bluuebunny/crossref_metadata_2025_split huggingface dataset:
Intonation, Intonations
Authors: Debost Michel 
Published: November 2023

Abstract
It is an inexhaustible subject. Many people have certitudes about it; they are dangerous, be they flutists, conductors, or instrument makers. Tom Nyfenger, with his sardonic humor, used the term “outonation.”11 Concern for intonation is the first of civilities toward partners with whom music is performed. Tonal beauty, of course! Bright tone, clear tone, dark tone, ethereal tone, bravo! But often, the flutist, in his rapture about tone, gives it priority over intonation. One gets used to everything, including playing out of tune. Intonation concerns act as a negative: it seems natural and beyond comment that an instrumentalist or a group play in tune. The listener does not even think of it. But if the intonation is defective, it is the first thing that is noticed, even by nonmusicians. A feeling of aural discomfort negates any perception of an expressive nature. Listen to the greatest pianist playing on an out-of-tune piano: the first thing you hear is the honky-tonk sound. I have always regretted not having perfect pitch, and I succeed (hopefully) at playing somewhat in tune by referring to other pitches. Yet I am always ready to modify my playing to match other musicians, to the constantly changing harmonic environment, or to playing modes incompatible with our modern concepts. Thus, when we say: “ The modern flute is more perfect than the pre-Boehm traverso,” we commit the sin of arrogance as well as a mistake, which often go hand in hand. Our modern criterion is equality in all ranges and on all the degrees of the chromatic scale. It is also what I try to teach in order to achieve instrumental playing as reliable as possible. However, for the flute players of yesteryear, it was not the main concern. “Intonation is a bourgeois luxury.” Colors changing with the keys, uneven timbre, even defects in intonation were elements of instrumental playing. They contributed to expression and to the character of their music. Boehm was criticized more for the “insensitivity” of his flute than for the imperfection of its mechanism. The lover’s eyes change into virtues the beloved’s defects.
Keys
Authors: Debost Michel 
Published: November 2023

Abstract
I rarely mention the word technique. I am not naturally inclined to technical things, and I am afraid, if not resentful, of machines. We are expected to blindly respect CDs, edited to so-called perfection, tape recorders that sound either too awful or too good, breathing contraptions that simulate life, tuners to have perfect ears, metronomes to have perfect rhythm. It’s all for sale. Having said this, I must admit that I am writing on a word processor. The ASPCA no longer tolerates plucking geese to make quills, and my fountain pen is reserved for checks and love letters. Instrumental playing includes all the aspects of our dear flute: tone, fingers, articulation, slurring, pitch, vibrato, breath. One may feel weaker in one area or another, but working on one without thinking about the others leads nowhere. Not even interpretation is instinctual. It involves thought and practical solutions. There is a technique of phrasing just as there is a musical approach to instrumental problems. Even when the tone is beautiful in one area, shifts in range or articulation, clumsy attacks, and faulty slurs can ruin a perfectly good musical intention. Let us use as an example the first part, the andantino, of the Fauré Fantaisie. There are many more illustrations, but this piece is well known to flutists of all levels. Besides, it is one of those things that look deceptively simple. The allegro is scary, with its runs and rapid tonguing. But after two lines of the andantino, everyone has a good idea of how you play, and this innocent-looking phrase is not as easy as you thought.
Muscle Groups
Authors: Debost Michel 
Published: November 2023

Abstract
The human hand is an amazing machine. There are an incredible number of muscles of all shapes and sizes, interwoven, working at times in the same direction, sometimes in contrary or antagonistic motion. The muscles that activate the fingers involved in playing the flute are mostly in the forearm. Without intending to be exhaustive or competing with the medical experts, we can have a direct perspective of these muscles’ action. Wear a short-sleeved shirt or a T-shirt so that you can glance at your left forearm while playing. Pick up your flute and play a simple pattern:
Notes
Authors: Debost Michel 
Published: November 2023

