bluuebunny/crossref_metadata_2025_split huggingface dataset:
Musics Of Change: Seven Europeans
Authors: Whittall Arnold 
Published: November 2023

Abstract
Change of focus from America to Europe inevitably involves some change of aesthetic and technical perspective. It is not that the composers considered in this chapter have escaped all contact with the distinctively iconoclastic radicalism found in Cage, Feldman, and Nancarrow. But in their attitudes to traditional genres, and their relations with well-established forms of public music-making and promotion, the seven (very different) composers considered here offer powerful confirmation of the adaptability of modernism, and its ability to contribute to a rich and diverse twentieth-century ‘mainstream’. The distance between the unambiguous commitment to symphonic music found in Lutoslawski and Henze and the innovative projects of Xenakis or Stockhausen is, self-evidently, immense, and the co-fertilization between radicalism and a sense of ritual is no less palpable here than in the composers actually considered under those headings. Inevitably, my groupings are as much a matter of convenience as of coherence. A relatively restricted range of birth-dates (1913 to 1928) may promote an elementary feeling of connection among the seven Europeans, but, in the end, the polarities cannot be suppressed.
Polarities, Pluralities
Authors: Whittall Arnold 
Published: November 2023

Abstract
The consistent pursuit of truth, of what Elliott Carter has termed an ‘emancipated discourse’, as personal, authentic, has had priority in twentieth-century music over attempts to create something whose primary characteristic was its ‘beauty’. The late twentieth-century composer may still work by a set of values, however recondite and austere, and some can still declare hostility to what Brian Ferneyhough perceives as ‘the present state of value-free pluralisrn’.2 Composers may even reach the point of concerning themselves exclusively with ‘rigidly constructed denial, with the exclusion of what appears to me as listening expectations pre-formed by society’. This radical declaration was made by Helmut Lachenmann and applies, he claims, to his compositions since TemA (1968) and Air (1968–9).
The Lyric Berlioz
Authors: Rushton Julian 
Published: November 2023

Abstract
The central place of the romance in Berlioz’s musical culture is disguised by his avowed ambition towards ‘higher’ —less domesticated, larger—genres. But he was preoccupied with simple song forms up to the drinking song in Béatrice et Bénédict, and a retrospective collection of ‘Mélodies’ with piano accompaniment was published in 1863, although this collection includes choruses and two cantatas, Chant des chemins de fer and Le cinq mai, printed like vocal scores convenient for rehearsal, since their impact is heavily dependent on the orchestra (see Chapter 3).
Berlioz Dramatist
Authors: Rushton Julian 
Published: November 2023

Abstract
‘Expression is not the only objective of dramatic music. It would be as crude as it is pedantic to despise the purely sensual pleasure we find in particular aspects of melody, harmony, rhythm, and orchestration, independently of all connection to depiction of the feelings and passions of the drama.’ Berlioz’s comment, made in the context of a discussion of Gluck’s Alceste, should encourage us to seek for musical enjoyment in his dramatic works, as well as truthfulness of dramatic expression.
Nineteenth-Century Bands: Making a Movement
Authors: Herbert Trevor 
Published: November 2023

Abstract
The growth of brass bands in Victorian Britain can be viewed as something of a watershed. It represents an important manifestation of change in popular music culture, and even though it is but one aspect of the wider phenomena underlying the rise of popular music, it possesses features which make it special. It provides a prime example of the fusion of commercial and philanthropic interests and attitudes; of art music and vernacular musical practices; of technology and ‘art’; and of dominant and emergent ideologies. It could also be regarded as one of the more important aspects of British art music in the nineteenth century, and certainly an element which impacted in a lasting manner on the broad infrastructure of British music: its industry, institutions, and even styles.
‘What is Wrong with Brass Bands?’: Cultural Change and the Band Movement, 1918–c.1964
Authors: Russell Dave 
Published: November 2023

