bluuebunny/crossref_metadata_2025_split huggingface dataset:
Introduction
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
The sound of applause dies away, and the audience in the concert hall waits in expectant silence. The pianist seats himself at the instrument; the conductor’s score is open at the first page of Beethoven’s Piano Concerto No.5. As the dramatic piano arpeggios well up out of a majestic sustained orchestral chord, the genius of the composer, the technical and interpretative skills of the performers and the rapt attention of the listeners combine once again to weave that magic spell we call music.
Immune to the spell, a curious visitor from outer space sits unobtrusively at the back of the hall observing this fascinating human activity. Focusing his superior vision on the orchestral players in turn, he notes that the majority are scraping tensed horsehair back and forth over metal wires attached to wooden boxes of various sizes. Others are blowing air into or over tubes of wood or metal; one is hammering a plastic sheet stretched on a metal hemisphere. The soloist is operating a complicated system of wooden levers whose purpose is not immediately apparent. The melee is controlled, it seems, by hand signals from the conductor. Consulting the dials on a little black box which he is holding, the visitor detects small but very rapid fluctuations in the pressure of the air in the hall. These fluctuations have no obvious pattern; he dismisses the speculation that they are perhaps connected with the purpose of the ceremony, which remains obscure to him.
Hearing musical sounds
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
In Chapter 1 we saw that the player of a musical instrument creates sound by setting the instrument vibrating; the sound is then transmitted out wards in the form of a wave. What happens when the wave reaches the ear of a listener is the subject of the present chapter.
It is worth remarking on the complexity of the task faced by the human ear in a musical situation. In the first chord of the ‘Emperor’ Concerto seventy instruments may be playing simultaneously, at eight nominally different pitches. Sound waves generated by these instruments converge on the listener.
Anatomy of a musical note
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
At the opening of the overture to Wagner’s ‘Rienzi’ a solo trumpet plays a single note, starting pianissimo, swelling to forte and dying away. On the title page of Deryck Cooke’s book The Language of Music (Cooke 1959) this brief extract is quoted as we have shown in Fig. 3.1, with an enigmatic question mark appended. The question which Cooke implies, and which his book courageously attempts to answer, is a very fundamental one: what did Wagner intend to convey to his audience by this note, and how does the audience understand it?
Anton Webern
Authors: Whittall Arnold 
Published: November 2023

Abstract
‘About 1911 I wrote the Bagatelles for String Quartet (Op. 9), all very short pieces, lasting a couple of minutes - perhaps the shortest music so far. Here I had the feeling, “When all twelve notes have gone by, the piece is over”…. Inmy sketchbook I wrote out the chromatic scale and crossed off the individual notes. Why? Because I had convinced myself, “This note has been there already”. … The inner ear decided quite rightly that the man who wrote.
Three Individualists
Authors: Whittall Arnold 
Published: November 2023

Abstract
Michael Tippett (born 1905), Olivier Messiaen (born 1908) and Elliott Carter {born 1908) are all highly regarded for their integrity and individuality. They have little enough in common with their most prominent fellow-countrymen and virtually nothing, in terms of style, with each other, beyond an ability to shape and direct highly or namented melodic lines in the context of substantial musical forms.
A Composer’s Point Of View
Authors: Bowen Meirio 
Published: November 2023

Abstract
As a musician my sharpest sense is that of sound. I cannot help listening to things. Living as I do in the country, I notice every year when the nightingales have begun to sing again in the wood down the road. They sing, of course, in the daytime but I am more often indoors playing the piano. So it is at night, when other birds are silent, that I hear them with startling clearness, especially when the night is still. The peculiar, liquid tone of their song can sound like someone sobbing from heart-break, which makes us respond deep down inside. It may only be for a moment, when some quality in the night and the sound of the bird-song combine to make a specially intense image. At such time we respond. It is as though another world had spoken by some trick of correspondence between the outside and the inside. For the ‘thing’ inside only works if the proper image is offered from the outside.
Art and Anarchy
Authors: Bowen Meirio 
Published: November 2023

