bluuebunny/crossref_metadata_2025_split huggingface dataset:
Rock Culture in Liverpool
Authors: Cohen Sara 
Published: November 2023

Abstract
Rock bands have been an important part of Liverpool's culture and identity since the 1950s, and there are over 1,000 bands in the city. This book delineates and discusses rock culture in Liverpool as a way or style of life, highlighting its associated conventions, rituals, norms, and beliefs within the city's own unique social, economic, cultural, and political environment. It deals with the hitherto little explored music-making by `local', `amateur' rock bands, that are precariously poised between success and failure, caught between the urge of original creativity and the pressures of the record industry. Their struggle is discussed in detail within the context of their social and cultural lifestyle and the commercial environment within which they operate. Broad artistic and social issues are examined in great detail, through the biographies of a few specific bands, notably The Jactars and Crikey it's the Cromptons!
Introduction
Authors: Cohen Sara 
Published: November 2023

Abstract
Rock bands have been an important part of Liverpool’s culture and identity since the I 95os. It is impossible to determine the exact number of bands on Merseyside, but a survey conducted for the Liverpool Echo early in I980 discovered the existence of more than one thousand. When I first arrived in Liverpool in I 985 full of strategies on how to seek out bands and establish contacts in the music world, I found myself immersed in an overwhelmingly musical environment where many people seemed either to be in a band themselves or to know someone who was in a band, and where many of those not in bands spent much of their time talking of forming or joining one. I learnt about bands from taxi-drivers, hairdressers, waitresses and waiters; and in cafes and bars conversation on bands could be overheard.
The Violin Music of the Late Seventeenth Century
Authors: Boyden David D 
Published: November 2023

Abstract
The intensive experimentation that distinguished the early seventeenth century produced an idiomatic violin music and technique, and it bid the foundation on which these gains were consolidated and pushed to new heights by 1700. In the last quarter of the seventeenth century Germany enjoyed a hitherto unparalleled development of violin virtuosity, and Biber and Walther exploited the resources of the violin to such a point that Walther in particular could justly be called the Paganini of the seventeenth century. In Italy Corelli \Vas the first violin composer to attain lasting stature in the world of music, and in his works violin music reached a point of genuine maturity where musical and technical considerations were in perfect union.
The Technique of the Violin, 1650-1700 (I): National Styles of Playing. The Treatises. The Left Hand
Authors: Boyden David D 
Published: November 2023

Abstract
By the late seventeenth century, national styles of violin music emerged more and more clearly, and inevitably there appeared corresponding differences in instruments, bows, and playing technique. Two sharply contrasted ways of playing, the French dance style and the Italian sonata style, were the focal points and inspiration for followers and imitators in Germany, England, and the Low Countries. Between these sharply drawn prototypes there must have been a good many intermediate styles of playing, and, with certain local variants, dance style must have been very similar in all countries, crossing national lines.
The Technique of the Violin, 1650-1700 (II): the Right Hand and Related Questions The Sound of the Violin
Authors: Boyden David D 
Published: November 2023

Abstract
Tn his Traite de la viole, Rousseau observes that if the viol is the body of the instrument, the bow is its soul; and from this time violinists and other string players seem to be increasingly aware of the manifold possibilities of bowing for expression and variety.1 In the seventeenth century, as in the sixteenth, the most detailed descriptions of bowing occur in accounts of the viol. These descriptions often apply in principle to the violin and were doubtless adapted by violinists to their purposes.
The Technique of the Violin, 1700-61 (III): Bow Strokes and T½eir Execution
Authors: Boyden David D 
Published: November 2023