Abstract
In the course of the twentieth century, the brass band movement has followed two separate trajectories. On a purely artistic level, it has made enormous strides in terms of technical competence and of range and scope of repertoire. At the same time, it has ultimately lost the powerful—in some areas, central-position that it had held in popular musical culture. While this chapter is intended as a fairly wide-ranging discussion of bands in this period, its primary aim is to examine the second of these developments and to trace the process through which, by the 1950s and perhaps even earlier, the brass band had simply become yet another specialist pastime within an ever more variegated pattern of popular leisure.
Aspects of Performance Practices: The Brass Band and its Influence on Other Brass-Playing Styles
Authors: Herbert Trevor , Wallace John 
Published: November 2023

Abstract
There has been little systematic research into the performance practices of brass bands. Anyone wishing to undertake a comprehensive study of the subject (and this chapter has no pretensions to pass as such) would find it difficult. Not only are there comparatively few sources for performance practices in the past dating from before the twentieth century, primarily because performance practices and styles have been communicated through largely aural, rather than written, means; but also, the richest vein of source materials pertains to the very best brass bands, and this group is but a tiny part of the mass practice of brass banding.
Music Theory in Seventeenth-Century England
Authors: Herissone Rebecca 
Published: November 2023

Abstract
The fundamental changes that resulted in the development of the Baroque style around the turn of the seventeenth century also had a profound effect on music theory. As musicians began to adopt new approaches to composition, authors gradually became aware that the theories on which they relied, some of which dated back to medieval times, were largely obsolete. Thus, over the course of the seventeenth century, there occurred a complete transformation in almost every aspect of theory: by the 1720s, many of the principles being described bore close relation to those still used today. Nowhere was this metamorphosis clearer than in England where, because of a traditional emphasis on practicality, there was much more willingness to accept and encourage new theoretical ideas than on the continent. By tracing the progress of both rudimentary and more advanced compositional theories in English treatises, Dr Herissone provides a detailed and comprehensive commentary on musical developments during the period.
Just how ‘Scottish’ is the ‘Scottish’ Symphony? Thoughts on Form and Poetic Content in Mendelssohn’s Opus 56
Authors: Schmidt-Beste Thomas 
Published: November 2023

Abstract
Felix Mendelssohn Bartholdy’s Third Symphony in A Minor, Op. 56 is—and always has been—the ‘Scottish’ Symphony: this idea seems to be one of the eternal truths of Mendelssohn scholarship, so obvious that any discussion about it would appear superfluous. Until very recently, every study dealing with the work has taken the title and all its associations for granted, not only as a label but as a starting point for any number of theories concerning the programmatic or poetic content of the piece—some rather generic, others quite detailed, treating the piece movement by movement.
On Stylistic Affinities in the Works of Fanny Hensel and Felix Mendelssohn Bartholdy
Authors: Todd R Larry 
Published: November 2023

Abstract
As relatively unusual as prodigies are in Western history, the instances of musical sibling prodigies represent even more rare phenomena. One could argue as the most extraordinary example the children of J. S. Bach, and one would also include, of course, Wolfgang and Nannerl Mozart, celebrated during their English tour of 1764 as infant ‘prodigies of nature’ (‘Wundern der Natur’). But the list does not extend much further; indeed, it is conspicuous for its exclusion of such figures as the Haydn brothers, who were certainly celebrated composers, but not child prodigies. Nor does the list include avuncular relationships, such as those of the Gabrielis or the Couperins in the seventeenth century.
Music and Narrative in Recent Theory
Authors: Butler Christopher 
Published: November 2023

Abstract
In looking at the relationship between music and literature I intend to follow a rather simple model and make some admittedly polemical objections to current theory. I ask how one or two of the basic concepts of literary understanding and interpretation fare when they are applied to music. These apparently simple questions lead to quite surprisingly complex considerations. To put it very simply, literary critics analyse stories in which characters do things, conveyed to us in narratives that use language in certain ways. But what can we say about our ideas of narrative and language when they are applied to music? Music seems, at least minimally, to be a sequence of relatively discrete events, of which earlier ones often seem to imply later ones, which in turn often fulfil our expectations. In some cases at least, these events have strongly emotional qualities which lead to a sense of ‘character’ in the music. This is perhaps some way towards narrative.
Statement
Authors: Dell’Antonio Andrew 
Published: November 2023

