bluuebunny/crossref_metadata_2025_split huggingface dataset:
Ragtime
Authors: Merwe Peter Van Der 
Published: November 2023

Abstract
A Few years before the end of the nineteenth century, genuine black American music became a lucrative commercial property. For generations it had gradually been making its way up in the world; now, suddenly, it managed to attract the attention of big business. Like all apparently sudden historical developments, however, this was really a more gradual affair than appears in retrospect. Comic black characters, speaking a pseudo-Negro dialect, were a feature of English ballad operas, which were also popular in America. What was later to be called the ‘coon song’ was familiar to late eighteenth-century English audiences; one, of 1790, actually mentions the banjo. There is no evidence that the popularity of these characters had anything to do with genuine Afro American music.
The Eynsford Years (1925-1928)
Authors: Smith Barry 
Published: November 2023

Abstract
Philip was thoroughly delighted with Eynsford, an unspoilt, ancient village in completely rural surroundings on the river Darent. It was a place he found ‘peaceful and congenial for work’1 and had the added advantage of being within commuting distance of London, a mere 20 miles away, as well as having 27 pubs within a 4-mile radius. However, travelling back late at night in the last train after a binge in London sometimes presented problems, should he fall asleep during the journey, as he often did.
The End (1930)
Authors: Smith Barry 
Published: November 2023

Abstract
When philip moved to Bramerton Street in April he had intended to stay only a short while but, apart from the two weeks spent in Bramdean, he remained there until September, when he finally found a basement flat that suited him. Assisted by a £30 advance from his mother and the loan of a Bechstein piano from Moeran, he and Barbara Peache now moved to 12A Tite Street in Chelsea, which was destined to be the last of his many London addresses.1 Thanking his mother for the loan, he told her that he found the flat ‘quite exceptionally pleasant and sympathetic …I am sure I shall be able to do good work there.’
The Works of Ralph Vaughan Williams
Authors: Kennedy Michael 
Published: November 2023

Abstract
This is the authoritative account of Vaughan Williams's musical life - the story of a great composer's career, and at the same time the story of music in England over half a century and more. Kennedy considers the principal works in chronological order, outlining the main features of each and discussing details of the music's structure, often illuminating his point with a musical quotation. He also provides a good deal of biographical data, and so builds up a picture of the composer, as well as providing thumbnail sketches of many of Vaughan Williams's friends and colleagues. Kennedy's extensive knowledge of Vaughan Williams's output also enables him to refer back and forth across the works to pick out lines of development and influence. The book includes a full classified list of Vaughan Williams's works. Michael Kennedy has provided a new preface.
1895-1906
Authors: Kennedy Michael 
Published: November 2023

Abstract
When Vaughan Williams re-entered the Royal College of Music in 1895 he was in many respects a more self-confident man as a result of his Cambridge days. He was determined to determined to widen his training as a musician, no doubt influenced by stanford who never made the mistake of thinking that composers could be made by theory alone. He therefore became organist at St. Barnabas, South Lambeth-’I never could play the organ,’ he wrote later, ’but this appointment gave me an insight into good and bad church music which stood me in good stead later on’ (when he came to edit the English Hymnal and Songs of Praise). Not many other methods of gaining practical musical experience were open to young men in those days unless, like Elgar and Holst, they played in an orchestra.
1943-1952
Authors: Kennedy Michael 
Published: November 2023

Abstract
The fifth symphony was eagerly taken up by orchestras in Britain and played at concerts thronged by music-hungry members of the Services as well as by civilians. It was soon recorded, by the Halle Orchestra conducted by John Barbirolli, who had returned to England in June 1943 to revitalize the musical life of the North. The United States swiftly showed an interest.
Chansons for Three and Four Voices
Authors: Litterick Louise 
Published: November 2023

Abstract
Some six dozen secular works for three and four voices appear under Josquin’s name in music sources compiled during the late fifteenth and sixteenth centuries, most preserved in at least one source that circulated during his lifetime. A large percentage of these compositions survive with a French text, incipit, or title. This chapter will concentrate on these ‘French’ works. Compositions with more than one independent attribution to Josquin are relatively few in this repertory. Moreover- important recent advances notwithstanding-uncertainties concerning the composer’s biography, and in some cases also the provenance and dating of sources carrying ascriptions, make difficult the task of evaluating any given attribution. For present purposes, in this chapter I proceed on the basis of reasonable doubt. Pieces attributed to Josquin in a single source for which there is no compelling reason to mistrust the credibility are treated, if tentatively, as works by Josquin des Prez.
Three Settings of Italian Texts and Two Secular Motets
Authors: Sherr Richard 
Published: November 2023

