bluuebunny/crossref_metadata_2025_split huggingface dataset:
From the Later Georgian to the Mid-Victorian Age
Authors: Caldwell John 
Published: November 2023

Abstract
Whereas the previous period could be said to have witnessed a drastic lowering of the average composer’s aspirations, the present age (1815–70) saw the rise of a new seriousness—a development paralleled by changes in the general political and ecclesiastical outlook of the nation. Whether the artistic results of this phase of consciousness bore any qualitative relation to it would be a matter of opinion; a firm moral purpose is no guarantee of musical or any other form of artistic inspiration. But it was inevitable that English composers should respond somehow or other to the Romantic movement, with its political and moral overtones—both to the impact of English (and indeed German) Romantic literature and to that of early musical Romanticism on the Continent. The widening of access to European opera—by Weber, Spontini, Bellini, Meyerbeer, to name no others—to the instrumental music and songs of Beethoven, Schumann, Mendelssohn, and Chopin, and to the new Continental oratorio tradition of Spohr and Mendelssohn, was bound to have its effect, beneficial or not.
Notation
Authors: Hiley David 
Published: November 2023

Abstract
In this chapter first the notational signs used in the earliest chant sources are discussed, the signs generally known as neumes. It is not easy to come to grips with the different styles of notation, their beginnings and historical development, without some basic knowledge of the system or systems involved. First of all, therefore, a brief description of the signs in one particular manuscript is given, a manuscript chosen (a) because it is available for further study in facsimile in a modern transcription, and (b) because it has a letter notation.
Persons and Places
Authors: Hiley David 
Published: November 2023

Abstract
This chapter will inevitably seem incomplete to those seeking a full and balance&lt;1 account of the history of plainchant in all the various churches of Western Europe during the Middle Ages. At present, however, it is not possible to write such an account, for investigation of the various chant traditions has so far proceeded very unevenly, and full coverage would in any case exceed the proper limits of this book. I have therefore ventured a few remarks only on those persons and places, those musicians, churchmen, and churches, that have attracted particular attention so far, or that I myself have found particularly interesting. The purpose of the chapter is partly to point readers in the direction of information they may be seeking, but partly also to give an idea of the sort of research which has been carried out, its aims and methods.
Reformations of Gregorian Chant
Authors: Hiley David 
Published: November 2023

Abstract
The Roman-Franciscan chant repertory does not mark a radically new beginning in the history of Western chant, except in so far as it meant the end of Old Roman chant in the Eternal City itself. Whatever musical reforms it may have involved, they embody a concept of Gregorian chant not in any substantial way different from that found in most churches in most lands. The Cistercian order of monks, however, revised its chant repertory according to fixed principles which entailed quite drastic alterations in the melodies they had inherited. Therefore their chant comes first in this chapter on reforms of the chant repertory.
Africa
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
The African influence on the music of the United States, though profound, is extraordinarily hard to pin down to individual cultures. The half-million-odd African slaves arrived over a period of more than two centuries, beginning in 1619 and ending some time during the mid nineteenth century. They came from a vast area, stretching from the westernmost tip of Africa to southern Angola, and reaching deep into the continent; there were also some from the south-east. Once on American soil, tribal groupings were often broken up for fear of insurrection, and in any case the internal slave trade eventually scattered the tribes far and wide. If African music were homogeneous this would not matter, but it is not. It consists of a mosaic of distinct traditions, including some which are far from the conventional African stereotype.
The Blacks
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
When the first black slave set foot on North America the late Renaissance was still in full swing. King James I was on the throne of England and Scotland, and Shakespeare, had he been alive, would have been fifty-five. The last of the slaves arrived, more than two centuries later, during the smoke and grime of the Industrial Revolution. The beginning of this long forced migration was a mere trickle, coming not directly from Africa but from the West Indies, and there is controversy over whether they were officially slaves or indentured servants like the whites. Whatever their status, it seems that not much distinction was made between them and their white counterparts at first. At all events, the records show plenty of evidence of friendly relations between menials of either race.
The Beat
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
Western musical notation forces on us a view of rhythm which is predominantly mathematical. It tells us the ratios between the note lengths, and, if the music is of the conventional, measured type, it gives some idea of a recurring pattern. Beats are something imposed on this pattern. There is a beat, presumably, at the beginning of the bar, and possibly elsewhere-we aren’t too sure. Does a piece in brisk{ time have three beats to the bar or only one? We are a little vague on this point, possibly because the composer wants us to be a little vague.
Peter Warlock
Authors: Smith Barry 
Published: November 2023