Abstract
The spectre of a ‘New Musicology’ has recently been haunting musicological discourse, making its way from the USA to Europe and beyond. ‘New Musicology’ may or may not be a peculiarly North American phenomenon; it certainly draws upon both European and local hermeneutical traditions, following developments in ‘sister disciplines’ such as philosophy, anthropology, ‘New History’, cultural studies, sociology, lesbian/gay/queer studies, and feminism. In the last decade musicologists have drawn freely from such developments, and their readings (and wilful misreadings) have yielded interpretative strategies that seek to redefine our field. While such approaches have been disparate in scope and in some cases explicitly contradictory, both proponents and critics have seen fit to invoke the umbrella term ‘New Musicology’ to describe this phenomenon.
Response
Authors: Bent Margaret 
Published: November 2023

Abstract
It is not new to be new. We had the ars nova, the nuove musiche, New Music; the Renaissance and the Enlightenment; the New Look, the New Philology, the New Criticism, New Labour. Most of it soon becomes old and dated. Even The New Grove Dictionary is being radically revised after less than two decades. Interpretations of Wagner march through Nietzsche, Shaw, Lorenz, Adorno, Donington, Dahlhaus, Abbate, and many others, reflecting the philosophy, politics, psychology, and critical trends that conditioned the thinking of each writer’s own times and that eventually define their work as period pieces. Musicology has changed and expanded radically since I have been involved with it, nearly always with a sense of newness, excitement, and controversy. Yesterday’s ‘new’ is today’s ‘old’. Truth claims denied to the latter cannot simply be asserted for the former. If complex interpretative arguments and hypotheses have in the past been presented with some sense of certainty, this is paradoxically no less true of the assertions of some postmodern writers, who are content to use ‘findings’ that turn out to be biographically or culturally relevant, quick to dismiss those that are not. Again, paradoxically, simplistic use of or assumptions about such ‘facts’ are sometimes more incautious or indeed positivistic than would have been entertained by those who advanced them. Work of lasting importance, whether past or current, such as some of our speakers, both on the panel and from the floor, have raised above the current new/old divide, is that which survives such labelling. Some shifts over the years have been incremental, some large, some internal, some as tidal waves from outside musicology, broadly defined to include any branch of the history, theory, or sociology of music. This is clearly one of the large ones.
Response
Authors: Locke Ralph P 
Published: November 2023

Abstract
The two position papers, for all their obvious differences, have in common the working assumption that we should be focusing in this Round Table on a certain set of approaches that have been actively pursued in recent musicology, especially in the USA, and exploring its relationship to more traditional or normative work.1 Stefano Castelvecchi names only one representative (Lawrence Kramer) of this supposed ‘New Musicology’ (or ‘Critical Musicology’, as some of its proponents have dubbed it in the UK), while Andrew Dell’Antonio names none at all.2 But both clearly are thinking also of such widely published scholars as Susan McClary, Suzanne Cusick, Philip Brett, Richard Leppert, Eva Rieger (to mention one prominent non-Anglo-American), Robert Fink, and Tricia Rose.3
Music from an Anthropological Perspective
Authors: Kalisch Volker 
Published: November 2023

Abstract
Music as an entity is not usually a matter of much concern: it just exists. We tend to take music for granted to the extent that questioning it seems artificial to most of us. Certainly we discuss the music of different cultures, we are interested in specific genres or works, we study the history of music, or reflect upon the musical output of a composer, his social background, or his aesthetic orientation. Even methods of producing music, its performance practice, its cultural value, or our approach to it in general may sometimes become a topic of discussion, but music as such, as a phenomenon which combines all these fields in itself, does not usually figure in musicological considerations. Music just exists for us; it appears in different contexts as a phenomenon divided into aesthetic, historical, sociological, and cultural branches of interest. This provides reason enough for most musicologists merely to go along with the conviction that the existence of music is to be described and explained-particularly from the sociological point of view-in terms of its conditions of usage or culturally defined influences on human beings.
The Sociology of Music as Self-Critical Musicology
Authors: Vieira Mario , Carvalho De 
Published: November 2023