Abstract
One of our obsessions is playing the notes, or rather not missing too many of them. It even seems to be the only concern among some teachers and orchestra personnel managers. It is hard to disagree, of course. Yet it would be interesting if all the parameters of flute playing had the same importance. Sound comes in conjunction with notes. The notes are not an entity in themselves; rather, the musical content is spoken through the notes. We should practice instrumental playing as a whole. Style, phrasing, articulation, intonation, and notes must all be seen as a total experience. Germanic musicians use the alphabetical system to name notes, with the peculiarity that B is sometimes called H. English musicians and those of the British sphere (e.g., Australia and New Zealand) use the “pure” alphabetical system. Americans, due to the variety of their musical influences, use both systems, mostly the alphabetical system, but also solfège in areas where musical institutions were influenced by the Italian, French, and Spanish cultures.
Resonance
Authors: Debost Michel 
Published: November 2023

Abstract
Sound is a vibration of the medium, but it is not vibrato. Sound cannot be produced in a vacuum. It needs a medium— in most cases air, but it can be lighter than air (such as helium), making the pitch sharper, or heavier (such as carbon dioxide), turning the pitch flatter. You can experiment with this phenomenon if you play right after having a carbonated drink. Should an accidental return of the gas occur, your tone suddenly goes very flat, for a second, then comes back up to pitch. The greater density of carbon dioxide (CO2 ) is the reason. The temperature inside the flute also influences resonance. Cold air is denser than hot; therefore, it resonates at a lower frequency. There can be no sound in a vacuum. Correlatively, any air particle in contact with the sound source enters into vibration with it. The volume of air where you are playing resonates, but so do all the cavities inside your body: chest, mouth, throat, sinuses, even bones. They contribute to give each of us a distinctive sound. A cold is unpleasant because the head cavities do not resonate. Our tone of voice is a direct result of the component resonance of our facial spaces. It is the constant emphasis of good voice teachers, and it is mine, for I think the voice is the best example of tone production for flutists.
Rubato
Authors: Debost Michel 
Published: November 2023

Abstract
Rubato means what it says: stolen. But in music, it implies stolen . . . and returned. Tempo remains steady within a given measure so that the musical delivery may be more or less early or late with respect to the basic pulse. One steals time from time. This creates a certain tension comparable to the inflections of a spoken phrase, whose release is never completely regular, unlike those in so many soporific speeches. The metronome cannot discipline rubato, except in that it symbolizes the pulse of the fatal clock, whose bondage we, poor humans, try to defeat by stretching and compressing musical space. This conflict between tension and release is the essence of rubato, of phrasing, and of musical expression in general. Thanks to freedom and rubato, music can become ageless. Minutes seem eternal, time suspends its flight, the moment is almost sacred: “Du holde Kunst, ich danke dir” (Thou tender Art, I thank thee; Schober, set to music by Schubert). In fact, if you use the metronome systematically, you should consider yourself its equal, not its slave. Practice with the metronome, by all means; but most of all play against the metronome.
Stress
Authors: Debost Michel 
Published: November 2023

Abstract
“Be patient with everyone, but above all with yourself.” We must resign ourselves: stress is inherent to performing. The essence of music is conflict between tension and release, between emotion and peace, between time and space, and between joy and sorrow. The few following thoughts are not intended as a cure for stress; that is a lure. Stress is unavoidable for an artist. It is even necessary, a source of moral achievement and beauty.
Unusual Trill Fingerings
Authors: Debost Michel 
Published: November 2023

Abstract
All trills are assumed to be slurred. Only fingered keys are shown. The first note is the basic fingering. Arrows show the trilling finger(s). There are many theories. Extensive measurements show that the diaphragm has no role in vibrato. Since you cannot produce vibrato with your lips or your chin, its mechanism must initiate somewhere in the throat area. This does not mean that it needs to be of the nanny goat variety, very fast and very narrow. In fact, it is safe to say that vibrato is a modulation in the pitch of the flute tone, making it rise and fall in a more or less controlled fashion. String players do the same thing more visibly. But it confirms the fact that vibrato is not spontaneous. String players show us it is a oscillation of the finger tips on the fingerboard.
Concerning the Table and Classification of Italian, French, and English Compositions Now in Use in Germany
Authors: Praetorius Michael 
Published: November 2023

