bluuebunny/crossref_metadata_2025_split huggingface dataset:
Opera and the Culture of Fascism
Authors: Tambling Jeremy 
Published: November 2023

Abstract
This study looks at nineteenth - and early twentieth-century opera as part of a culture which produced fascism as a crisis-state, and threatened to extinguish the genre as an influential and contemporary high form of art altogether. Jeremy Tambling highlights the themes of the cultural crisis through a detailed discussion of some dozen operas and a general overview of the works of Wagner, Verdi, Puccini, Strauss, and others, drawing on the writings of Nietzsche, Adorno, Benjamin, and Heidegger, for an understanding of the ideological background. Reading fascism as a political, intellectual, and psychological phenomenon, the author draws on the works of Bataille, Theweleit, and Kristeva, for discussion of proto-fascist and fascist thought, and for its relation to gender-politics. Resisting the clichés about Wagner or Strauss’s relationship to the Third Reich, Tambling takes the opera out the hermetically sealed-off state in which it is normally discussed, and presents it as both complicit in, and in opposition to, the reactionary and regressive pressures that made up the ‘culture of fascism’, and those that tried to make opera part of the ‘fascism of culture’.
The Life and Ballets of Lev Ivanov
Authors: Wiley Roland John 
Published: November 2023

Abstract
The Life and Works of Lev Ivanov is the first book-length study in any language about this Russian artist - Marius Petipa’s colleague and Tchaikovsky’s collaborator - who is widely celebrated and yet virtually unknown. It follows Ivanov from his infancy in a St Petersburg foundling home through his training in the Imperial Theatre School and his celebrity marriage, to a career as a dancer, régisseur, and choreographer in the St Petersburg Imperial Ballet. Ivanov’s artistic world is described, as is his legacy - some dozen works, including Swan Lake, The Nutcracker, and the famous dances from Prince Igor - which inspired Mikhail Fokine in the next generation. The book is richly documented, including the first complete publication of Ivanov’s memoirs, and hundreds of citations, many published here for the first time, from state documents, reminiscences, and criticism.
The Wheatstone English Concertina In Victorian England
Authors: Atlas Allan W 
Published: November 2023

Abstract
The Wheatstone English concertina was enormously popular in Victorian England. Developed around 1830 by the physicist Sir Charles Wheatstone, the instrument quickly found a home on the leading concert stage and in upper-class salons. It attracted such composers as Macfarren, Benedict, Barnett, and molique, who supplied its repertory with concertos, sonatas, character pieces, and chamber works. It two great virtuosos, Giulio Regondi and Richard Blagrove, drew the plaudits of audiences, and critics alike. This is the first comprehensive book about the instrument, its players, audiences, and reception. An appendix contains an edition of five pieces for the instrument.
Early Orchestral Music
Authors: Evans Peter 
Published: November 2023

Abstract
Despite the extreme sensitivity Britten had revealed in setting texts as unexpected and heterogeneous as those of Auden, Rimbaud and Michelangelo, until he returned from America it would have seemed reasonable to assume that instrumental composition was to form the core of his work. Of a slightly older British generation, William Walton had shown this emphasis still more pronouncedly, and Alan Rawsthorne was setting out on a comparable course. Before them both Elgar and Vaughan Williams had gone far towards transferring the focus of English musical aspirations from the chorus to the orchestra.
His Name was in Lights: Chuck Berry’s ‘Johnny B. Goode’
Authors: Taylor Timothy D 
Published: November 2023

Abstract
Chuck Berry recorded ‘Johnny B. Goode’ in December 1957 and it has since become one of his best-known songs. The reasons for its lasting popularity are varied, and one of the goals of this essay is to elucidate and discuss them. But the main purpose is to raise ‘Johnny B. Goode’ as an example of the choices and problems Berry faced in his career as an African-American musician in the 1950s and 60s and the ways he dealt with them in this tune. In short, he made compromises, but these changed over time. To appeal to a white audience Berry made certain career moves early on—the decision to play ‘white’ hillbilly music is the most important—but later in his career he attempted to court a broader white audience. Two recorded versions of ‘Johnny B. Goode’ point out those changes, and I will consider them, the original one for Chess, and another, nine years later, for Mercury.
Pity Peggy Sue
Authors: Bradby Barbara , Torode Brian 
Published: November 2023

Abstract
The sociologist Simon Frith identifies rock and roll as a hybrid music, which emerged in the American South of the mid-1950s as a grafting of puritanical ‘white’ country and western lyrics on to sexually explicit ‘black’ blues rhythms. While acknowledging cross-fertilization between black and white music ‘since at least the middle of the nineteenth century’, he states that since the Second World War, It is as dance music that black music has developed its meanings for white users. The most obvious feature of dancing as an activity is its sexuality…Whereas Western dance forms control sexuality with formal rhythms…black music celebrates sex with a directly physical beat and an intense, emotional sound.
Structural Relationships of Music and Images in Music Video
Authors: BjÖrnberg Alf 
Published: November 2023