Abstract
In a Round Table devoted to sociology and musicology as sister disciplines there is one preliminary point we cannot avoid considering: the sociology of musicology as part of the sociology of knowledge. In other words, we cannot discuss different contextually situated understandings of music without being aware of different contextually situated understandings of understanding. This in turn requires consideration of the problem of scientific understanding in general, which means that the discussion of this preliminary point must be situated within the framework of the debate on the so-called modern and postmodern paradigms of scientific knowledge.
New Music and Philosophy
Authors: Rowell Lewis 
Published: November 2023

Abstract
As sister disciplines, musicology and the philosophy of music have at least one thing in common: the scholarship produced under their aegis has been concerned mostly with the music of the past, only to a very small extent with the music of the present, and--on the grounds that it is bound to be unpredictable, disagreeable, or both-hardly at all with the music of the future. One of the first decisions taken in planning this Round Table was that it should include a consideration of what today’s music can tell us about what music may be like in the distant and not-too-distant future.
‘Absolute Music’ and the ‘New Musicology’
Authors: Kivy Peter 
Published: November 2023

Abstract
Introduction
In 1980, in a book entitled The Corded Shell, I wrote that description of music is in a way unique. When it is understandable to the nonmusician, it is cried down as nonsense by the contemporary musician. And when the musician or musical scholar turn their hands to it these days, likely as not the nonmusician finds it as mysterious as the Cabala, and about as interesting as a treatise on sewage disposal.1
Four Philosophies of Musical Interpretation
Authors: Cumming Naomi 
Published: November 2023

Abstract
The four contributors to this Round Table present quite different perspectives on the question of how to engage philosophically with issues relating to musical interpretation. Peter Kivy, a philosopher in the analytical tradition, encapsulates briefly some arguments he has made at greater length elsewhere, suggesting that semantic interpretations of non-texted instrumental music are ill-founded. In this forum, he seeks to show how these arguments may be used to refute the interpretative enterprise of some ‘New Musicologists’. Ruth Katz draws both on her experience of a German hermeneutic tradition in interpretation and on her knowledge of Nelson Goodman’s theory of language in order to defend the idea that some musical content may be established by the traditions of a community, rather than encoded in (and extracted from) notational forms. She is implicitly more sympathetic towards some attributions of ‘meaning’ to music than Kivy, although she emphasizes the need to establish the criteria by which judgments of content are made. Eero Tarasti comes from a tradition in French structuralist semiotics strongly influenced by the theories of Algirdas Greimas. He has formerly been committed to a view which reads semantic content from musical structure, without extensive reference either to the historical context of composition or to the subjective position of an interpreter, but in this paper he modifies his position in response to his recent readings in existentialist philosophy. Finally, Lewis Rowell, a musicologist and ethnomusicologist with extensive experience in interpreting Indian musical philosophies, considers how established means for forming common musical values may be compromised in contemporary and future music when familiar categories such as ‘composer’, ‘genre’, and ‘work’ are put in question.
Beethoven’s Ironies
Authors: Nestrovski Arthur 
Published: November 2023

Abstract
Passages like that in Example r appear fairly frequently in Beethoven’s music. Here, at the end of the introduction to the first movement of the Seventh Symphony, the music stops on one note, or rather on one special sound. When heard out of context, these six bars could belong to some work by the contemporary composer Giacinto Scelsi, known for his single-note pieces. It is precisely the context, of course, that establishes the difference between them and redoubles our interest in such moments of suspension in Beethoven’s music.
Ethnography, Ethnomusicology, and Post-White Theory
Authors: Wong Deborah 
Published: November 2023

