bluuebunny/crossref_metadata_2025_split huggingface dataset:
Harmony
Authors: Herissone Rebecca 
Published: November 2023

Abstract
IN the early seventeenth century enormous leaps forward were made in the theoretical understanding and codification of practical changes which were at the heart of the Baroque style. The development towards harmonically rather than melodically conceived music led to movement away from the contra-puntal composition rules of the Renaissance towards simpler harmonic instructions. This, in turn, encouraged theorists to consider harmony as more than just the superimposition of two-part intervals, resulting in the new concepts of the triad and chordal inversion. As these ideas became established, an organizational system developed on the basis of only two modes, differentiated harmonically according to the third above the key note, rather than just melodically, as had been the church modes. This complete transformation in the way in which music was written and understood is traced in the next three chapters.
France: The Royal Guitarists
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
During the mid-sixteenth century, musicians, printers, and poets associated with the French court developed a sizeable repertory for the four-course guitar that was both charming and distinctive, and the instrument enjoyed a decades-long period of immense popularity. By the dawn of the seventeenth century, however, the guitar had fallen so out of fashion that it had to be virtually reintroduced—this time as the five course Spanish guitar, and this time, it seems, by a Spanish guitarist, Luis de Briceño.
Germany and the Austrian Empire
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
In the early seventeenth century the Spanish guitar was virtually unknown at the courts of Protestant north Germany, Catholic south Germany, Austria, and her Bohemian possessions.1 In the north the earliest mention of the guitar apparently refers only to the four-course instrument. The source of this citation is Michael Praetorius (c.1572-1621), and it appears in his famous encyclopedic music treatise of 1614-19, Syntagmamusicum…tomussecundusdeorganographia …(Wolfenbüttel, 1618/i9).
1750-69: The Emergence of the Six-Course Guitar
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
When PhilipV (the newly crowned Bourbon king) entered Madrid with his entourage in 1701, he brought with him all manner of international influences into the Spanish capital. French was soon being spoken at court to a far greater extent than before, and the Italian musical style became strongly favoured (not just in royal circles but also by the fashion-conscious Spanish middle classes), while national expression was generally held in low esteem and was even regarded with suspicion as a potential focus of Spanish resistance to foreign domination. By mid-century the publication of new Spanish music had been largely suppressed (the court repeatedly forbade the establishment of a dedicated music press, so most eighteenth-century Spanish music existed only in manuscript form), and the guitar had all but vanished from fashionable middle-class theatres, where it had formerly been used to accompany short pieces such as entremeses.
1790 to the Early 1800s: The Triumph of the Six-String Guitar
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
By 1790 the six-course guitar had become the most common form of the instrument in Spain. Most Spanish makers were now building only this type of guitar, and the numerous advertisements in the Madrid press throughout the decade reflect this change: Older five-course Spanish guitars were still being played and traded, but even some of these began to be modified to accommodate an extra course. This was not difficult to do, because (for the sake of symmetry) the head of a five-course instrument usually had two rows of five tuning pegs, but only nine strings were fitted to them (because of the preference for a single chanterelle). Therefore, if a single hole for an extra tuning peg was drilled between the two rows (and the bridge and the zero fret were adjusted to squeeze six courses into the space previously occupied by five), it became possible to fit eleven strings onto what had hitherto been a five-course instrument.
The Impresario and the English Opera Group
Authors: Kildea Paul 
Published: November 2023

Abstract
The history of opera in this country is curious and complicated; it is also very characteristically English in its mixture of amateurish enthusiasm, professional indifference, occasional bright ideas without the least sense of planning for the future, commercial routine and-from the general public-complete ignorance and bewilderment. For Britten himself, this triumph meant something more than the immediacy of being an internationally recognised composer. It meant for him that he was now willing in himself, and, indeed, determined to be, within the 20th century, a professional opera composer. While touring Canada with the English Opera Group in I 957, Britten was asked by a music critic to describe the difference between The Rape of Lucretia and The Turn of the Screw. ‘The title is different, and the story ’, replied Britten. ‘ Oh yes, of course, but the music, Mr. Britten-what would you say was the difference between the music of “The Rape of Lucretia “ and “The Turn of the Screw “? ‘ ‘The notes are the same, but they are in a different order. ’ The comparison between the two works is a profitable one, although not in the sense intended by the music critic, nor in Britten ‘s precise if dismissive reply. The Rape of Lucretia, Britten ‘s first opera after Peter Grimes, owed its presentation at Glyndebourne in 1946 to private patronage. Britain then was just beginning to explore the institutionalization of national culture through its new Arts Council.
‘Indessen wollte ich mich Ihnen gern gefällig beweisen’: On Some Occasional Works, with an Unknown Composition by Mendelssohn
Authors: Hellmundt Christoph 
Published: November 2023