Abstract
Bowing indications, such as slurs and staccato marks, appear with increasing frequency in the early eighteenth century. When these marks are totally absent or very sparsely furnished it is not necessarily safe to assume that the score in question represents the composer’s intentions or that the music is then performed simply with individual bow strokes alternately down and up. As Leopold Mozart says (seep. 402 above), the bowing depends ‘on the good taste and sound judgement of the performer, if the composer has forgotten to mark the slurs, or has himself not understood how to do so’. (Italics added.) In such situations a knowledge of the Rule of DownBow and its numerous applications is very helpful as a guide to the insertion of bowings in various musical contexts. On the other hand, the bowings indicated by a composer should be set aside only after the most careful scrutiny and consideration. Bach’s bowings to the unaccompanied violin sonatas, generally disregarded by modern violinists as ‘impractical’, should be studied carefolly and adhered to as far as possible. To quote Leopold Ivfozart again: variations of bowings are ‘usually indicated by a sensible composer and must be observed exactly’.
The Technique of the Violin, 1700-61 ( IV): Multiple Stops. The ‘Bach’ Bow. Special Effects. Instrumentation and c onducting. 1½e Sound of the Violin
Authors: Boyden David D 
Published: November 2023

Abstract
Apolyphonic style of playing the violin was developed to a high point by the Germans at the end of the seventeenth century.1 In the early eighteenth century this style continued in Germany and it flourished in Italy and France as well. The Bach unaccompanied violin sonatas are the zenith of this genre, and even for the most gifted musicians these works present great musical and technical difficulties in performance. However, the problems attendant on playing the multiple stops in the Bach sonatas and elsewhere have been compounded, if not exaggerated, by a misunderstanding of the notation and the bow in use at the time.
Music for the Baroque Clarinet
Authors: Rice Albert R 
Published: November 2023

Abstract
Music with parts intended specifically for the baroque clarinet began to appear during the second decade of the eighteenth century. The majority of these parts exhibit a style of writing characterized by repeated notes, incomplete arpeggios, fanfare motifs, a limited range, and restricted use of the low register. In works composed after about 1730, other characteristics which take on a greater importance are a lyrical style of melodic writing, scale passages, leaps of an octave or more, and a more frequent use of the low register. The following discussion of manuscript and published music covers the period from about 1712 to 1756, when the baroque clarinet was played by soloists and orchestral musicians.
Elizabeth Maconchy
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
This Suite, written in 1928-9, is inspired by Miss Victoria Sackville-West’s poem of the same title which won the Hawthornden Prize a few years ago.1 The Suite made a great impression on its first production at the Queen’s Hall in London on 30 August 1930; and there is no reason why it should produce less impression wherever it is fairly adequately produced. The composer is young enough for the years that have passed since its first performance to have enlarged her range already in more ways than may be obvious; but in this Suite it is already obvious that she has the habit of building on solid foundations, and that she accurately imagines the sound of what she writes.
Wolfgang Amadeus Mozart
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Of all Mozart’s mature symphonies that in B flat is the least known. It was finished on 9 July 1779, in Salzburg, and was the first of three which he proposed to dedicate to the Prince von Furstenberg. Nothing is easier than to classify Mozart’s works according to periods. The only trouble is that the possibilities are endless. The authors of the numerous forgeries which the early nineteenth century foisted upon Mozart were as uniform in the correct elements of their style as the greatest masters of Wardour Street [imitation-antique] English, but far surpassed that language in its range of incorrectness.
Looking and Listening
Authors: Maconie Robin 
Published: November 2023

Abstract
What is the difference between listening to music and listening to the sounds of everyday life? No postcards please. ‘Music gives pleasure’—but then, so can the sounds of everyday life. ‘Music is more organized’—but organized sounds, many of them more complexly organized than any composed music, are regularly encountered in everyday life, if we only knew how to recognize them. ‘Musical sounds are beautiful’—ditto. ‘Music is heard in concert-halls, in recordings, and so on’—but this is packaging which should not be necessary if the distinction were real.
Mozart and his Personal Circle
Authors: Steptoe Andrew 
Published: November 2023

Abstract
Although Mozart’s childhood was exceptional in so many ways, he was raised in an atmosphere of faith in God and trust in hard work typical of the mid-eighteenth century urban classes. Leopold Mozart was a firm Catholic, but his creed was tinged with Calvinist restraint. He was not, for example, above castigating the excesses of Italian worship:
You must not expect me to give you a description of the church services here. I am far too irritated to do so. They merely consist of music and of church adornment. Apart from these the most disgusting licentiousness prevails.
Cosìfan tutte and Contemporary Morality
Authors: Steptoe Andrew 
Published: November 2023