Abstract
For the instruction of the many simple people who have often wished to know what the names of the various Italian and French compositions mean, I have attempted here to compile such a list, collated from the writings of many eminent authors, with the sincere request that it be well received and understood with comfort and confidence.
Concerning the Dances Arranged According to Certain Paces and Steps, Such as the Paduana, Passamezzo, and Galliard
Authors: Praetorius Michael 
Published: November 2023

Abstract
The paduana, Italian padoana, is supposed to get its name from the city of Padua in Italy, where, according to some, the art of music was first invented. The French and English call it pavana. It is a kind of steady, solemn music, and when played in a consort on a variety of sweet-sounding instruments produces a particularly pleasant and at the same time splendid sound [Harmoniam]. It is principally designed for formal dances. In England it is always used for dancing, and it generally has three repeated sections of eight, twelve, or sixteen beats [tact] each; no fewer are allowed due to the four steps or paces that must be observed. There is nothing particularly fugal [Fugen] about them, but they may begin with imitation [Fug] now and then, which quickly grows less and then ends. The dance called La pavane and also La pavam de Espaigné originally comes from Spain and must therefore be executed with especially slow, graceful steps and Spanish solemnity.
Concerning the Numbers Found Next to or Under the Rests
Authors: Praetorius Michael 
Published: November 2023

Abstract
A performer does not always carefully notice the abundance of rests that frequently occurs in the various choirs of concertos for multiple choirs [Concerten per Choros], due in part either to forgetfulness or error, but also at times on account of the plethora of rests, the confusion of rest types, and also because he is studiously listening to and enjoying the other parts. Therefore I have devised this solution, which appears highly appropriate, of putting the number of rests over or under the notes, especially when duple ( , ) and triple ( , ) mensurations are frequently mixed up and alternated. For example, where one and the same rest in duple meter counts for four beats, there are only two beats in Tripla. As everyone has found out for himself — and I have learned from experience, not without distress — this can easily result in confusion; nevertheless, such dilemmas can be avoided to some extent by this means.
Concerning the Variation of Beat or Measurement [Mensura] in Songs, Both in Their Progression and Ending [Acceleration / Retardation]
Authors: Praetorius Michael 
Published: November 2023

Abstract
A performance must not be rushed, for confusion will be created in the entire ensemble—even the most enjoyable ones. However, when it is performed to a slower beat, the harmony is made more gracious and is better perceived. Also, the equality of the measurement [of the notes] must be observed, lest the harmony be marred or disturbed. For to sing without law and measure is to offend God himself, who arranged all things according to number, weight, and measure, as Plato says. But nevertheless, when using by turns now a slower, now a quicker beat, according to the meaning of the text, the song has a singular majesty and grace and is marvelously adorned.
Concerning the Transposition of Compositions How and to What Extent Various Compositions Must Be Transposed When Set Down
Authors: Praetorius Michael 
Published: November 2023

Abstract
Each composition written in high clefs, that is, when the bass is written in a C-clef on the second or third line from the top [C-: tenor or C-: alto clef ] or in an F-clef on the third line [F-1: baritone clef ], must naturally be transposed into tablature or score by organists, lutenists, and all others who will be using a fundamental instrument. If it is in a transposed mode [b mol], it must be taken down a fourth, and B [durum] applied; if, however, it is untransposed [ dur], it must be taken down a fifth, and B [mol] used. Several modes, such as Mixolydian, A Eolian, and Hypoionian, generate a drab and languid sound [harmonia] because of the lower tessitura [sonos] when transposed down a fifth. It is far better and gives the work a much fresher and more delightful sound [zuhören] if the mode is transposed up a fourth, using F instead of B .
Concerning the Writing of the Parts or Voices of a Composition Concerning a Suitable Designation of the Parts with Numbers Instead of Cantus, Altus, Tenor, Bassus, Quintus, etc. and the Distinction between Them, So That the Arrangement of a Concerto and the Distribution of the Parts Can Be Improved and Made Easier
Authors: Praetorius Michael 
Published: November 2023