Abstract
Three pieces with Italian texts are ascribed in manuscripts and in Petrucci’s frottola publications to someone whose first name was Josquin. One of these, Scaramella fa la guerra, was not printed by Petrucci, but is attributed in two Florentine manuscripts to ‘Josquin’ and is anonymous in a third Florentine manuscript. This work (WW, no. 54) is based on a popular tune concerning a figure ofltalian folk legend (there is also setting by Compere).3 The melody can be deduced from the polyphonic settings (see Ex. 14.1). The text set by Josquin consists of two stanzas. He keeps the bouncy triple metre of the tune, and divides the set ting into two sections of eighteen bars, each containing one full statement of the melody. Each section also embodies a different way of treating the cantus prius factus. In first section (bb. 1-18), the tune begins clearly onf’ (as in Ex. 14.1)
Symbolism in the Sacred Music of Josquin
Authors: Elders Willem 
Published: November 2023

Abstract
Josquin’S musical compositions were for the greater part conceived for performance in Christian worship, and in numerous cases were based on biblical and/or liturgical texts. To the composers of the fifteenth and sixteenth centuries many of these texts meant more than they do to most present day historians of music, for besides their obvious literal sense, they were also believed to contain spiritual or symbolic meaning. The search for symbolism in the scores of these compositions ought therefore to take its starting point in medieval and Renaissance exegesis, which was largely allegorical. The terms ‘allegory’ and ‘symbol’ are used over and again in scholarly publications,1 and the choice between them for the title of the present chapter was not an easy one. Early musical treatises, incommunicative as they are about these forms of musical expression, do not give any help. Yet the concept of a symbol as a doorway to knowledge, and possessing multiple meanings, certainly applies to the various forms of symbolism in the music of the fifteenth and sixteenth centuries.
Purcell’s Musical World
Authors: Holman Peter 
Published: November 2023

Abstract
HENRY PURCELL was still a baby when, in the spring of 1660, the English republic collapsed, and Charles II returned to England in triumph. England’s musical life had been severely disrupted in the Interregnum. The court, the nation’s largest musical institution, had broken up in confusion in 1642 at the beginning of the Civil War, leaving its musicians to fend for themselves. A few, like William Lawes and Henry Cooke, joined the Royalist army. Some went abroad. But most turned to teaching, or just slid into obscurity and retirement. A list in John Playford’s A Musical Banquet (1651) of ‘excellent and able Masters’ available in London to take pupils includes many past and future court musicians, including Henry Lawes, Charles Coleman, and Henry Cooke under the heading For the Voyce or Viole’, and Christopher Gibbons, John Hingeston, and Benjamin Rogers under the heading For the Organ or Virginall’.
Domestic Vocal Music
Authors: Holman Peter 
Published: November 2023

Abstract
HENRY PURCELL has always been particularly admired as a song composer. Henry Playford wrote in the preface of Orpheus Britannicus, i (1698) that The Author’s extraordinary Talent in all sorts of Musick is sufficiently known, but he was especially admir’d for the Vocal, having a peculiar Genius to express the energy of English Words, whereby he mov’d the Passions of all his Auditors.’ In a poem printed a few pages later Henry Hall, fellow choirboy in the Chapel Royal and organist at Hereford, wrote that his friend ‘ach Syllable first weigh’d, or short, orlong, I That it might too be Sense, as well as Song.’ Playford described Orpheus Britannicus on the title-page as A I COLLECTION I OF ALL I The Choicest SONGS I FOR I One, Two, and Three Voices, I COMPos’n I By Mr. Henry Purcell’, and the publisher rightly claimed in the second edition (1706; repr. 1721) that it excelled any Collection of Vocal Music yet Extant in the English Tongue, and may Vie with the best Italian Compositions’.
The Life and Music of Béla Bartók
Authors: Stevens Halsey 
Published: November 2023

Abstract
First published in 1953, Halsey Stevens's The Life and Music of Béla Bartók was hailed as a triumph of musicology and quickly established itself as the classic text. Stevens combined an authoritiative, balanced account of the Hungarian composer's life with candid insightful analyses of his numerous works. To Stevens, the high point of Bartók's genius was the chamber music, which he assessed was of a quality unrivalled by any other composer of the early twentieth century. But he evaluated Bartók's entire output with mastery, picking out the composer's strengths and weaknesses and conveying the essence of his compositional techniques. Stevens's views have greatly influenced the study of Bartók and Hungarian music over the last four decades. Issued in a revised edition in 1964, Stevens's work now appears in a third edition, prepared by the Bartók scholar, Malcolm Gillies. A comprehensive chronological list of works is added, together with a select bibliography and discography. Minor revisions to the text are suggested in a new Introduction, and the text is enhanced by eight pages of photgraphs, some of them little known.
Unfinished Trilogy
Authors: Kennedy Michael 
Published: November 2023

