838 his first son, Karl Wolfgang Paul, was born; Cecile was seriously ill and caused Felix acute anxiety. In June he conducted the Lower Rhine Festival at Cologne, and the rest of the summer was spent very happily in Berlin. This was Cecile’s first meeting with the rest of the family.
1845–7
Authors: Radcliffe Philip 
Published: November 2023

Abstract
Meanwhile he had been approached by the Philharmonic Society in London, who were eager to engage him as conductor for the 1844 5 season. This he accepted gladly, making it clear that he could not come till after Easter, and he arrived in London early in May, staying with Klingemann. He had intended to perform Schubert’s C major Symphony, but the orchestra refused to take it seriously, and in the finale their behaviour became so uproarious that Mendelssohn indignantly withdrew the work and, along with it, his own Ruy Blas overture. This, however, was the only blot on an otherwise brilliant and successful season.
Symphonies
Authors: Radcliffe Philip 
Published: November 2023

Abstract
The thirteen symphonies for strings of 1821 3 throw fascinating light on the early stages of Mendelssohn’s development. The first five, which can be examined as a group, contain three movements, of which the first and last are all in a binary form that comes far nearer to the Baroque suite than to the classical sonata. The texture is solidly contrapuntal, in a style which would have sounded academic and old-fashioned at the time.
Works for a solo instrument with orchestra
Authors: Radcliffe Philip 
Published: November 2023

Abstract
Mendelssohn’s earliest experiment with the concerto is that in D minor for violin and string orchestra. It was composed in 1822, a year after the early Sonata in G minor for piano. The two works have points in common: in both of them the outer movements are influenced by Haydn and Mozart, and the slow movement is more individual than the rest; but the Concerto is the stronger and more interesting work. The first movement gives ample evidence of Mendelssohn’s love for Mozart’s Piano Concerto in D minor, which he often played with great success. Structurally the most original feature is the recapitulation; there is no pause for a cadenza, and the two main themes reappear in reverse order, the second going through some impessive modulations. The Finale is more Haydnesque, especially in the resourcefulness with which its single vivacious theme is treated.
New frontiers
Authors: Samson Jim 
Published: November 2023

Abstract
Biographies are histories, and like other histories they adopt strategies for ordering events and interpretations into a coherent narrative. The subdivision of a composer’s life into periods is one way of making sense of it, but such periods remain at best impositions, even abstractions, and they carry additional penalties when the ‘life’ is considered in tandem with the ‘works’.1 The ‘Warsaw Period’ is an inevitable construction in a Chopin biography, just as the journey from Warsaw to Paris is an inevitable metaphor. But these interpretations are at the very least in search of qualification. There was no abrupt change of attitude and outlook when Chopin left Poland in November 1830. His in loneliness and depression in the months following his departure were in some ways a continuation of the acute emotional stress he had already suffered during his final year in Warsaw, when he came close to what we would describe nowadays as a nervous breakdown.
‘A rebirth of pianistic art’
Authors: Samson Jim 
Published: November 2023

Abstract
The chronology of Chopin’s early music is anything but well established. The broad outlines are clear, of course, but there remain many imponderables. For numerous works there is no surviving autograph, and even where autographs are extant they do not always yield an accurate date, despite the advantages of recent paper research. Nor is contextual evidence always available. Difficulties are especially acute in the works of the Warsaw period, but they persist even in the music of the Vienna and early Paris years. It will be worth scotching some of the more common misconceptions at the outset. It has already been noted that Brown’s attribution of Op. 10, Nos. 8-11 to the Warsaw period is unsupported by reliable evidence. Only the first four of the Etudes can be dated accurately. Early copies of Nos. 1 and 2 were signed and dated ‘2 November 1830’, just before Chopin left Warsaw for Vienna, while the autograph of No. 4 was signed and dated ‘Paris, 6 August, 1832’ and No. 3 ‘Paris, 25 August 1832’.
‘A new world for myself’
Authors: Samson Jim 
Published: November 2023

Abstract
When Chopin composed his Two Polonaises, Op. 26 he effectively created a new genre. In the early nineteenth century the polonaise, like the mazurka, already carried a nationalist charge in dramatic works by Polish composers (Stefani’s Cud mniemany was the exemplary work), but that charge was very much less potent in keyboard stylizations. There its energy was largely diffused by the general conformity of the post-classical keyboard style, and also, paradoxically, by the underlying cosmopolitanism of national dance pieces. Chopin himself, after all, composed three ecossaises, a bolero, and a tarantella without, one assumes, any intention to promote nationalist causes in Scotland, Spain, or Italy. His Warsaw-period polonaises accepted for the most part the conventions of the ‘brilliant’ concert or salon dance piece, and in general style they are heavily indebted to polonaises by non-Polish com¬ posers, above all Hummel and Weber.