bluuebunny/crossref_metadata_2025_split huggingface dataset:
Waiting for Figaro
Authors: Zaslaw Neal 
Published: November 2023

Abstract
ON 21 December 1782 Mozart wrote to his father that, a few days after the extremely successful, fourteenth performance of Die Entfiihrung aus dem Serai/ eleven days earlier, Count Rosenberg, who was in charge of the Burgtheater, had spoken to him suggesting that he should write an Italian opera. Mozart continued:I have already commissioned someone to procure for me from Italy the latest opera buffa librettos to choose from, but as yet I have not yet received any, although I myself wrote to Ignaz Hagenauer [in Venice] about it. Some Italian male and female singers are coming here at Easter. Please send me Lugiati’s address at Verona, for I should like to try this channel too.1
Satie the Bohemian
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists’ cabarets and cafés-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues, on the contrary, that Satie’s two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie’s professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie’s output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.
From the Auberge du Clou to Arcueil
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
If the Chat Noir had nurtured Satie’s nonconformist spirit, the Auberge du Clou was the arena in which he began vigorously to assert that spirit, by committing ‘all his natural and spiritual resources’ to ‘a public role of heterodoxy’. The Clou was the backdrop to most of the eccentric exploits by which Satie is still remen1bered in anecdotes, and to most of the decisive developments in his bohemian career: the encounters with Debussy and with numerous painters; the Rosicrucian adventure and its aftermath in the Metropolitan Church; the striving for an esoteric style of composition to match his esoteric persona. Satie made still other noteworthy contacts during these years.
Performing Music
Authors: Dunsby Jonathan 
Published: November 2023

Abstract
Shared Concerns: Performing Music is about aspects of music-making that have not previously been considered together and in an accessible form. It deals with `performance studies' as a coherent subject, exploring such issues as the ideas of anxiety and artistry, recent thought in the musical literature, tensions between Romanticism nad Modernism, and the sound and design of music. It is written in non-technical language so that the lay reader will be able to gain an insight into how performers think, and what they think about. It is performers who bring classical music to a worldwide public, and yet the public is largely unaware of what it feels like to perform music, what aspects of the activity are a mystery even to the musicians themselves, and which are amenable to scrutiny, experiment, and improvement. The book offers a sustained but compact argument in a rich and entertaining narrative.
Anxiety and Artistry
Authors: Dunsby Jonathan 
Published: November 2023

Abstract
The Western musical performer, in the modern world, is often in an uneasy state of mind, and I propose to explore here reasons for this, and what it may amount to in actuality.
Many writings in what may broadly be called the aesthetics of music ignore musical anxiety and elaborate instead on the deep artistic satisfaction to be found in music, on its capacity to preoccupy the mind, rid it of words, and put in their place a passage of time filled with a different, unique ‘language’. This is what I call the Ecstasy school of musical thought.
Recent Thought
Authors: Dunsby Jonathan 
Published: November 2023

Abstract
Chapters 2 and 3 have outlined the challenges, both ‘disciplinary’ and mental and artistic, awaiting those who are interested in investigating performance studies-in its very general sense pertaining as much to the listener as to the practitioner. I have had to present so far an account largely of what is ‘missing’; we can now turn for most of the rest of this volume to what is present. If I have had to insist so far on problematics, as an antidote to the customary starting point in one or another related text, which so often strikes me as a complacent starting-point, this doesn’t mean that we should ignore much that is positive and purposeful in the existing literature, and in the debates that are in the air currently. Some of this will now be addressed.
The Music of Benjamin Britten
Authors: Evans Peter 
Published: November 2023

Abstract
Peter Evans discusses all the published compositions in subdivisions of genre and period, and devotes a separate chapter to each opera. With the help of over 300 music examples and diagrams, he demonstrates Britten’s mastery of the art of composition - tonal and harmonic structures, thematic cast and transformation, textual variety and the imaginative deployment of voices and instruments. Since this book’s appearance in 1979, Britten’s publishers have made available a considerable number of works withheld during the composer’s lifetime; some are juvenilia, but others date from a late as the Peter Grimes period. In a postscript to this first paperback edition, Peter Evans assesses the creative stature of these works and their significance in Britten’s development. The catalogue of works now includes these additional titles, and the selective bibliography has been revised.
The Turn of the Screw
Authors: Evans Peter 
Published: November 2023

Abstract
Britten’s early impatience with the unduly self-conscious nationalism and the restricted emotional range of much English music in the thirties had encouraged him to seek out a music at once more full-blooded and more nervously tense: his discovery of Mahler was reflected in the phraseology of much of his early music, and it was Mahler’s individual orchestral manner (rather than, say, the chamber orchestration of either Stravinsky or Schoen berg) that developed Britten’s keen sensitivity in the use of the small orchestra of solo tone colours. So much was evident at many moments of the first two chamber operas, while in the Spring Symphony the method had been extended to a full orchestral palette.
Tchaikovsky’s Last Days
Authors: Poznansky Alexander 
Published: November 2023