Abstract
Cultural Politics and Theory: Locating Public Intellectuals As Philip Brett pointed out in his paper delivered to this Round Table, music has always been political-it is only particular scholarly practices that separate music from culture and politics. ‘Cultural’ politics are different from politics plain and simple: the politics of culture point to fundamental matters of values and belief, and to issues of control over the expression and formation of culture itself. I suggest that some theoretical approaches are far more useful than others if we want to take a serious look at how particular musicians wield cultural politics in mindful and constructive ways. In other words, cultural politics surround, shape, and emerge from musicians’ activities, and I am here concerned with the intersection of theory and the politics of race in musicians’ efforts. Postmodernist and post-structuralist theory may help locate cultural politics and cultural critique, but I am not convinced that they facilitate social change or provide tools for social action. Certain constructs have consistently emphasized the connection between theory and social praxis while others have not. Accordingly, I consider ‘high’ theory to be a social construct. I do not argue that all high theory is white and apolitical, but I believe the colour line in twentieth-century high theory is not difficult to identify. Its foundation lies in different models of social responsibility, and locating this reality for certain musicians has essentially changed the way in which I am able to write about them.
Musical Data And Computer Applications
Authors: Howard John B 
Published: November 2023

Abstract
In introducing the two Study Sessions devoted to the theme of computer applications (see also session 49 below), Arvid Vollnes pointed out that tools for the analysis of textual data are ubiquitous and taken for granted, whereas the analysis of data representations of musical data poses numerous problems and challenges. Each presentation in this session was designed to demonstrate a strategy for musical data analysis.
Keyboard Organology: Past, Present, And Future
Authors: Koster John 
Published: November 2023

Abstract
John Koster surveyed the history of keyboard organology, defined as the study of historical organs and stringed keyboard instruments. The first substantial work was Michael Praetorius’s De organographia (Wolfenbiittel, 1619), which contains important technical information about fourteenth- and fifteenth-century organs. Despite much scholarship since then, especially concerning organs, keyboard organology is still in a state like that of musicology a century ago, when the works of the great masters were collected and questions of authenticity and dating began to be considered in a scientific manner. Modern scholarship on stringed keyboard instruments began with three general surveys: D. H. Boalch, Makers of the Harpsichord and Clavichord (London, 1956); R. Russell, The Harpsichord and Clavichord (London, 1959); and G. O’Brien’s Ruckers: A Harpsichord and Virginal Building Tradition (Cambridge, 1990).
Rapporti Tra Testo, Musica E Scena Nello Spettacolo A Napoli Nel Settecento
Authors: Greco Franco Carmelo 
Published: November 2023

Abstract
II Settecento teatrale napoletano scopre di poter trasferire ad una competenza di carattere artistico ed estetico l’uso di quel linguaggio della scena che precedentemente pareva appartenere ad una sfera solamente morale e ad una gestione politica. II teatro si libera di tutte le tutele e si fa veramente profano. Portatori di queste acquisizioni furonooltre al barocco Andrea Perrucci, autore alla fine de! Seicento di un’ Arte rappresentativa-il pittore e regista Andrea Belvedere, ii letterato e commediografo Niccolo Amenta, e soprattutto ii regista e drammaturgo Domenico Luigi Barone, marchese prima e poi barone di Liveri, ciascuno con gradualita e diversita di contributi e coscienza. La citta, non solamente attraverso la commedia in musica, ma piu ancora attraverso la commedia dialettale di costume in prosa, veniva posta in scena, percorsa in lungo e in largo.
Music, Healing, And Culture: Towards A Comparative Perspective
Authors: Gouk Penelope 
Published: November 2023

Abstract
In the true spirit of the theme of the Congress, only one of the speakers at this Study Session (Gary Ansdell) came from a university music department. The others embodied a cross-section of ‘sister disciplines’: Charles Burnett (a medievalist) and George Rousseau (a scholar of eighteenth-century literature) are based at institutes for the humanities, while Penelope Gouk and Lynette Schumaker are formally historians of medicine in the early modern and twentieth-century periods respectively.1 The occasion provided an ideal setting for reflecting on the problematic relationship between musical and medical theory, as well as practice, and on how professional disciplines themselves shape our understanding of what might constitute musical healing.