Abstract
I have discovered that in various partbooks, as they are commonly called, it is rarely taken into account the succession in which the parts in each choir might be reasonably arranged. For this reason organizing sundry concertos to be performed in quick succession is very laborious and tedious, since in one composition a part may belong to the first choir, but in the next piece it may be found to belong to the second or third choir. This is most annoying and confusing when one wants to arrange the first and second pieces on the spot, especially if the choirs are separated by a great distance, as one has to take a partbook from one and give it to another, running from one place to another carrying partbooks.
Capella, Chorus pro Capella, Palchetto
Authors: Praetorius Michael 
Published: November 2023

Abstract
In my opinion the only thing the Italians meant with this at first was the employment of a separate choir that was drawn from several different choirs consisting of various kinds of instruments and voices in the large Imperial, Austrian, and other Catholic chapels or music organizations. It is called a large choir [Chorus pro Capella] because the entire vocal choir performs in a completely separate location, entering almost always together with the other choirs and producing music full of splendor and magnificence, as when an organ joins in with the full organ.
[Name-Making], the Suitable Names of Instruments [Onomátopoíses, Instrumentorum Congrua Appellatio]
Authors: Praetorius Michael 
Published: November 2023

Abstract
Since the names of musical instruments cannot actually be determined with Latin terms as with Italian ones, I have generally used the Italian ones in my works and would like to indicate their meaning here [tables 3.6 and 3.7]. It is also to be noted here for further direction that in order to differentiate better the large instruments from the smaller ones in their language, the Italians employ two-syllable suffixes [table 3.8].
Across a Great Divide
Authors: Berry Stephen W 
Published: November 2023

Abstract
To readers familiar with negotiating personal spaces through public places, the Punch cartoon on page 84 must have provided a quick laugh. On careful examination, however, the image holds a fascinating key to understanding gender relations among the elite of the Victorian era. The man ‘s umbrella, his top hat, his beard, his girth, the dark and muted colors of his frock coat and peg-top trousers all suggest the stolid and mature man of means who by the 1850s had become the fashionable world ‘s male ideal.
A Fountain of Waters
Authors: Berry Stephen W 
Published: November 2023

Abstract
For most antebellum Americans, disunion was, to use one of their favorite metaphors, a dark cloud brooding endlessly on the horizon, a storm ever building, never breaking. To be sure, a few eyed it greedily, imagining its power to reorder lives and circumstances. But far more viewed it as a peripheral grimness. The cloud had been there every day of their national existence, and, while they did not like the look of it, they had had ample time to get used to it. When finally it crashed about their heads, they might have reacted with a weary fatalism.
The Regulation and Marketing of Sexual Pleasure
Authors: Abramson Paul R , Pinkerton Steven D 
Published: November 2023

Abstract
In William Blake’s famous poem The Marriage of Heaven and Hell, he challenges the sanctimony of libidinous restraint—particularly as evidenced in Milton’s Paradise Lost. Blake warns:
Those who restrain desire, do so because theirs is weak enough to be restrained; and the restrainer or reason usurps its place & governs the unwilling.
This poem provides a particularly fitting introduction to the regulation of sexual pleasure and the questions it evokes. Such as the most basic query: Why do we restrict and encumber this many splendored thing? And why do we consider ourselves so noble when we do? Blake’s poem reaffirms the vitality of passion and desire, and the creative acts they inspire. Desire provides a counterpoint to oppression, the virus of regulation and restraint.
The Mechanisms Of Atmospheric Oxidation Of Aromatic Hydrocarbons
Authors: Calvert Jack G , Atkinson Roger , Becker Karl H , Kamens Richard M , Seinfeld John H , Wallington Timothy J , Yarwood Greg 
Published: November 2023