Abstract
Tchaikovsky’s death in October 1893 in St Petersburg, shortly after the première of his sixth symphony, the ‘Pathétique’, is one of the most thoroughly documented deaths of a prominent cultural figure in modern times. He was treated by no fewer than four physicians and surrounded by a group of relatives and friends. The official account of his death was that he died from cholera, possibly by drinking infected water, but almost since the day of his death there have been rumours that it was not accidental. It is alleged by some that Tchaikovsky either committed suicide or was murdered in order to avoid the scandal and disgrace of being unmasked as a homosexual. Alexander Poznansky is the first Western scholar to have gained access to the Tchaikovsky archives in Klin, Russia. He provides much hitherto unknown documentary material—memoirs, diary entries, letters, and newspaper reports—and adds his own commentary on the status of homosexuality in nineteenth-century Russia and on the various conspiracy theories that have been advanced to account for Tchaikovsky’s death. His conclusion is that there is no factual evidence to support the notion that Tchaikovsky’s death was caused by anything other than cholera.
James Brown’s ‘Superbad’ and the Double-Voiced Utterance
Authors: Brackett David 
Published: November 2023

Abstract
JB was proof that black people were different. Rhythmically and tonally blacks had to be from somewhere else. Proof that Africa was really over there for those of us who had never seen it—it was in that voice. (Thulani Davis, quoted Guralnick 1986: 242–3) If there is any black man who symbolizes the vast differences between black and white cultural and aesthetic values, Soul Brother No. 1 (along with Ray Charles) is that man.
‘Maybellene’: Meaning and the Listening Subject
Authors: Cubitt Sean 
Published: November 2023

Abstract
There appeared in the summer of 1982 a song written and performed by three German structuralists, a song characterized by the simplicity—to the point of banality— of its musical structure and instrumentation. Intended as a critical intervention in the production of ordinariness in popular music, ‘Da Da Da’ reached number one in the British charts, and Trio’s appearance on the British TV show, Top of the Pops , was no more threatening than that of Captain Sensible or any other novelty act: welcome to the whacky world of deconstructive minimalism. Clearly the intended meanings of the song were not always the ones it evoked for the listener. Recordings have a way of taking on a life of their own in their meetings with the public; in Voloshinov’s phrase, the production of meaning is intersubjective, involving artists, promotional campaigns, disc jockeys, and the audience. This article addresses particularly the role of the listening subject in the construction of a song’s meanings.
Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix
Authors: Whiteley Sheila 
Published: November 2023

Abstract
But like, the blues is what we’re supposed to dig…sometimes the notes might sound like it, but it’s a different scene between those notes. (Hendrix quoted in Pidgeon 1967: 2) Discussion of the 1960s generally identifies progressive rock as the prime organ of communication within the counter-culture. At the same time, musical analysis of the genre is an underdeveloped field of study, including only an identification of musical characteristics (Willis 1978), Mellers’ analysis of the Beatles (1973) and Middleton and Muncie’s analysis of five representative songs in the Open University’s course, Popular Culture (1981).
Postcolonialism on the Make: The Music of John Mellencamp, David Bowie, and John Zorn
Authors: Hisama Ellie M 
Published: November 2023

Abstract
When we acknowledge that an idea, history or tradition is not ours, we distance ourselves from it. When we then proceed to use, incorporate or represent it, we arrogate the right to employ what we acknowledge as not ours. It is not something we do despite the foreignness of our subject; it is something we do because of our perception of it as other. The implicit hierarchical nature of otherness invites seemingly innocuous practices of representation that amount to (often unknowing) strategies of domination through appropriation.
The Quest For Voice
Authors: Goehr Lydia 
Published: November 2023

Abstract
What is musical meaning? Where does it reside and how can it be known? Does it make a difference to its meaning if the music is composed with or without words, as a symphony or a song? Why is it claimed that music can express human feelings with an immediacy not possible in other languages or arts? What is contained in the claim that music is autonomous, or that it is prophetic and can articulate a ‘politics for the future’? Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses these classic questions of German Romanticism. On the way, she offers an account of the peculiar relation that was established between philosophy and music in the nineteenth century; a philosophical and political reading of Wagner’s opera Die Meistersinger; an account of the Wagner-Hanslick debate on musical formalism; an argument for resituating musical autonomy, in the spirit of Wagner’s Gesamtkunstwerk; an account of the competing performance ideals embodied in Wagner’s Bayreuth, and an interpretation of Wagner’s legacy as experienced by composers exiled from Nazi Germany. Goehr’s historical and musicological enquiries are unified by a philosophical study of the impact of the transcendental or critical perspective on philosophical theory. She argues that philosophy needs to take its limits seriously to accommodate the primacy of music’s practice.
The Sound of Medieval Song
Authors: Mcgee Timothy J 
Published: November 2023