Abstract
Peter Warlock (Philip Heseltine) is one of the most fascinating and enigmatic of twentieth-century British composers. He was by turns a sensitive songwriter of remarkable genius, a witty and caustic critic, a rare scholar of early music, and a friend of some of the leading figures of the day - including William Walton, Jacob Epstein, and D. H. Lawrence. This is a complete account of this mercurial musician. Barry Smith uses new and often controversial material in telling his real, and frequently outrageous story. Here is the man, the composer, writer, and scholar, from his dangerous involvement in the occult to his long-lasting loves and hates - all of which ended by his own hand in a gas-filled London flat on a cold winter's morning in 1930.
Friendship with Lawrence(1915-1916)
Authors: Smith Barry 
Published: November 2023

Abstract
Whilst still at oxford, Philip had been introduced by Robert Nichols to D. H. Lawrence’s first three novels, The White Peacock, The Trespasser, and Sons and Lovers. The intensity and quality of Lawrence’s Love Poems and Others, published in 1913, had so impressed him that he wrote to Viva Smith saying that he was sending her ‘some of the most wonderful love poems in the world’.1 He also sent a copy of these poems to Delius, adding that he considered Lawrence’s novels unrivalled both in depth of insight and beauty of language. Writing to Viva about Sons and Lovers he used words such as ‘superb’, ‘amazing’, ‘a real masterpiece ... The style is most uncannily sure: every word rings true, every adjective, every phrase is so startlingly apt and precise. I hope to meet Lawrence soon, as I have discovered people who know him. No meeting could afford me greater pleasure or interest.’
Return to Wales(1921-1924)
Authors: Smith Barry 
Published: November 2023

Abstract
In the autumn of 1921, after the Sackbut debacle, an impecunious Philip moved back to Cefn Bryntalch. Apart from the occasional trip to London, often to negotiate with publishers, he would live there almost continuously for the next three years. During this time he applied himself to a large number of different projects, telling Taylor that the only way to escape intolerable boredom was to work from morning till night.
Diverse Disc Formats
Authors: Pohlmann Ken C 
Published: November 2023

Abstract
The versatility of the compact disc has quickly become apparent to manufacturers and users alike. Since music is an extremely storage-hungry phenomenon, the CD must have a tremendous storage capacity. To take further advantage of that capacity, other CD formats have been devised. CD-ROM was developed, incorporating nonaudio data, such as data base and software data. CD-I and DVI are specific applications of CD-ROM. Their data storage opportunities include audio-visual information stored in a user-interactive manner. CD-V merges the compact disc audio format with the Laservision video format. CD-R is a write-once format allowing users to store their own data. In addition, recordable/erasable CD formats have been developed as well as incompatible formats such as the Mini Disc. CD + G/M features storage for graphics and other nonmusical data. A smaller diameter compact disc, the CD-3 is used for applications requiring shorter playing time.
Henry Purcell
Authors: Holman Peter 
Published: November 2023

Abstract
In recent years Purcell's biography has received a good deal of attention, but there has been little writing on his music; indeed, this book provides the first general survey since Sir Jack Westrup's 1937 volume in the Master Musicians series. Furthermore, it is the first book to explore in detail the historical context of Purcell's music, dealing fully with the institutions he worked for, the origin and development of the various genres to which he contributed, and the sources of his music. In the process, a new picture of Purcell's creative personality emerges: a composer obsessed with formal counterpoint, extraordinarily well-versed in English music of the previous century, yet eager to embrace up-to-date features of the Italian style in the 1680s.
Instrumental Music
Authors: Holman Peter 
Published: November 2023