Abstract
My investigation was prompted by a composition by Mendelssohn that has remained virtually unknown until now, and which in my estimation should be considered an ‘occasional work’. What does this term mean? In general, one designates as ‘occasional works’ compositions written for a specific occasion (usually rather hastily) and which achieve no great significance, either in the composer’s œuvre or in musical life in general. Sometimes these are largescale works, but usually they are smaller. If the suggestion or request for the composition comes from an external source, the composer’s own personal impetus plays a subordinate role, since he feels obligated to compose something.
Scholarship, Authenticity, Honesty
Authors: Williams Bernard 
Published: November 2023

Abstract
The invitation to address this congress was a strange one, but not one to be resisted. Certainly it was an honour to think it might be supposed that I would have something of interest to say to so many representatives of a distinguished scholarly field which is very far from being my own. To love music (as I certainly do)-or rather, I should say, to love quite a lot of music, since there is a lot I do not know, and some I am indifferent to; and there is some, as there is for any sensible person who cares about it, that I hate-does not mean that even in an amateurish way one grasps much of the musicologist’s various crafts. The converse, too, is at least conceivable, that mastery of the musicological crafts does not necessarily imply a love of music. Certainly there are classicists-I have known a few-who, if they ever liked much of Greek or Latin literature, long ago stopped doing so. There are Shakespearean scholars who detest Shakespeare-with the more unusual feature, in their case, that some of them pursue their profession by saying so. There are even some art historians (but not many, in my experience) who do not really like looking at pictures.
Brain and Music: An Electrophysiological Approach
Authors: Besson Mireille , Regnault Pascaline 
Published: November 2023

Abstract
What is the brain doing when one listens to music? This general question provides the focus of the research presented in this paper. Specifically, the experiments described here were designed to study the electrophysiological correlates of music perception. Listening to music involves a number of complex computations, from sensory to perceptive and cognitive analysis, that underlie the pleasure and emotions we feel. Of course, these computations need not be conscious. More often than not, we are unable to explain or describe why one piece of music evokes such pleasant, peaceful, and happy feelings while another evokes such fearful, unhappy, and unpleasant ones. We seem to be far from understanding the mechanisms responsible for the intricate feelings that accompany music perception. However, largely owing to the work of researchers in music perception, important progress has been made in our understanding of the basic perceptive and cognitive processes involved.
The Music of Rhetoric
Authors: Sisman Elaine 
Published: November 2023

Abstract
The title of this paper will seem deliberately to have inverted its terms: the rhetoric of music seems familiar (indeed, ‘the rhetoric of X’ has become a virtually obligatory formation in every field); but the music of rhetoric? My aim is to suggest that, far from being a necessarily ‘literary study’, rhetoric as an art of the ‘means of persuasion’ and of ‘display’ may be itself inherently musical. Indeed, the same sources are read over and over again by scholars in literature, music, and the visual arts, not to mention students of actual oratory, and the sources speak differently to different disciplines. Moreover, such inversions reveal the slipperiness of the subjects: to explore the problems posed by rhetoric and music seems at times like wrestling with a jellyfish which might then turn into a boa constrictor.
Response
Authors: Stenzl J ü rg 
Published: November 2023