Abstract
The Sound of Medieval Song is a study of how sacred and secular music was actually sung during the Middle Ages. The source of the information is the actual notation in the early manuscripts as well as statements found in approximately 50 theoretical treatises written between the years 600-1500. The writings describe various singing practices and both desirable and undesirable vocal techniques, providing a fairly accurate picture of how singers approached the music of the period. Detailed descriptions of the types and uses of improvised ornament indicate that in performance the music was highly ornate, and included trill, gliss, reverberation, pulsation, pitch inflection, non-diatonic tones, and cadenza-like passages of various lengths. The treatises also provide evidence of stylistic differences in various geographical locations. McGee draws conclusions about the kind of vocal production and techniques necessary in order to reproduce the music as it was performed during the Middle Ages, aligning the practices much more closely with those of the Middle East than has ever been previously acknowledged.
From Medieval to Renaissance: A Continental Excursus, I480–1530
Authors: Spring Matthew 
Published: November 2023

Abstract
Towards the end of the fifteenth-century lute technique underwent a fundamental change from one suited to playing a single line to one which allowed a solo player to play two or more parts at once. The new technique may have originated first among lutenists at the Burgundian court in the 1460s and 1470s, but was then developed in Italy in the closing decades of the fifteenth century and early years of the sixteenth. During the first half of the sixteenth century the technique was adopted throughout western Europe, and the old monophonic style, normally associated with the use of a plectrum, was gradually discontinued. This development is part of the general move from monophony to polyphony that characterizes the transition from the Middle Ages to the Renaissance, a transition that saw the emergence of new families of string and wind instruments that were specifically designed to play polyphonic music.
The Theorbo
Authors: Spring Matthew 
Published: November 2023

Abstract
The type of large lute with an extended neck, known in England in the seventeenth century as the theorbo, originated in Italy in the final decades of the sixteenth century. In Italy the word ‘tiorba’ was synonymous with ‘chitarrone’, the name popularly used for the same instrument in the first three decades of the seventeenth century. The name chitarrone, from the Greek ‘kithara’, reflects the idea, strong in the minds of the instrument’s inventors, that the instrument was the modern counterpart of the kithara used by the self-accompanying poets of classical antiquity.
The Decline of the Lute in England after 1660
Authors: Spring Matthew 
Published: November 2023

Abstract
At the Restoration Charles II initially tried to return the royal household to the situation in 1642 as nearly as possible, and to continue as if there had been no Interregnum. He reinstated as many of the old appointees as could be found, and recommenced their salaries at what they had been in 1642. In instances where musicians had died in the meantime, or were untraceable, new appointments were made.
The Violin Explained
Authors: Beamnt Jams 
Published: November 2023

Abstract
Throughout its history the violin has had a mystique with many curious beliefs. Physicists have now discovered how it produces its sound, though this knowledge is largely inaccessible to makers and players. This book explains how strings vibrate and the roles of the bow, bridge and body, glue and varnish, without assuming the reader has any scientific background. But physical sound is a poor indicator of the sensations it produces, and the core of the book explains how that sound relates to the sensations we hear. This leads to the conclusion that most of the myths are groundless, but also that nothing can be achieved by applying any modern technology to making or playing; indeed, it would be a disaster if that happened. Practical advice on strings, maintenance, purchase, and children's instruments conclude the discussion.
The Oratorio in Bologna (1650-1730)
Authors: Crowther Victor 
Published: November 2023

Abstract
In the seventeenth century Bologna developed a rich and diverse musical culture through the enterprise of musicians attached to the Basilica of S. Petronio and affiliated to the Accademia de’Filarmonici. Their achievements in the field of instrumental music (sonata, concerto) and festive church music (concerted mass) are well documented, but little of their output in the fields of oratorio, amounting to 300 performances in the period 1659-1730, has been subjected to critical scrutiny. This book relates the genesis and development of oratorio in Bologna to the city’s religious, political, and cultural aspirations. The oratorio repertory is surveyed in three historical phases: under Cazzati (1657-74), Colonna (1675-95), and Perti (1696-1730), and eight oratorios by the city’s leading composers are analysed in detail. A chronological list of performances is given in the Appendix.
Colonna’s Latin Dialogue Adstabat Coram (1668)
Authors: Crowther Victor 
Published: November 2023