Abstract
The sources for the text of Cosìfan tutte are mysterious. The ingenious, symmetrical plot derives from themes with a long history in European literature; nevertheless, the opera bears a marked contemporary gloss. Features such as the Moorish disguises and the Mesmeric episode in the Finale of Act I indicate that Da Ponte was writing in full knowledge of the most recent theatrical fashions. Yet even the basic question of whether Da Ponte followed his usual practice of adapting an earlier play, or produced an original libretto, remains unresolved.
Drama and Musical Form in Le nozze di Figaro
Authors: Steptoe Andrew 
Published: November 2023

Abstract
The integration of musical style with dramatic meaning in Mozart’s opera buffa is based on the concept of ‘form’. The fundamental element underlying form in the classical style is tonality, since the tension and dynamism of the music derives in large part from harmonic contrasts. An outline of tonal or key structures in Mozart’s music is therefore a necessary preliminary, although this treatment is far from exhaustive. Perhaps the most illuminating recent descriptions of Mozart’s style are to be found in Charles Rosen’s The Classical Style (1971) and Sonata Forms (1980), and the present summary is heavily indebted to these works.
Don Giovanni: Musical Form and Dramatic Cohesion
Authors: Steptoe Andrew 
Published: November 2023

Abstract
Don Giovanni has a less satisfying dramatic structure than Le nozze di Figaro. It lacks the poise of the earlier work, and Act II possesses a looseness of form that can lead to disturbing longeurs in an uninspired performance. Yet these imperfections are more than compensated for by a musical and emotional thrust of overwhelming energy. The dynamic cohesion of the score raises the composer's art to more electrifying peaks (if not to a higher plane) than Le nozze di Figaro.
The Instrument and its History
Authors: Barclay Robert 
Published: November 2023

Abstract
Before examining the development and progress of the metal industry in Nurem berg it would be advisable first to describe the typical musical instrument which the trumpet-makers produced in huge quantities for nearly four hundred years. The classic trumpet is one of the simplest and most uncomplicated instruments in European music. It consists solely of a length of tubing (usually brass) which is folded upon itself once, runs parallel for three-quarters of its length, and then flares out wards into a bell for the remainder. The tubing is about IO or 12 mm. in diameter and about 2 m. long. As a general rule, the bell expands to ten times the diameter of the tubing. It is a natural instrument, having no slides, no tone holes, and no valves or keys. It requires no tuning or voicing during manufacture, apart from minor adjustments to its length. It is capable of sounding only the notes of the natural harmonic series, except under special circumstances.
The Metal
Authors: Barclay Robert 
Published: November 2023

Abstract
Modern brass is an alloy of copper and zinc in which the proportion of zinc is generally not less than 5 per cent and not greater than 50 per cent. The wide range of alloys falling within these limits are known collectively today as the brasses. They were not always so well defined. It is curious that 11:his material, which was so favoured by musical instrument-makers and other craftsmen, was, from antiquity until well into the eighteenth century, one of the least understood. The various names under which alloys of copper and zinc have been known show the widespread misunderstanding of its true nature.
Solders and Fluxes
Authors: Barclay Robert 
Published: November 2023

Abstract
The technique of joining metals with solder has its origins in prehistory. Archaeo logical objects of gold, silver, and bronze with intricacy joined components indicate the early origins of the technique and the fine control possible. Soldering is based upon the ability of different metals to dissolve into each other by surface alloying. It is possible to heat one metal to its melting point and cause it to flow and dissolve into the surface of another metal which is still in the solid phase. Solders are often binary or ternary alloys; they are composed of two or three metals because alloying gives to the resultant material a number of useful properties.
The Early History of the ospedali
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
The birthplace of the Italian church idiom was in the Venetian and Neapolitan conservatoire, where its most influential composers had worked or learned. The music at these institutions was without doubt a force for good. Without the funds by which the audiences (no other word will do) in their chapels expressed their enjoyment, bastards would have starved, the indigent sick would have died untended, young ladies without means would have lacked the dowry which brought them husbands.
Swan Lake in Moscow
Authors: Wiley Roland John 
Published: November 2023