Abstract
In the course of the last decade, the body of writing on music video has grown to sizeable proportions. The reason for the present addition to this bulk of literature, in spite of the subject seemingly approaching the state of exhaustion, is that musical semiotics are still rarely applied to the field. It is a fact that pop and rock music have always been heavily infused with socially determined meaning such that an autonomous musical aesthetics appears clearly insufficient to explain their significance; however, to what extent and how this significance is linked in with particular musical structures as such is still largely uninvestigated. In my view, music video may perhaps be less interesting as a phenomenon in itself than as source material for an ‘empirical semiotics’ of popular music, shedding light on signification processes of a more general applicability. Furthermore, the distinctive features of music video may arguably be better explained on the basis of an understanding of the syntactical characteristics of popular music than by prevalent theories of postmodernism; the latter appear problematic not only due to their speculative and unsubstantiated nature with regard to media reception processes (cf. Frith and Horne 1987: 11), but their explanatory value as regards syntactic features of music video also seems to be limited (cf. Frith 1988: 207).
Introduction
Authors: Goehr Lydia 
Published: November 2023

Abstract
What is musical meaning? Where does it reside and how can it be known? Does it make a difference to its meaning if the music is composed with or without words, as a symphony or as a song? Why is it thought that music can express human feelings with an immediacy not possible in other languages or arts? What is contained in the claim that music is autonomous, or that it is prophetic and can articulate a ‘politics for the future’? These are some of the questions the German Romantics asked about music. In this book I try to answer these questions by focusing on the view that music means something, not just because it is a well-formed symbolic language, but because when human beings engage with this language they express something about themselves as human beings. That something, in Romantic terms, approaches a subjective freedom expressed within and against objective constraints.
The Pianoforte In The Classical Era
Authors: Cole Michael 
Published: November 2023