Abstract
When listening to the 1960 Reith Lectures on BBC Radio (before I read any of them) I felt I was continually stimulated by new bits of knowledge—that is, new to me. Thus almost a whole lecture centred on the technique of ascription in cases of unsigned or debatable paintings, and round the extreme forms of connoisseurship to which this problem, or passion, of ascription might lead. This was all so new and interesting to me, as a musician and not a painter, I probably paid more attention to it than to the argument deduced from it: which was that we are in danger of being persuaded by this connoisseurship to overvalue the fragmentary and immediate sketch above the finished and studied painting; and that, as a consequence, we tend to ask only for the fragmentary and immediate in contemporary art: thus reinforcing, as by a kind of concealed patronage, the general marginal condition of art in our time.
Schoenberg
Authors: Bowen Meirio 
Published: November 2023

Abstract
For Schoenberg, at least (as for Freud) there was never any doubt. The bitterness of the struggle around his name is witness to his entire lack of compromise. Like Freud, he was an idealist driven by a daemon. As with Freud, his daemon drove him down a road of over-simplification, towar a dogma-the law of the twelve-tone system. Like Freud, I think, it was just the consequent sense of estrangement from fellow professionals and the public that caused him to draw the bonds of his pupil circle so tight. That he exercised a tyrannic fascination over them all is not in doubt. That they induced in him a God-the-father attitude is equally apparent. He paid a heavy price to his daemon for his gifts. But it is not the prices they pay but the work they do which determines the scientists’, the artists’ permanent value. If we keep our eyes firmly fixed on what these controversial figures were being driven to do and refuse to be side-tracked by prejudice or gossip, I think we can begin to see certain constants. The sequence runs something like this: a revolt against Victorian (or, if you prefer, bourgeois) complacency and sham; a passionate search for truth, however distasteful; a dogmatic attitude to the truth uncovered; a need for an inner esoteric brotherhood of initiates.
Holst
Authors: Bowen Meirio 
Published: November 2023

Abstract
When Holst’s daughter, Imogen, and I were students at the Royal College of Music in the early 1920s, Holst was at the centre”point of his public success. This success had been occasioned by the appearance in 1919 of The Planets (without ‘Venus’ and ‘Neptune’) and in the following year The Hymn of Jesus. Both works were publicly performed in London by the Royal Philharmonic Society. The Hymn of Jesus was immediately acclaimed as a masterpiece. According to The Times, Holst had ‘achieved the position, rare for an Englishman, of being a really popular composer’. Such success disconcerted him: he wrote to a friend, ‘Woe to you when all men speak well of your But for those of us embarking on a musical career at that time, it was all part of the exciting spectrum of English musical life—later to be described as a ‘second Renaissance’ in English music.
The Score
Authors: Bowen Meirio 
Published: November 2023

Abstract
If you look at a printed copy of one of my large-scale works, such as one of the symphonies, you are likely to regard it as a finished entity. It has many pages; it has many thousands of notes. Now those notes have been invented by me as a series of instructions to enable people with the requisite skills to perform the work. I have, in principle, nothing to do with the performance: my concern is simply with invention. The instructions must of course be accurate, precise to the last possible detail—though on reflection that last detail is not totally realizable. There are limits to which music can be considered an exact science; there are many pitfalls in the intermediary processes between invention and realization. Far more so than the context and manner in which a painter’s canvas is exhibited—size of room, companion pictures (if any), methods of lighting, and so forth—music enters a somewhat indefinite region when it is performed. Many factors will remain outside the composer’s control: the acoustics of the hall, the extent of the performers’ accomplishment and commitment to the highest ideals, and so on. In theory, the matter could be solved partially by a series of legal injunctions, supetvised by the composer and publisher while still alive, and by appointed trustees during a designated period after his or her death. Some have taken that course. But what an atmosphere it creates! The guide-lines I am offering here are meant not to restrict but to stimulate: to give some background information that facilitates an informed approach to the scores and helps illuminate certain matters of style.
The Grande chapelle and Musical Life at the Habsburg- Burgundian Court
Authors: Meconi Honey 
Published: November 2023