Abstract
AT the end of 1865 Tchaikovsky graduated from the St Petersburg Conservatory. But soon he moved to Moscow, having accepted a teaching position in Russia’s second conservatory, which had recently opened there. He had never lived in the old capital.Moscow’s population in the 1860s comprised those who cherished what remained of the city’s ties to the patriarchal traditions of ancient Russia, and a chic, fashionable element, West-oriented, who relished the new freedoms of the post-Nicholaevan era.
The Music of Sleeping Beauty
Authors: Wiley Roland John 
Published: November 2023

Abstract
Sleeping Beauty, like Swan Lake, is a work full of delights and revelations. To identify them, especially the subtler aspects of the music’s structure, we must once again analyse the score, as Tchaikovsky was no more informative about the conception of his second ballet than of his first. The results of this analysis, however, will be quite different from the first because the ballets are so different. There are differences in dramatic shape and movement, and we have the added consideration of Petipa’s instructions to Tchaikovsky.
Un Giorno Di Regno
Authors: Budden Julian 
Published: November 2023

Abstract
Then follows the curious mis-statement that his wife Margherita and two children died within three months of each other during the summer of 1840. In fact the first child died in 1838 when Verdi was still at Busseto; the second during the rehearsals of Oberto the following year. However, an entry in the diary of Antonio Barezzi for June 1840 attests: ‘In Milan at midday on the feast of Corpus Christi my beloved daughter Margherita died in my arms of some terrible disease perhaps unknown to medical science; she was in the flower of her years and at the height of her good fortune, for she had become the lifelong companion of that excellent young man Giuseppe Verdi, maestro di musica.’t Verdi returned to Busseto with his father-in-law.
I Due Foscari
Authors: Budden Julian 
Published: November 2023

Abstract
‘Everything about Venice is extraordinary—her aspect is like a dream, and her history is a romance.’ So wrote Byron in the preface to the first and better of his two Venetian plays, Marino Faliero. But it was not the gay, sensual Venice, the carnival city of Hoffmann and Schumann, that caught his imagination, but the secret, mysterious Venice of Hugo’s Angelo. It was the Venice of hidden cruelties, the seat of a vast maritime empire and the most repressive oligarchy in modern Europe, a city whose secrets arc as deep as the ocean which symbolically she weds each year. He could identify this oligarchy with the English aristocratic society which, in a sense, had cast him out. Both his heroes-Faliero and Jacopo Foscariare men who have set themselves against their peers. Of the two, Faliero conforms more strictly to the Aristotelian definition of a tragic hero; he is therefore a more interesting figure, and Marino Falicro a better play.
Rigoletto
Authors: Budden Julian 
Published: November 2023

Abstract
Verdi’s contract to produce a new opera for the Teatro la Fenice in Venice was signed in April 1850;* librettist Piave, production date carnival-quaresima 1851, subject as yet unchosen but Dumas’s Kean high on the list of possibilities.t In fact Verdi and Piave had not yet even agreed on the opera for Ricordi due to be ready by the autumn. Then towards the end of the month, while he was still waiting to know more about the plot of Stiffelio, Verdi wrote to Piave with a new idea, broaching it with an almost furtive caution which shows that he was well aware of the risks involved.
Il Trov a Tore
Authors: Budden Julian 
Published: November 2023

Abstract
The triumph of Rigoletto in March 1851 left Verdi understandably jubilant. He had accomplished what had seemed like a revolution in Italian opera and he had carried his public with him. At thirty-eight his creative energy was at its peak; and the man who had found the strain of composing two operas a year well-nigh intolerable was now proposing to the impresario at Bologna to compose a new opera for the coming autumn, ‘the libretto to be my responsibility and, I hope, by Cammarano!’* While still in Venice he had already written to the Neapolitan poet proposing El Trovador by Garcia Gutierrez, foremost among the Spanish romantic playwrights who followed in the wake of Victor Hugo. Produced in Madrid in August 1836 with a success that no other Spanish author had equalled and which Gutierrez himself would never repeat, it is a high-flown, sprawling melodrama flamboyantly defiant of the Aristotelian unities, packed with all manner of fantastic and bizarre incident.
Otello
Authors: Budden Julian 
Published: November 2023