Abstract
PURCELL was heir to rich and distinctive traditions of instrumental music that went back to Tudor times. Around 1600 the con sort repertory consisted mainly of fantasias in three, four, five, and six parts, intended for various combinations of treble, tenor, and bass viols, though it also included the graver sort of dance music, and motets and madrigals were often played in instrumental versions. Around 1620 a group of court composers under the patronage of Prince Charles began to experiment with new types of consort music, combining the chamber organ and the violin with viols for the first time.
The Piano Music
Authors: Stevens Halsey 
Published: November 2023

Abstract
Like most of his early work, the piano music written during Bartók’s student years was later repudiated by the composer, and the only music of the period which is now accessible is that which had the fortune, good or bad, to be published soon after its composition. There is little reason to suppose that these works, which include the Four Piano Pieces (1903) and the piano transcription of the Marcia funebre from the Kossuth symphony, are superior to the other compositions of the period or that Bartók valued them more highly. Having been perpetuated in print, they were out of his hands and he could not conveniently withdraw them as he did the scores that remained in manuscript.
The Vocal Music
Authors: Stevens Halsey 
Published: November 2023

Abstract
In Contrast to his compatriot Zoltán Kodály, Bartók was essentially an instrumental composer, and his comparatively meager list of vocal compositions, though produced throughout his career, is of slighter significance than his work in other fields. Aside from the opera Duke Bluebeard’s Castle, which must be considered a dramatic rather than a vocal work, there are several published groups of original songs, the Cantata profane for double chorus, tenor and baritone soli, and orchestra, and a number of small choral works based upon or inspired by Hungarian folksong. All the rest, whether for solo voice and piano or for chorus, are folksong transcriptions.
Studio acoustics
Authors: Burd Alex 
Published: November 2023

Abstract
The aim of sound recording practice as described throughout this book is to enable the practitioners of the commonly used techniques to create a more or less permanent record of sound—which may or may not exist as an entity.
If the studio is the first link in the chain, which of course it will not be in the case of location recording, then the environment must assist the performers or the engineers (or both) to create the desired final product. While location recording can provide an environment which is unrivalled in the stimulation it brings to the performer, few locations these days can provide the quiet uninterrupted conditions which are necessary for economic recording. This chapter aims to describe the principles of acoustic design, together with the audible consequences of the design decisions that are taken. Various classes of studio, control room, and other technical rooms may need to be created to satisfy the manifold demands of clients. No one type of room can be expected to be suitable for all programme material, but certain fundamental considerations remain constant for all types.
Tape duplicating
Authors: Nathan (Revised by John Borwick) Gerd 
Published: November 2023

Abstract
The successful emergence of the analogue compact cassette as a high fidelity consumer product was largely due to an early recognition of its technical limits, and to a concerted effort by raw-material suppliers and software manufacturers to minimize the effects of these limits as far as possible. Over the last fifteen years we have witnessed a dramatic improvement in the quality of domestic cassette players, cassette tapes, and cassette housings. Cassette players now have better tape transports, resulting in better track alignment and azimuth during playback; cassette tapes have become more tolerant to high-level high frequencies and are less hissy; last not but least, cassette housings are moulded to closer tolerances with consequential improved tape guidance during playback. These are just some of the factors which have placed the analogue cassette ‘on the map’ as a hi-fl. format.
Orchestral Music
Authors: Musgrave Michael 
Published: November 2023