Abstract
Now that it seems unlikely that La Rue was the same musician as Peter wander Straten, the Habsburg-Burgundian court assumes even greater significance in his career. Placing La Rue in context within the court chapel requires an understanding of the chapel’s functions and duties, an overview of his colleagues who were also composers of polyphonic music, some thought as to what music the chapel had at its disposal, and a re-evaluation of the received understanding of La Rue’s significance to the chapel and its rulers. Each of these components is treated in turn in this chapter.
Aspects of the Sacred Music
Authors: Meconi Honey 
Published: November 2023

Abstract
Sacred music occupies the largest portion of La Rue’s output, and was even noted in his epitaph as being responsible for his ‘noble name’. We see here some of his most significant contributions to the changing face of late fifteenth- and early sixteenth-century music: the move to a texture for more than four voices, pioneering especially in works for six voices; the frequent exploration of ranges outside the gamut, with a unique emphasis on low ranges and an evident pleasure in the sound of many low voices together; a preference not merely for imitation but for strict canon; an apparently systematic exploration of the possibilities of parody technique, including the use of all motifs of a polyphonic model; a (for us, frustrating) fondness for obscure models, most often drawn from chant, that are then further disguised by a penchant for paraphrase and ongoing motivic transformation; and an evident desire to fill perceived gaps in the polyphonic liturgy of the court.
Aspects of the Secular Music
Authors: Meconi Honey 
Published: November 2023

Abstract
La Rue’s secular music presents a very different picture from his sacred music, and not merely because the latter was used for devotional purposes. In contrast to the masses and mass movements, the secular music seems to have circulated much less widely, even though there are slightly more total pieces (probably between forty one and forty-three secular works, in contrast to a probable thirty-eight or thirty nine masses and mass movements, though the sacred pieces are obviously far more commanding in length).
Laments and Operas
Authors: Williams Peter 
Published: November 2023

Abstract
Since Chapter 2 has advanced well into the eighteenth century for certain keyboard music, Chapter 3 must return to the point at which music for voices also began to make systematic use of the chromatic fourth. with respect to both practice and theory, a watershed period appears to have been the 1590s: music for keyboards and for voices now turns to the chromatic fourth more regularly, and a theorist briefly refers to it.
Mozart
Authors: Williams Peter 
Published: November 2023

Abstract
From his earliest work to his latest, Mozart left striking examples of the chromatic fourth, conventional in broad terms but inventive in harmony, melodic paraphrase, and Ajfekt. Several early works provide typical examples and suggest some of the background influences on the young composer. The first minuetto of the Sonata in F major Kr 3 has its melody coloured chromatically in Haydn’s style, and is marked at this point by being slurred.
The Sorrows of Richard Wagner
Authors: Tambling Jeremy 
Published: November 2023

Abstract
Steeped in sorrows and grandeur, like the nineteenth-century that he so perfectly epitomises, thus does the intellectual figure of Richard Wagner appear to me. Mann, Pro and Contra Wagner Relationship is everything. And if you want to give it a more precise name, it is ambiguity. Mann, Doctor Faustus In Doctor Faustus (1947), the party of visitors who go to Linderhof, Ludwig Il’s pastiche palace in Bavaria, call the nineteenth century ‘dull and melancholy’. Linderhof Mann describes in his Wagner lectures as exemplifying the Romantic ‘primacy of the night’ over the day, this being ‘expressed in the very proportion of the rooms’ (Pro and Contra Wagner, p. 125).
Puccini and the Swish of Tosca’s Skirts
Authors: Tambling Jeremy 
Published: November 2023

Abstract
Puccini was promoted by Ricordi as the successor to Verdi. But the differences between the two reflect a shift in Italian politics and discourse. One way of describing the differences comes in Mosco Carner’s view of the two composers, which is everywhere present in all his writings on Puccini. He takes Verdf s timbre as masculine, Puccini’s as feminine.
Swan Lake
Authors: Wiley Roland John 
Published: November 2023