Abstract
‘As for your dolce far niente after all you’ve done - if it were really the case I might envy you; but I don’t take you literally, and even ifI attach no weight to the rumours that you’re at work on a new score (some say Nero, others Julius Caesar, others something else again) I hope that you have not terminated your career and that your genius will manifest itself with new creations.’*
Italian Vocal Music
Authors: Harrán Don 
Published: November 2023

Abstract
With but few exceptions, Rossi’s Italian vocal works were published in eight collections, forming, in their bar count, nearly 50 per cent of his repertory. There are three different ways to gauge size: number of collections, number of works, and number of bars. In all three areas, the secular collections stand in the forefront. Of the three, the peculiarities of the last have yet to be considered.
Instrumental Music
Authors: Harrán Don 
Published: November 2023

Abstract
Of Rossi’s four instrumental collections, the first two came out almost together (1607—8) while the third was separated by a break of nine years from the fourth (1613, 1622). All four were intended for string instruments, with the exception of the first, which offers the option of playing the upper parts on cornetts.
Books 1—2 contain some of the earliest works to be published as instrumental chamber music, or according to Agazzari’s designation, ‘dolci conserti’ (to be contrasted with his other category, the ‘conserti strepitosi e grandi’). A tradition of instrumental music seems to have become established in Mantua by the time of Rossi’s first books. Indeed, a ducal collection of instruments is known from the 1550s, if not earlier. Yet there were no instrumental music publications of Mantuan composers until Rossi’s, which, in their many sinfonie, might have been stimulated by the theatrical activities for the nuptials of the crown prince Francesco.
Vaughan Williams’s Ninth Symphony
Authors: Frogley Alain 
Published: November 2023

Abstract
Ever since its première just before the composer’s death, Vaughan Williams’s Ninth Symphony has divided critical opinion and remained something of an enigma. Yet the composer thought highly of the work, and went against his usual practice by preserving all the sketches. This study, the first of its kind on a work of Vaughan Williams, analyses the symphony and traces its genesis through hundreds of pages of sketches and drafts; it also offers a general introduction to the composer’s working methods. The manuscripts show how the composer worked meticulously to create the complex expressive ambivalence of the finished work, transforming in the process simpler conceptions redolent of his earlier music. Most crucially, however, the sketches reveal an underlying programme, centred on the theme of innocent sacrifice and drawing on Hardy’s Tess of the D’Urbervilles, Stonehenge, and Salisbury Cathedral. Vaughan Williams’s new musical path in the symphony, it emerges, was closely allied to the continuing evolution of his visionary agnosticism.
The Ninth Symphony: Context, Sources, and Working Methods
Authors: Frogley Alain 
Published: November 2023

Abstract
The Ninth Symphony was first performed on 2 April 1958, and was Vaughan Williams’s last completed major work before his death in August of that year. It was written by a man advanced in years-the composer was 8 5 by the time of its completion-but not withdrawn into retreat or isolation. Vaughan Williams enjoyed an extraordinary ‘Indian summer’ after his second marriage in 1953: he moved back to London after many years in Darking and led a busy and productive life, attending performances (often of new music), championing various causes, establishing the Vaughan Williams Trust, and continuing to write an impressive amount of music.1 In some ways, however, it was inevitably a period of looking back. Favourite places and books were revisited, and a nostalgic and retrospective tone sometimes emerges in the music written at this time, including the Ninth Symphony. The composer revised a number of his earlier symphonies, and incorporated in some new works themes from unpublished early pieces, whose manuscripts may have surfaced during the move from Dorking. Yet despite these backward glances, and despite Vaughan Williams’s advanced age, there is no preoccu pation with death in the late works. We shall see that it does play a central role in the programme of the Ninth Symphony; only towards the very end, however, might one interpret the focus as primarily autobiographical.