Abstract
In the clear patterns of relationship which exist within the chamber and orchestral works of the third period, no two works stand as close in time and character as the Second Symphony and the Violin Concerto, produced within a year in 1877 and 1878 respectively. In the common moods of their first movements, symbolised by shared key, metre, triadic shape of opening themes and orchestral colour-warm lyricism coexisting with a rhetorical manner which results in identical rhythmic figures at one point - (compare bars 118 and 78 of the respective movements) they complement each other as different expressions of this aspect of Brahms’s mature language. Yet they occupy rather different positions in his output. Unlike the Second, and to an even greater extent than the First Symphony, the Violin Concerto stands in a distinct tradition: that of the violin concerto as exemplified by Beethoven.
Scherzos
Authors: Samson Jim 
Published: November 2023

Abstract
Preceding pages have shown how a multiplicity of theories, many of them contradictory and competing, have been brought to bear upon the preludes. It would probably be inappropriate for a general study of Chopin’s music to approach its subject from any one theoretical perspective, and in any case the present author has little inclination to do so. Musical language is an integrated whole and it seems unlikely that any single analytical method can convey this and explain it completely, though the promise of a compre hensive model remains subtly seductive. No less seductive is the idea that different approaches might in some way be combined to form a single global view of a work.
Fantasies
Authors: Samson Jim 
Published: November 2023

Abstract
Chopin wrote four works incorporating the title ‘Fantasy’. There seems little significance attaching to the choice of the term for either the youthful Fantasy on Polish Themes Op.13 (really a pot-pourri) or the Fantasy-impromptu Op.66, where the description ‘Fantasy’ was in all probability not Chopin’s at all. But in the two later works, the Fantasy in F minor Op.49 and the Polonaise-fantasy Op.61, he comes closer to some of the more central associations of an admittedly fairly loosely applied genre title. In the late eighteenth and early nineteenth centuries at least, the term ‘Fantasy’ was frequently used for works which had something of the character of a composed-out improvisation.
Traditions in the Repertory of the Papal Choir in the Fifteenth and Sixteenth Centuries
Authors: Brauner Mitchell p. 
Published: November 2023

Abstract
To define the traditions in the papal choir’s repertory between the pap acies of Sixtus IV and Sixtus V, one cannot simply discuss those works that were established in that repertory over a period of time. That would be a discussion of a canon of works. Rather, one should put a slightly different slant on the notion of canon and discuss not only particular pieces in the repertory but also the types of pieces to which were attached ceremony, lore, and symbolism - in other words, tradition.
The Birth of the Orchestra
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
This book traces the emergence of the orchestra from 16th-century string bands to the ‘classical’ orchestra of Haydn, Mozart, Beethoven, and their contemporaries. Ensembles of bowed stringed instruments, several players per part plus continuo and wind instruments, were organized in France in the mid-17th century and then in Rome at the end of the century. The prestige of these ensembles and of the music and performing styles of their leaders, Jean-Baptiste Lully and Arcangelo Corelli, caused them to be imitated elsewhere, until by the late 18th century, the orchestra had become a pan-European phenomenon. Spitzer and Zaslaw review previous accounts of these developments, then proceed to a thoroughgoing documentation and discussion of orchestral organization, instrumentation, and social roles in France, Italy, Germany, England, and the American colonies. They also examine the emergence of orchestra musicians, idiomatic music for orchestras, orchestral performance practices, and the awareness of the orchestra as a central institution in European life.
Introduction
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
The story of Orpheus has provided the subject for operas, ballets, tone poems, and other musical works, beginning with Poliziano’s rfeo, produced in Mantua in 1480, and continuing to the present. Plucking a lyre in time to his words, says Ovid in his classic formulation of the myth, Orpheus makes the pale shades weep; the thirst of Tantalus is momentarily appeased, Sisyphus sits down on his stone to listen, and the Furies’ cheeks are moist with tears. Poliziano’s Orpheus accompanied himself on a lute or perhaps a bowed lira di braccio. In later musical versions the lyre of Orpheus was represented by a variety of different musical instruments.
The Classical Orchestra
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
Which was the best orchestra in Europe in the second half of the eighteenth century? Every critic, commentator, and musical tourist seemed to have an opinion. “The first orchestra in Europe, for the number and intelligence of symphonists,” says Jean Jacques Rousseau in 1754, “is that of Naples; but the best distributed ... is the orchestra at the opera house of the King of Poland, at Dresden.” Not so, says Louis Petit de Bachaumont, publicist and chronicler, in 1773: “as far as the instruments are concerned,” everyone agrees that the Concert Spirituel in Paris “is at present the best regulated concert in all of Europe.
The Zenith of the Cantatas Popularity
Authors: Tunley David 
Published: November 2023