Abstract
At the time of Tchaikovsky’s death, preparations for Zolushka were under way. The new ballet, with the Christmas season to follow, meant that 17and 22 February 1894 were the earliest feasible dates to give a Tchaikovsky memorial concert, considering that all its numbers were to be staged, some for the first time. There are hints that theinitial steps to mount Swan Lake in St Petersburg were taken while Tchaikovsky was still alive. Costume drawings by Ponomaryov for Odile and for a swan maiden survive from 1892. A sketch of the first lakeside scene in Petipa’s hand suggests that he had begun to work out the initial appearance of the swans before Ivanov was assigned that scene for the memorial concert.1 And music orchestrated by Drigo from Tchaikovsky’s piano pieces for use in the revival was published with the indication that thecomposer himself approved the choice.2
An Instrument for All Classes
Authors: Atlas Allan W 
Published: November 2023

Abstract
In 1860, the London music publisher, J. J. Ewer issued a catalogue of the music available in his firm’s large circulating library.1 Included under the heading ‘Music for the Concertina’-and Ewer meant the Wheatstone English concertina-were no fewer than 447 items by thirteen composers and arrangers. And though the overwhelming majority of the titles were for concertina and piano, there were also works for unaccompanied concertina, concertina and flute, concertina and harp, two concertinas (with and without piano), and even three concertinas.2 The repertoire, moreover, was extremely diverse, extending from large-scale concertos, sonatas, and ‘Fantasias on ... ‘,
The Concertina on the Concert-Platform: Players—Repertoire—Reception
Authors: Atlas Allan W 
Published: November 2023

Abstract
On 18 July 1831, a child-prodigy guitarist, the 8-year-old Giulio Regondi, having already won critical acclaim at Paris one year earlier, made his London debut at the Adelphi theatre.1 The reviews were glowing. The Harmonicon wrote: The reviewer for the Athenaeum was equally impressed, referring to his ‘refined taste and judgment . . . exquisite taste and feeling . . . Paganini . . . has expressed to us his most unqualified astonishment and delight at young Regondi’s performances’.3
Notes on the Music in the Edition
Authors: Atlas Allan W 
Published: November 2023

Abstract
This final chapter is a collection of miscellaneous comments on the five pieces included in the Edition. The comments may include (1) biographical notes about the composer; (2) information pertaining to such matters as the background of the work, notable performances, or its reception; (3) remarks about performance problems; and, in the case of No. 1, (4) references to borrowed material. In short, I have written about whatever it is in each work that seems interesting.
St John’s Night on the Bare Mountain: More Songs
Authors: Brown David 
Published: November 2023

Abstract
Rimsky-Korsakov’s memory was far from faultless, but this provides some of the best overall information we have on Musorgsky’s musical life in the period following the creation of Savishna. Its glimpse into the situation within the kuchka confirms what earlier evidence had suggested: that though it still convened, as a coherent group it had fallen apart and that, as the two youngest members, Rimsky and Musorgsky were now looking more to each other for stimulus and support.
Khovanshchina
Authors: Brown David 
Published: November 2023

Abstract
T Is Said that In 1682 The Future Tsar Peter The Great, on hearing of a challenge to his authority, uttered a single word: ‘Khovanshchina!’ The word is untranslatable, but in the context in which it was uttered it probably meant: ‘The Khovansky plot!’ Peter was a mere ten years old, though in physical stature and mental maturity more like sixteen, and a variety of people were struggling for power and control. To become absolute Tsar,1 he would need to dispose of such challenges. During the years following he did exactly that.
Albert Herring
Authors: Evans Peter 
Published: November 2023

Abstract
Eric Crozier, who had produced Lucretia, provided the libretto for Britten’s next chamber-opera, which followed within a year and was also first pre sented at Glyndebourne—though now by the English Opera Group. Crozier took his story from Maupassant’s Le Rosier de Madame Husson, but trans planted it to a Suffolk environment, where every person could become a familiar kind of English ‘character’ and local jokes could do duty for Maupassant’s barbed ironies. Instead of the studied symmetries of the Lucretia casting, Britten was presented with a large number of individuals who find identity in the community.
The Prince of the Pagodas
Authors: Evans Peter 
Published: November 2023