Abstract
From a European point of view, ‘New Musicology’ is part of US home politics. As Andrew Dell’Antonio put it, a new approach means taking up new, alternative ideas from ‘sister disciplines’. Musicology has always been conditioned by ‘sister disciplines’, especially by the history of art. Likewise, philosophical concepts generally functioned as much more than mere ‘sisters’: ‘Restoration’ was, for example, a ‘big brother’ of Cecilianism, of the Solesmes editions of Gregorian chant, and of a large part of musicology during the late nineteenth and twentieth centuries. French right-wing extremism and anti-Semitism were ‘sisters’ to Vincent d’Indy’s music history at the Paris Schola Cantorum, just as nationalistic and fascist ideas conditioned parts of French and Italian musicology between 1920 and 1945. Structuralism had its impact on French musicology in the 1970s, not to mention the impact of Hegel and, later on, the influence Adorno’s synthesis of philosophy, sociology, and music has had on German musicology since 1950.
Response
Authors: Subotnik Rose Rosengard 
Published: November 2023

Abstract
These days, when I think about the direction of musicology, I keep coming back to concerns voiced by one of my students, then an opinionated undergraduate, named Jacob, and by one of my teachers, the cultural historian Jacques Barzun. Let me start with Jacob. A few years ago, Jacob began paying visits to my office at Brown University, where I serve as adviser to undergraduates majoring in music. Jacob was thoroughly dissatisfied with the education he was getting. He railed against his music professor, an old-fashioned historian and man of letters who expected his students to acquire a close formal mastery of some very sizable ‘great Western compositions’. And he resented the professor who taught Shakespeare’s plays as occasions to ‘consider the cultural construction of gender, race, nation, sexuality, and class in early modern England’.
As the semester wore on, I became
Difficolta della storiografia dell’opera italiana
Authors: Seta Fabrizio Della 
Published: November 2023

Abstract
La storiografia dell’opera italiana e un settore di studi che si presta singolarmente bene a illustrare ea sviluppare alcuni dei temi individuati nei lavori preliminari di questa tavola rotonda. Da una parte, non v’e dubbio che !’opera italiana appartenga a pieno titolo al ‘canone’ della musica colta occidentale;.
Musical Practices and Hidden Musicians: A Perspective from Sociology and Anthropology
Authors: Finnegan Ruth 
Published: November 2023

Abstract
Christian Kaden rightly starts off his scene-setting paper above by referring to the ‘social’ nature of music.1 My paper picks up one dimension of that statement: the idea that music is essentially made by people and that the variegated conventions through which they achieve this are worth studying. So, rather than attempting any overall survey (as Kaden has already done), I will instead focus on a case-study of the musical activities carried out by certain ‘hidden’ musicians within our own culture. This draws on my own research on a contemporary English town as a way of illustrating some of the insights which a social perspective can bring to the study of music.
Musicology and Sexuality: The Example of Edward J. Dent
Authors: Brett Philip 
Published: November 2023

Abstract
Imagine for a moment that music is a social problem. Or rather that it has for centuries been an outlawed or suspect activity whose practice leads to severe disapproval, sometimes punishment, except under certain circumstances which are, in a remarkable reversal, highly validated. Imagine, too, that in a newly industrialized society, driven by capital and depending for its stability on religion and the development of middle classes, no one quite knows how to deal with the rogue desire for music ingrained in each person.
Berlioz Et Autour De Berlioz: Un Artiste En Son Temps
Authors: Bloom Peter 
Published: November 2023

Abstract
Designed to offer views of Berlioz based both on his own writings and on those of others in his circle, this Study Session, conducted in French, included papers by six scholars from six countries, and a response (in English) from the dean of Berlioz studies, Hugh Macdonald.
Musicology And Biography
Authors: Olleson Philip 
Published: November 2023

Abstract
In a congress whose main theme was musicology and sister disciplines it seemed particularly appropriate to devote a session to musicology and biography. Although not strictly speaking a discipline in its own right, biography has an important, if untidy, relationship with musicology. Moreover, it is in the musical biography that musicology steps outside the specialist arena and addresses a wider public. Although musical biography may not have achieved the popularity of literary biography, it is none the less widely read, and a major new study can play a significant part in establishing or altering the way in which its subject’s life and career are perceived; furthermore, its impact can be particularly pervasive as the picture is more widely disseminated through journalism, broadcasting, and programme and sleeve notes.
Theorizing The Transnational
Authors: Shelema Kay Kaufman 
Published: November 2023