Abstract
This was Elgar’s position in 1901–2: he was nearing forty-five, he had had a success with the Variations, a failure with The Dream of Gerontius. He had had riotous success with two Pomp and Circumstance marches and the Cockaigne overture. At a time when choral singing in Britain was at its zenith, it was his orchestral works. which had taken him to the top. King Olaf remained the most frequently performed of his choral music, The Black Knight had never established itself. As Jaeger wrote to him in 1901, it ‘doesn’t move much for some reason or other, chiefly no doubt because the subject is a bit gruesome & the music ends poetically pp. I have thought that if we could do something with the work for orchestra alone, we might make it better known ‘All of which seems to contradict the theory that Elgar was prevented from writing the orchestral music that really interested him because the taste of the time was for choral works, religious if possible. Elgar himself supported the theory when, in 1933, he told Delius that he wrote his choral works because it was ‘the penalty of my environment’. This may have been true in the mid-1890s, the period of Lux Christi and The Black Knight.
The Ascendancy of Brahms
Authors: Smallman Basil 
Published: November 2023

Abstract
AN intense capacity for self-criticism, and what Schumann called ‘another genius—that of modesty’, were typical of Brahms from the start of his career. His modesty, though often well concealed from the outside world, is evidenced by the letters he wrote to his closest and most knowledgeable friends—Joachim, Clara Schumann, Elisabeth von Herzogenberg, and Theodor Billroth—repeatedly seeking advice and assurance about his latest compositions as they progressed; and his self-criticism, by his destruction of numerous early works which failed to satisfy him, among them a Phantasie Piano Trio in D minor, a String Quartet in B flat, and a Violin Sonata in A minor, all written before 1853. It was not, therefore, ease of creation, but a hard-won maturity that provided him with the sovereign technical command, apparent eventually over the whole range of his published chamber music. With the loss of his apprentice works there now remain few clues to the nature of his early difficulties—none, certainly, comparable to those afforded by the sketch-books of Beethoven, or the uncompleted manuscripts of Schubert. But there are two works, from a later period, which provide valuable insights.
1922–1939 ‘An Untamed Buffalo’
Authors: Gillies Malcolm , Pear David 
Published: November 2023

Abstract
In August 1922 Grainger returned to Europe, for the first time since 1914, in an attempt to regain something of places and times once shared with his mother. He resuscitated the plans of 1914 to collect Danish folk music in Jutland and gave concerts in Scandinavia and Holland.
American Hotel, Amsterdam, Oct 21, 1922
Cyril dear,
In a day or two I will be sending you the photo of my beloved mother that I like best & (if I can find a copy) one of her & me together playing the English Dance that is dedicated to you, last sum mer. You say you have a small postcard of us both. Will you tell me its number on the charts I am sending you, & which I wish back after wards? Do you like the look of 13 or do you prefer 24, the latter looks much better in the real photo than on the chart.
Mobile recording units
Authors: McErlean (Revised by Malcolm Johnson) John 
Published: November 2023

Abstract
The purpose of an integrated mobile recording unit fitted with all major items of sound control and recording equipment is to provide a comfortable, pleasing on-the-road version of a static control room. The main problem is to maximize facilities in a restricted space.
Mobiles range from simple panel van conversions, incorporating straight-to-stereo tape and/or line equipment, to purpose-designed high-specification articulated semi-trailers incorporating acoustic treatment, built-in multitrack and stereo recorders, computer-assisted control desk, and a host of peripheral equipment. Before commencing on esoteric and costly designs it is obvious that customer needs and aspirations, as well as the size of his budget, have to be evaluated.
The Final Period
Authors: Musgrave Michael 
Published: November 2023

Abstract
The two works with which Brahms was occupied during the Ischl Summer of 1890, the String Quintet in G major and the revision of the Piano Trio in B major, symbolise the transition towards retirement from composition which Brahms planned from the following year, the year in which he also drew up his will. He offered the four-handed version of the Quintet in December of that year with the remark: ‘The time has come for you to say goodbye to any further compositions of mine.’1 Henceforth, he seems to have nothing other than the revision for publication of existing items, most obviously those of his most cherished project - the collection of 49 German Folksongs for solo voice and piano. That the two other collections - the Eleven Chorale Preludes for Organ and the Thirteen Canons for Female Voices also derived in part from earlier years seems very likely from their style and resources.
A biographical sketch
Authors: Samson Jim 
Published: November 2023

Abstract
Here is a young man who, abandoning himself to his natural impressions and without taking a model, has found, if not a complete renewal of pianoforte music, at least a part of what has been sought in vain for a long time – namely an abundance of original ideas of which the type is to be found nowhere. We do not mean by this that M. Chopin is endowed with a powerful organisation like that of Beethoven, nor that there arise in his music such powerful concep tions as one remarks in that of this great man. Beethoven has composed pianoforte music, but I speak here of pianists’ music, and it is by comparison with the latter that I find in M. Chopin’s inspirations an indication of a renewal of forms which may exercise in time much influence over this department of the art.
Apprenticeship
Authors: Samson Jim 
Published: November 2023