Abstract
If we count the church parables among Britten’s operatic scores, then there is no gap in the succession as great as that between The Turn of the Screw (1954) and A Midsummer-Night’s Dream (1960). After The Screw, with some six full-length operas completed in less than ten years, the composer might justifiably have decided to cultivate quite other fields for a time, perhaps consolidating that brief return to purely instrumental problems he had made in Lachrymae and the Metamorphoses.
Death in Venice
Authors: Evans Peter 
Published: November 2023

Abstract
It was possible to regret that Britten and Myfanwy Piper returned to Henry James for their second collaboration since they chose to adapt a story that is a good deal less compelling than The Turn of the Screw. With their last adaptation of story into opera, however, they showed a daring, and an imaginative power to justify it, fully equal to those exhibited by the first James opera. Britten’s Death in Venice was completed in short score in December 1972, and in full score early in 1973, for performance at the Aldeburgh Festival of that year. Because of the composer’s illness, he was unable to take part in the preparations for this production; Steuart Bedford conducted and Colin Graham produced the opera.
Introduction
Authors: Zon Bennett 
Published: November 2023

Abstract
The revival of plainchant in England was very much a result of contemporary events and trends. In the Roman Catholic Church it was the effective relegation of the penal laws in the latter half of the eighteenth century which spawned a renewed zeal for the external accoutrement of worship. In the Anglican Church it was probably conceived in the ethos of the Oxford Movement and realized by the Cambridge ecclesiologists. There are, moreover, key elements which are identical to both revivals—the notion of authority through antiquity or tradition, the belief that Gregorian music is inherently congregational, and the idea that it enhances spirituality, to name but a few. Even the circumstances of the revivals are remarkably similar, in both cases following a period of relative abatement in the practice of a given faith. Many of the religious doctrines surrounding the revival are interchangeable, particularly as regards the nineteenth century, and in some instances it is not clear whether a plainchant book of that period is Anglican or Catholic. Non-partisan or non-denominational aspects of history, such as the nineteenth-century singing movements of Mainzer, Hullah, and Curwen, also had their influence on the revival, and concomitant philosophies of morality no doubt played a part in the evolution of apologetical thinking of the 1840s to 186os.
Introduction
Authors: Zon Bennett 
Published: November 2023

Abstract
The revival of plainchant in the Roman Catholic Church in England was to some extent a function of an easing political situation. For much of the sixteenth, seventeenth, and eighteenth centuries, Catholics in England subsisted under an exacting penal code, outlawing the practice of their faith and undermining their economic and social position at large. With the accession of James II in 1685, however, there came a brief period of remission and a consequent flourishing of Catholic life. The Catholic press, by this time long underground, published openly for the first time, and worship likewise became public. Such freedom as had been granted Catholics under James II was not maintained under the rule of William and Mary, and from 1689 Catholicism once again came under the restrictions of a penal code. By the 1720s, however, there came a less stringent application of the penal laws, and before long Catholics were attending their services more openly and publishing religious works in complete disregard of the law. By 1778, when George III and his parliament dismantled the most extreme elements of the penal code, the laws themselves had already lost their meaning and were all but moribund in practice.
A General Introduction to Post-Tridentine Liturgical Books and Plainchant in Europe
Authors: Zon Bennett 
Published: November 2023

Abstract
The Council of Trent was convened officially by Pope Paul III (1534-49) in a bull of 22 May 1542. On I 3 December 1545 the Council assembled for the first time, attended by a rather small group including ‘three legates, one cardinal, four archbishops, twenty-one bishops, and five generals of orders’. Over the next eighteen years the Council convened for twenty-five sessions until its last meeting on 4 December 1563. Decrees concerning music occurred late in the proceedings, namely at sessions 22, 23, and 24, on 17 September 1562, 15 July 1563, and II November 1563 respectively. Amongst the many concerns addressed at these sessions were ‘the curtailment of liturgical texts, the unintelligibility of the sacred words, the insertion of non-churchly songs, and worldly and lengthy organ compositions’ . Of these issues it was the curtailment of liturgical texts, particularly in regard to the hymns of the Breviary, which would directly affect the development of plainchant.