Abstract
In a period of only thirty years in the second half of the eighteenth century European musical culture underwent a remarkable transformation. In 1765 the harpsichord was the indispensable item in almost every concert and in every home where music was practised; the sound of the pianoforte was virtually unknown to most music lovers. Yet by 1795 the situation was entirely reversed. The pianoforte was indispensable and the harpsichord had become all but obsolete—except in the most backward and conservative establishments. Three hundred years of harpsichord dominance had ended, and workshops that had been busy producing them either ceased trading or switched hurriedly to the new hammer-action instruments. What precipitated this amazing capitulation was, of course, new styles in musical composition and performance. While baroque counterpoint might be ideally suited to the harpsichord, the new keyboard music required above all expression. Not only loud and soft sounds, which the harpsichord could be contrived to imitate, but diminuendi and crescendi, sudden accents and an arresting quietness, which it was powerless to perform; these became the essential elements in any accomplished performance. For song accompaniments, too, the pianoforte was found to be ideal, with a sweet tone that supported the voice, and a dynamic flexibility that permitted it to follow the vocal line or to prepare the appropriate effect. The Pianoforte in the Classical Era charts the progress of this revolution in musical aesthetics and experience, detailing the extraordinary variety of sounds and musical resources built into the keyboard instruments in the latter half of the eighteenth century. Wherever possible the author returns to original sources—a wide variety of previously unreported documents, as well as surviving instruments—to reconstruct a history of the pianoforte that departs radically from earlier theories of many of the most fundamental issues. A wide range of instruments, each carefully described, is placed in a precise chronological and cultural setting. New insights are offered into the parameters that governed the performance of keyboard music in the Classical Era.
Violin Fraud
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
Instruments of the violin family are well known to be exceptionally valuable if they are the work of an Italian master such as Stradivari or Guarneri. Unfortunately, in common with many other antique articles of value, the forger, the defrauder, and the thief operate in the world of the violin in a very conspicuous way. With varying degrees of skill, labels are altered, certificates of origin are spuriously created, instruments are even made from new but disguised to look old and to reproduced the features of an old master. Buyers, dealers, and even auction houses can easily make distressing and very expensive mistakes. Many people who own instruments, or who are interested in buying them, want to know more about the dangers, the pitfalls, and the case histories of previous disasters. The law itself is widely misunderstood and its wide ambit not appreciated. Those who contravene the law risk actions for civil damages as well as criminal prosecution, primarily by the ever more vigilant Trading Standards Department of local authorities. It is the intention of this book to detect the background to this fraudulent activity and to explain how the law applies to it. Much of what is said applies to the antique world generally, but there are specific and pressing problems relating to to string instruments which have not been analysed in detail before and with which this book is particularly concerned. This new edition includes an account of American law as it relates to to violin commerce, including a discussion of violin theft, fraud, and contract issues, product disparagement, and slander, auction issues, tax issues, secret commissions, ethics, and intellectual property theft.
Misdescriptions and False Labels
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
Anyone who has made anything of a study of the violin family knows that the label often to be found by peering through the bass soundhole is quite likely to be false or misleading. Some would say that counting all the German and French ‘factory’ violins bearing Gothic ‘Stradivarius’ facsimile labels and the like, well over half of all labelled instruments are likely to be ‘wrong’ rather than ‘right’. No experienced appraiser looks at the label other than, at most, for confirmation of his educated guess at the maker and date of the instrument. It is the shape of the back and the table, the manner of the scroll and soundholes, the look of the varnish, and the size and ‘feel’ of the instrument (amongst other detailed ‘fingerprints’) which lead to the attribution.
Fakes and Forgeries - the Problem of Attribution
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
In any discussion as to false trade descriptions of articles of antique value the question is inevitably raised as to how a judge would ‘know’ that a description was false. ‘Were you there when the instrument was made?’ might be a reasonable question for a judge to ask a witness, but it casts a smokescreen over the real·point. It is essential to understand that no court can claim infall ibility of judgment. This hardly needs to be said after such well publicized miscarriages of justice as have occurred in the prose cution of alleged IRA terrorists. But it must be remembered that in all these cases it was actually the jury that came to the wrong conclusion on the facts, though the jury may well have been encouraged to do so by the remarks of the judge in guiding the Jury.
Breach of Contract and Warranties
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
If a buyer purchases a violin and later finds out that the violin is a fake, or has a hidden defect, such as a sound post crack that might significantly reduce the value of the violin, or the violin fails in some other material way to meet the reasonable expectation of the buyer, the buyer may have a claim for breach of contract or breach of express or implied warranties. In most states the Uniform Commercial Code (UCC) governs disputes involving the sale of ‘goods’, which includes instruments of the violin family as well as paintings, prints, and sculpture.
The Hazards of Secret Commissions and the Duty to Disclose
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
It is common practice in the USA for teachers to receive secret commissions from violin dealers in whose direction the student has been steered. This practice also occurs in England, as mentioned by Brian Harvey in Chapter 5 and in Appendix I. The harm of secret commissions is felt not just by the student, who may unknowingly be paying for his or her teacher’s commission through an inflated sales price. In addition, violin makers and dealers who refuse to engage in this industry custom may suffer competitive injury when teachers choose to send their students to those who pay such commissions.
Criminal Liability
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
Criminal liability for some of the misdeeds referenced in this book may be the basis for prosecution by the authorities and punishable by fines and/ or imprisonment under federal and/or state law. For example, when one transports in interstate or foreign commerce instruments of$5,ooo value or more, knowing that the instrument has been stolen, converted, or taken by fraud, one may be found guilty of violating the National Stolen Property Act.1 Liability under this statute may also be premised on activities such as inducing another to transport a stolen instrument, or otherwise causing the transport of such a stolen instrument, or in the concealment of a scheme to defraud a per son of property. Considerable fines and/ or imprisonment may be the punishment ordered for violation of this statute. Similarly, one who knowingly receives, possesses, conceals, stores, barters, sells, or disposes of instruments that have crossed a state or USA boundary after being stolen, unlawfully converted, or taken may also be found liable under federal law.2
Ethics
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
At least one professional American group has established ethical rules for its members. The American Federation of Violin and Bow Makers has created a ‘Code of Ethics’ and ‘Principles of Professional Conduct’ (Code) which set minimum levels of acceptable conduct and are formally binding on members. Those ethical rules are set forth in Appendix 3. Membership in the AFVBM is by election only and members must meet high standards requiring a particular level of training, skill, and time in the profession before entry into the group.
Shostakovich as Reflected in his Letters to Ivan Sollertinsky
Authors: Mikheyeva-Sollertinskaya Lyudmila 
Published: November 2023

Abstract
The letters written by the great composer to his close friend Ivan lvanovich Sollertinsky form a unique document. To begin with, there is the fact that they exist at all. Shostakovich and Sollertinsky lived in the same town, indeed for many years on adjacent streets, and parted company only after the beginning of the Second World War. One would have thought they had enough direct contact with each other, yet over one hundred and fifty of Shostakovich’s letters to Sollertinsky have survived, which shed light on many hitherto unknown details of the composer’s life, and often on particular traits of his character. So far as we can judge from the published correspondence, nothing comparable is to be found in any of the letters he addressed to the wide circle of his other correspondents—family members, friends, and acquaintances. In their sincerity, candour, and level of detail, their flashes of frequently ironic humour, their tone by turns bitter, anxious, and solicitous, they reveal just how dear and intimate a friend was their addressee, and how close the ties of friendship that bound them together.
Shostakovich’s Anti-Formalist Rayok
Authors: Yakubov Manashir 
Published: November 2023