Abstract
The two broad aims of this session were to consider what transnational theoretical paradigms have to offer musical scholarship and, conversely, to ask what musical scholarship has to offer transnational theories. The session, organized by Kay Kaufman Shelemay, addressed these issues through five case-studies spanning widely diverse geographical areas and historical continua.
Der Mensuralcodex St Emmeram (Clm 14274): Einezentrale Quelle Fur Die Musik Mitteleuropas Im I 5. Jahrhundert Und Ihre Musikalischen, Liturgischen, Und Theologischen Voraussetzungen
Authors: Schmid Bernhold 
Published: November 2023

Abstract
Nach wie vor sind diverse Fragen der Entstehung sowie der Verwendung des Codex St Emmeram nicht hinreichend geklart. Tom R. Ward machte auf die zentrale Rolle von Wien fur den Codex aufmerksam. Der Besitzer und Hauptschreiber Poetzlinger hatte von 1436 bis 1439 dort studiert. Dies kann sich konkret in Kompositionen bzw. Texten augern: Neben Kungspergers Urbs beata Jerusalem (Nr 256) ist separat ein Alternativtext notiert: ,,Sancte Dei pretiose”, ein ansonsten selten zu findender Text, der auf St Stephan bezogen ist, dem der Wiener Dom geweiht ist. Petrus Wilhelmi, dem z.B. die Nr 13 mid 47 des Codex zuzuschreiben sind, diirfte Verbindungen zum in Wien residierenden kaiserlichen Hof gehabt haben. Der Codex enthalt schlief lich sieben Werke des Wiener Kantors Edlerawer, sechs davon als Unica. Wien kann als eines der Zentren in Mitteleuropa gelten: die Universitat hatte Studenten aus ganz Zentral-, aber auch aus Westeuropa. Soweit sie sich mit Musik beschaftigten, taten sie das im Rahmen von sehr vie! breiter angelegten Studien. Moglichkeiten, hier Böcher und auch Musikalien zu sammeln und auszutauschen, sind somit in hervorragender Weise gegeben. Die Handschrift reprasentiert deswegen wie keine andere das musikalische Repertoire in Zentraleuropa vor der Mitte des 15. Jahrhunderts.
Study Session 26 Opera Et Mel0drame En France, I 800-30: Uneenquete Sur Les Genres
Authors: Charlton David 
Published: November 2023

Abstract
This session was conducted in three parts, each of which was the responsibility of two contributors. In his introduction, David Charlton drew attention to the special intrinsic relation between stage works in France and the concept of genre (a concept visible today even in cinema listings in Paris). From a wider perspective, a genre designation denotes on the one hand a work’s intellectual connection with classical literature; on the other, the general rejection of fixed models by (say) Victor Hugo in 18271 imposes further questions concerning what meaning a ‘genre’ might have in Romantic terms, for example as applied to grand opera. An analogous rejection of ‘rules and formulas’ in the ‘public use of reason’ had in fact already been adumbrated by Kant in 1784,2 during a decade which in France saw many opera librettists proudly inventing mixed genre designations.
Kulturelle Traditionen In Mitteleuropa: Musikleben Zwischen Zentralismus Und Regionaler Spezifik Am Beispiel Der Rolle Von Vereinen
Authors: Knotik Cornelia Szabó 
Published: November 2023