Abstract
This text reviews many of the aspects of the chemistry of the aromatic hydrocarbons and a consensus evaluation of the data by seven of the leading atmospheric scientists. The book covers topics ranging from the relative importance of the compounds in ozone and haze development to methods of estimating elemantary rate coefficients based on structural features of the compounds to mechanisms of aerosol generation and atmostpheric reaction of the polycyclic compounds to photochemical processes. It identifies features of the aromatic hydrocarbons requiring further study and appendicies give the structural formulas and nomenclature of the compounds reviewed in the book.
Atmospheric Chemistry Of Polycyclic Aromatic Hydrocarbons Sorbed On Particles
Authors: Calvert Jack G , Atkinson Roger , Becker Karl H , Kamens Richard M , Seinfeld John H , Wallington Timothy J , Yarwood Greg 
Published: November 2023

Abstract
Polycyclic aromatic hydrocarbons (PAHs) arise in the environment primarily as direct atmospheric emissions or as combustion wastes that are either buried in, or applied to, the surface of dump sites (Muller et al., 1989; Luthy et al., 1994; Finlayson-Pitts and Pitts, 1999). As a class of compounds, PAHs contain two or more fused benzene rings. This class also includes aromatics with fused aliphatic and olefinic rings, as well as aliphatic substituent groups on the aromatic rings. In 1962, Badger proposed a simple flame mechanism in which acetylene radicals combine as building blocks to form PAHs (Badger, 1962; Badger et al., 1965). Current mechanisms involve hydrogen abstraction and acetylene addition to the growing PAH structure (Wang and Frenklach, 1997). Recent work suggests that gas-phase collisions may lead to PAH dimers, and trimers, and so on, which ultimately lead to a soot seed particle. It is also possible that growth to soot particles can take place via the formation of aromatic-aliphatic-linked hydrocarbons (Minutolo et al., 1988; Ciajolo et al., 1994; D’Anna et al., 1994; Dobbins and Subramaniasiavam, 1994; Hepp et al., 1995). At room temperature, PAHs are solids and they have melting points that range from ˜ 80°C to 400°C, and boiling points that range from ˜ 200°C to 570°C, and they have subcooled liquid vapor pressures that range from 10-4 to 10-11 atm.
Important Areas For Further Laboratory Studies
Authors: Calvert Jack G , Atkinson Roger , Becker Karl H , Kamens Richard M , Seinfeld John H , Wallington Timothy J , Yarwood Greg 
Published: November 2023

Abstract
Although a great deal of quantitative information related to the atmospheric oxidation of the aromatic hydrocarbons has been obtained in recent years, there is a large uncertainty related to many aspects of our knowledge. In this chapter we attempt to identify some of these critical areas to provide direction for new and definitive laboratory and theoretical work. The discussion in the first two sections is separated into work related to (a) measurement of rate coefficients for the reactions of the important oxidizing species in the atmosphere (section XI-A); and (b) the products and mechanisms of the reactions (section XI-B). The areas of knowledge that require further study are considered in the order they first appear in this book. In section XI-C, the needed studies of the photochemistry of the products of the aromatic hydrocarbon oxidation are discussed. In sections XI-D, suggested further studies are described related to aerosol generation in the oxidation of the aromatic hydrocarbons; and in section XI-E, studies of reactions of PAHs sorbed on aerosols are considered. In section XI-F, an attempt is made to prioritize the areas of needed study.
“ An Outpost of the Empire Welcomes You”
Authors: Williams Carol J 
Published: November 2023

Abstract
Beginning with the Spanish explorations of the eighteenth century, incoming visitors exhibited an insatiable, encyclopedic appetite for images of the Northwest Coast. The prime vehicle for the collection of this visual data was geographical and geological surveys, which substantiated the topography, flora, and fauna of the landscape as well as the location and availability of fish, mineral, and timber resources.1 Prior to the mid–nineteenth century, watercolor artists commonly accompanied exploratory surveys in order to produce detailed topographical sketches of colonial lands.2 Swiss-born draftsman John Webber, for instance, accompanied British Captain James Cook on his 1776 exploration of Nootka Sound on the HMS Resolution, resulting in detailed drawings of the Nuu-chah-nulth tribe of Vancouver Island’s west coast. And in 1864, artist Frederick Whymper accompanied botanist Robert Brown and his crew on a geographical survey conducted by the Vancouver Island Exploring Expedition.