Abstract
‘Polonaise in G minor, dedicated to Her Excellency Countess Victoria Skarbek, composed by Frederick Chopin, a musician aged eight.’ This is how Chopin described his first surviving piece, published privately by Canon Cybulski in 1817. Most of the music he composed during these years of early childhood remained in manuscript and a great deal of it has disappeared. There is one other surviving piece from 1817, a Polonaise in B flat major, and after that we have nothing until the A flat major Polonaise of 1821, which he dedicated ‘to M. Żywny, from his pupil Frederick Chopin’. In general style and character the two early polonaises probably differed in no essential respects from the many short pieces which he was in the habit of improvising on the piano from an early age. Most of them he would not have bothered to write down.
Bel canto
Authors: Samson Jim 
Published: November 2023

Abstract
By the time he composed the C sharp minor Prelude Chopin had already completed most of his nocturnes. He had of course borrowed the title, and to a large extent the manner also, from John Field and, like Field’s, his nocturnes eschew any obvious virtuosity in favour of an expressive, reflective lyricism. The nocturnes are above all character pieces, exploring many nuances within a deliberately restricted affective range, most often nostalgic, languid, consolatory, the music of a sad smile.
The spirit of Poland
Authors: Samson Jim 
Published: November 2023

Abstract
Recent studies in the aesthetics of music have impressed upon us that nineteenth-century nationalism should be understood as much in terms of intention and receptive attitude as of musical substance. Chopin was a Polish nationalist to the extent that he intended, and was heard, to be. The issue of folk music is of considerable importance, naturally, but its significance can easily be misunderstood. Whether or not one agrees with Zofia Lissa2 that traditional Polish melodies for violin and flute were an important source for Chopin’s lyricism (I for one am sceptical), there can be no doubt that folk music does at least play a prominent role in the mazurkas.
The preludes revisited
Authors: Samson Jim 
Published: November 2023

Abstract
There are many facets to Chopin’s art and the discussion in preceding chapters has tried to reflect that variety while at the same time broaching on occasion more elusive questions concerning quality (perhaps the most important thing about a work) and structure. The analysis of his music then has taken several different forms, according to the needs of the moment, but its starting-point has invariably been an approach loosely defined by David Epstein as ‘historical-stylistic’. Its thrust has been to illuminate musical processes by comparative methods, relating Chopin’s music to relevant stylistic backgrounds and to certain norms of structure and language, with the aim of pinpointing (through similarity) the sources of his style and (through dissimilarity) its defining characteristics in maturity. By and large this is the way of the past, both in its preoccupation with style and in its historical dimension, its sensitivity to context, its reflection of ‘la race, le milieu et le moment’.
The Liturgy of Vespers and the ‘Antiphon Problem’
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The Roman liturgy of vespers in effect at the time when Monteverdi’s Vespro della Beata Vergine was published by Ricciardo Amadino in 16IO had been established by the Breviarium Romanum of Pope Pius Vin 1568. The Pius V breviary was the sequel to the deliberations of the Council of Trent (1545–63) and replaced the reform breviary of Cardinal Quinones, which had served the Roman liturgy from 1535 to 1568. The new breviary was conservative, restoring much of the pre-sixteenth-century office, and it remained in force until the reform breviary of Pius X in 1911. A more radical reform resulted from the Second Vatican Council in 1971.
Vesper Publications and Modern Style, 1600-1620: AComparison of Monteverdi’s Vespers with the Contemporaneous Repertoire
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
In the preceding chapter we witnessed the growth of the published Italian vesper repertoire in the second half of the sixteenth century, a growth which increased dramatically as the century approached its end. In the first decade of the new century, the number of extant prints once again augments by approximately 50 per cent. I have located more than 150 publications from this period, about two-thirds of them issued between 1605 and 1609. From the year 16m alone, aside from Monteverdi’s print, I have been able to trace an additional 25 surviving collections containing vesper music. Of the total of nearly 180 publications from these eleven years, 24 are reprints. By this time, the number of vesper publications has exceeded the number of mass prints from the same period. For the decade 1600–10, Anne Schnoebelen has counted 56 prints of masses only (19 of which are reprints), 21 of masses and motets (including 2 reprints), 12 of masses and psalms (which also count in my vesper calculations), and 22 of masses with other genres (including 3 reprints).1 The total number of publications containing masses is 111, less than two-thirds the number of publications of music for vespers. It is clear that by the first decade of the century, a major shift in emphasis had taken place in the public services of the Catholic Church in Italy. The vesper service had become a ceremony of major musical importance, not merely rivalling the mass, but actually surpassing it in number of publications and, consequently, in musical significance for the church calendar.