Abstract
Hauptinhalt dieser Sitzung war die Diskussion i.iber Methode und Ziel einer unter Einbeziehung von Telekommunikation und Informations technologie durchgefohrten internationalen Vergleichs-Studie zur musikalischen Alltags geschichte im Mitteleuropiiischen Raum. Einleitend (Cornelia SzabKnotik) wurde das Forschungsziel formulicrt-die Beschreibung des wechselseitigen Einflusses von Stadten (Bratislava, Brno, Budapest, Ljub ljana, Praha, Trieste, Zagreb, Wien) im Bereich des Musiklebens in ihrer je nach Blickwinkel verschiedenen Eigenschaft als (regionales) Zentrum bzw. Peripherie einer kulturellen Einheit; Untersuchungsfeld (Vercinsleben) und Untersuchungszeitraum (r867-r92oer Jahre) begri.indet; und die Organisa tionsstruktur (lokale Forscherteams, Mischformen der Kommunikation aus Telekommunikation und halbjahrlichen workshops) erlautert. Anschliegend wurde die als wesentliches Arbeitsmittel fungierende Datenbank (Markus Reisenleitner, Arno Traninger) nach den for ihrcn Aufbau wesentlichen technischen und inhaltlichen Schritten und Auswertungsmoglichkeiten for die Darstellung der Forschungsresultate bzw. for zuki.inftige Anwendungsformen vorgestellt.
Liturgy and Homiletics
Authors: Jeffery Peter 
Published: November 2023

Abstract
The sermons and biblical commentaries of the Church Fathers preserve much important evidence about the liturgical chant repertories of the early church. In hundreds of cases they indicate which psalm texts were selected for singing on which liturgical feasts, because at the time no clear distinction was made between chanted psalms and lessons read from other parts of the bible. Early Christian sermons show that some of the texts of the medieval chant repertories had already achieved a fixed position as early as the fourth century, and often give valuable information about performance practices. Publications on this subject have tended to focus on St Augustine of Hippo (354-430), but Augustine’s north-African chant repertory was not a direct ancestor of medi&lt;val Gregorian chant. This paper dealt exclusively with sermons and commentaries that can be linked to Rome, in order to clarify certain aspects of the formation of the Old Gregorian and Old Roman repertories that emerged there.
Session 2: The Historiography of Early Music
Authors: Annibaldi Claudio 
Published: November 2023

Abstract
In attempting to respond affirmatively (though, alas, posthumously) to Howard Mayer Brown’s invitation to formulate explicit theories about the nature of musical patronage in the period in question, this paper was theoretically linked to the Round Table chaired by him at the 1992 IMS Congress. Since then I have developed an anthropological approach to musical patronage in Renaissance and Baroque Italy, seeing it as a phenomenon intended to symbolize the patrons’ social rank through musical performances, and I have established a set of assumptions which have proved useful in interpreting archival documentation. In this presentation I focused on one of these assumptions, the coexistence of institutional and humanistic trends in musical patronage after 1400. I shall present the semiotic implications of this assumption as a key to Brown’s ‘crux of patronage studies’, that is, to the problem of demonstrating analytically the relationship between individual compositions
Session 18: The Eighteenth-Century Tradition
Authors: Harriss Ernest 
Published: November 2023

Abstract
Johann Adolf Hasse (1699-1783) was a most popular composer among aristocratic audiences during the middle decades of the eighteenth century. His primary claim to fame was his success in the field of serious opera, the most important genre of the day at court. However, Hasse also wrote a great deal of music for the church. Indeed, he wrote to his friend Ortes in 1768 that he was devoting his remaining years primarily to religious music. Recent archival searches in Poland, the Czech Republic, and the Slovak Republic demonstrate that he did this to a degree not reflected in the literature. A surprisingly large number of manuscripts of unreported sacred works has been brought to light since the publication of Sven Hansell’s article on the composer in The New Grove Dictionary^ thanks to the more open political conditions which now prevail.
Session 33: Renaissance Theory
Authors: Saavedra Leonora 
Published: November 2023

Abstract
This paper explored issues of method and philosophical background in the treatises of Bartolomeo Ramos de Pareia and Franchinus Gaffurius. It focused on the relationship between the one and the many, a philosophical issue underlying conceptions of sound and intervallic theories that were transmitted within the discipline of musica. Two questions were raised: how can a body of knowledge that is Platonic in origin be transmitted and taught on the basis of a scholastic-Aristotelian epistemology? And how did theorists of differing philosophical backgrounds deal with this (apparent) conflict? I surveyed the Platonic and Aristotelian systems of ideas about the nature of mathematical and musical objects, approaching them as systems of beliefs belonging to cultures foreign to us. Then, through an analysis of Ramos’s and Gaffurius’s epistemological approach to these issues, I analysed their ideas about the nature of musical objects and their relationship to the rest of the world.