Abstract
The originality of the Anti-Formalist Rayok should be assessed not only from the point of view of its place within Shostakovich’s legacy, but in the context of the broad traditions of satire in Russian culture. Russian musical satire is an organic and deeply original part of Russia’s spiritual culture. It is a legacy that is a thousand years old, and one that continues to thrive today: from the crude Slwmorokhi lampoons of the tenth to seventeenth centuries to the obscene modern-day chastushki about Khrushchev, Brezhnev, and Gorbachev and the political songs of Galich and Vysotsky: from Dargomyzhsky’s ‘The Worm’, Borodin’s ‘Pride’, Musorgsky’ s ‘The Seminarist’, ‘The Classicist’, and ‘The Flea’, Rimsky-Korsakov’s The Tale of Tsar Saltan, Kashchei the Immortal, and The Golden Cockerel to Prokofiev’s The Buffoon, Mosolov’s Newspaper Announcements, Shos takovich’s secret anti-Soviet works, Shchedrin’s Bureaucratiada, and Schnittke’s Life with an Idiot. Musorgsky’s Rayok and Shostakovich’s Anti-Formalist Rayok, two masterpieces of Russian musical satire, occupy a special place in this sphere of denunciatory laughter. A whole century separates them. Musorgsky wrote his Rayok in 1870, and Shostakovich finished the last scene of his work at the end of the 1960s. They nevertheless have much in common. The object of the satire in these works is the relationship between art and power, and therefore art itself and also ultimately the artist.
Shostakovich, Tsvetaeva, Pushkin, Musorgsky: Songs and Dances of Death and Survival
Authors: Emerson Caryl 
Published: November 2023

Abstract
The title of this essay combines so much Russian genius in a single sentence that one hesitates to pronounce it The issues it addresses, however, are more modest: first, how Shostakovich’s penultimate song cycle, op, 143, Shest’ stikhotvorenii Mariny Tsvetaevoi [Six Poems of Marina Tsvetaeva], represents an especially dense cluster of Russian cultural myths about the appropriate life and death for poets; and second, how this cycle differs in message and in ‘aesthetic consciousness’ from another intonationally-based song cycle by a composer who was dear to Shostakovich’s heart, namely, Musorgsky’s masterwork from the 1870s, Pesni i pliaski smerti [The Songs and Dances of Death]. Musorgsky was Shostakovich’s constant life companion. Tsvetaeva, however, was discovered late, during the composer’s final decade;1 Shostakovich was reading her verse and the memoirs of her daughter Ariadna in July 1975, the summer of his death.
Taking Steps: 1900—1918
Authors: Whittall Arnold 
Published: November 2023

Abstract
John Cage’s statement that ‘today’s music is characterised by a multiplicity of ways to do things’ might seem no more and no less than any composer could have said down the ages. It is difficult to imagine any composer, even one devoted to technical and aesthetic ideals of unity and consistency, supporting the proposition that the creative process always involves doing precisely the same thing in exactly the same way. Similarly, the claims of musicologist Robert P. Morgan that ‘the rootless and fragmented nature of current music is ultimately inseparable from the rootlessness and fragmentation of contemporary life’, and that ‘the pluralism of contemporary music mirrors the lack of consensus in the political, social and religious attitudes that govern how we live, act and interact’ could equally well be applied to some if not all earlier eras, each of which would have had its own standards for the governing concepts of’rootlessness and fragmentation’, as well as ‘pluralism’ and ‘lack of consensus’.
The Spread Of Serialism
Authors: Whittall Arnold 
Published: November 2023

Abstract
As ‘the Second Viennese School’, Schoenberg, Berg, and Webern are conventionally accorded collective credit for the establishment of the twelve-note technique as an important factor in twentieth-century music, and the story of composition since 1950 is largely one of reactions to that factor—positive, negative, equivocal. Whereas Webern, and Schoenberg in some of his late works, indicated the basis for a fuller exploration of the conjunction between strict serial technique and atonal expressionism, Schoenberg’s earlier serial pieces, and all those by Berg, opened up the very different prospect of associations between traditional forms and procedures and twelve-note methods which involved tension as well as connection. The continued influence and development of twelve-note composition after 1950 therefore helped to intensify the already vigorous pluralism of style and aesthetic that had been evident in twentieth-century music from the beginning, and most composers of significance who have emerged since mid-century have been concerned to some extent with the basic principle of consistently ordered pitch structuring (though often with fewer, or more than twelve notes) that lies at the heart of the Schoen-bergian concept. Such composers will feature in all the later chapters of this study, illustrating the extreme diversity to which types of serial thinking, in a post-tonal context, can give rise.