Abstract
It was three years after the appearance of Clérambault’s cantatas of 1710 that the anonymous critic in the Mercure de France was to complain that society was being ‘suffocated by cantatas’ (see Chapter 1), and it may well have been the quality of his works which led to the mounting enthusiasm for the form throughout France during the next twenty years. The third decade of the century witnessed the pinnacle of the cantata’s popularity, and while some of the finest examples had been written much earlier, the form as a whole was now borne along on the rising tide of that musical activity which was outlined in the first chapter of this study.
The First Performance of Purcell’s Funeral Music for Queen Mary
Authors: Wood Bruce 
Published: November 2023

Abstract
Purcell’s Funeral Music has suffered the same sad fate as Albinoni’s Adagio-attaining classic status in a guise which is in one way or another thoroughly bogus. But unlike the Albinoni, it is at the same time the object of assiduous efforts to perform it, and particularly to record it, in the most authentic manner possible-an ironic comment on the uneasy relationship between the recording industry and scholarship.
An Interpretation of Musical Dreams: Towards a Theory of the Mozart Piano Concerto Cadenza
Authors: Drabkin William 
Published: November 2023

Abstract
THIS essay considers a single aspect of Mozart performing practice, one that has received rather less attention than it has deserved in the recent search for authentic performing styles: the question of what the soloist should play immediately after the 6-4 chord that interrupts the final tutti in the first movement, i.e. the cadenza.1 This is potentially a wide field of enquiry. Most sources indicate only the point at which the cadenza occurs, without specifying what should actually be played;2 this implies that it is the performer’s task to devise a stretch of appropriate music, or find someone else to do the job.
Learned Style and the Rhetoric of the Sublime in the ‘Jupiter’ Symphony
Authors: Sisman Elaine R 
Published: November 2023

Abstract
ON 30 December 1780, Mozart wrote to his father from Munich that the third act of Idomeneo was nearly finished, and that it ‘will turn out to be at least as good as the first two-in fact, I believe, infinitely better-and I think that it may be said with truth,finis corona! opus’. That the end crowns the work is surely one of the most historically significant features of his ‘Jupiter’ Symphony, which, with its density of musical utterance in the finale, looks forward to such ‘teleological’ works as Beethoven’s Fifth and Ninth symphonies. But the mere fact of a weighty conclusion has been less important in the reception of the work than the high seriousness of fugal technique impinging upon a sonata design, especially the dazzling display of double fugue and canon in the coda. Mozart’s last symphony has not lacked for interpreters, among the most recent being A. Peter Brown and Neal Zaslaw.2 This study seeks to refocus the enquiry into the :Jupiter’ finale by revising the terms of discussing the ‘learned style’.
When Mozart Revises: the Case of Guglielmo in Cosìfan tutte
Authors: Heartz Daniel 
Published: November 2023

Abstract
OF the seven completed operas from Mozart’s last decade the composer revised Idomeneo, Le nozze di Figaro and Don Giovanni for productions subsequent to the first, mainly to accommodate different singers. He had, apparently, nothing to do with the several revivals of Die Enifuhrung aus dem Serail staged in Vienna and elsewhere while he still lived. In the case of the last three operas, of 1790-1, he did not live long enough to witness further productions; and only on the first of them, Gosz fan tutte, can he be seen performing radical surgery before the first production.