Abstract
The dialogue was published in 1668 as the final item in an anthology of sacred Latin pieces (Sacri Concerti) selected by Marino Silvani and printed by Giacomo Monti in Bologna. The anthology also featured works by Monferrato, Cavalli, Rovetta, and Pietro Ziani from Venice, Cazzati, Cossoni, and Filippuzzi from Bologna, Trabatone from Varese, and Oratio Tarditi from Faenza. The twelve items were clearly intended for use in the liturgy: Cavalli’s ‘O bone Jesu’ was advertised in the index as suitable for use in the Mass (‘Del Santissimo’), Tarditi’s ‘Spargite flores’ for use on a feast of the Virgin Mary (‘Della B.V.’), and Colonna’s ‘Adstabat coram’ for use at all sea sons (‘per ogni tempo’).
The Colonna Era, 1675-1695
Authors: Crowther Victor 
Published: November 2023

Abstract
The Fabbriceria in San Petronio hesitated for three years after dismissing Cazzati before they found a suitable replacement. The six senators considered the petitions of musicians from near and far (Legrenzi was among the foreign candidates rejected) before electing Giovanni Paolo Colonna by five votes (for) to one (against) in October 1674.
Degli Antonii’s L’Innocenza Depressa (1686)
Authors: Crowther Victor 
Published: November 2023

Abstract
Laments of the Virgin Mary and laments of Mary Magdalene had been central components of the Catholic Church’s passiontide devotions for centuries, prior to being incorporated in the spiritual exercises of the Oratorians in the late sixteenth century. The great soprano castrato, Loreto Vittori, is reputed to have reduced a large audience to tears when he sang a lament of Mary Magdalene at the Chiesa Nuova in Rome in 1645. It seems that the Italian Passion-oratorio grew from the fertile seed of the Marian lament, the librettists simply enlarging the circle of mourners to include the male disciples and, perhaps, the centurion guarding the cross.
Bononcini’s Il Giosué (1688)
Authors: Crowther Victor 
Published: November 2023

Abstract
Giovanni Bononcini’s second oratorio, II Giosue, was composed when he was 17 years old. It was performed both at Bologna for the Oratorians and at Modena for the court in 1688. The surviving score at Modena (I-MOe, Mus.F.103) contains Bononcini’s dedicatory address to the duke, thanking him for his patronage and paying tribute to the excellent musical tuition he has received from Colonna in Bologna. The author of II Giosue, Tomaso Stanzani (or Stanzini), was an important literary figure in Bologna, mentioned in state papers as Chancellor of Senate in 1690. Stanzani began his literary career in the 1670s, writing secular librettos for academies and the Formagliari Theatre. II Giosue was his first oratorio libretto.
Conclusions
Authors: Crowther Victor 
Published: November 2023

Abstract
As the Italian oratorio spread from its birthplace in Rome to Florence in the 1650s, to Venice in the 1660s and to Perugia in the 1680s, the branches of the Congregation of the Oratory in those cities were in the vanguard of the enterprise. In Bologna, however, the earliest performances in the 1660s were sponsored by the nobility and by a number of small charitable fraternities. At that time, the Oratorians practised their spiritual exercises in Madonna di Galliera and in the open air in the summer season, but little is known about the music performed at their devotional gatherings.
Percy Grainger
Authors: Bird John 
Published: November 2023

Abstract
This extensively revised edition of John Bird’s acclaimed biography of Percy Grainger gives the first circumstantial account of the life and works of one of the strangest figures in twentieth-century music. Behind Grainger’s highly original compositional achievements, folksong collecting and glittering career as a virtuoso concert pianist lay a tragic and chaotic personal life--long domination by his mother, unorthodox sexual predilections, an eccentric athleticism, a demonic spiritual drive and wildly inconsistent personal philosophy with Anglo-Saxon obsessions such as his famous Blue-Eyed English’. A list of published compositions, a current discography of performances by Grainger, and a selection of his seminal writings complete what has already proved to be a standard work. In their Prefatory Note to the first edition, Benjamin Britten and Peter Pears wrote: `In his sympathetic and tactful biography John Bird has beautifully balanced the brilliance with the turbulence of this unbalanced genius--we are grateful to him’.
Improving Violin Trading and Repairing Standards
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
The effective closure in 1990 of a well-established Midlands stringed instrument dealing business1 as a result of an investigation by Trading Standards Officers, and ensuing national publicity, prompted yet again discussion amongst traders of ways to improve the ‘image’ of violin dealing. There are two associated problems. The first is that of author itative authentication. Enough has been said in Chapter 6 to show the difficulties of authentication in the fine art world. The inherent and inevitable difficulties involved in authentication have given rise to the second problem, which is a reluctance in some quarters to erect a disciplined professional framework within which respectable dealers can work. The result is a tend ency to decry each other’s goods when a customer asks for an opinion on an instrument obtained from some other source, or possibly even on a purchase or part-exchange transaction.
Auctions
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
Instruments of the violin family and their bows are regularly sold at auction and disputes regarding authenticity, provenance, condition, value, and title may arise.1 Three relationships exist in the auction context from which disputes generally occur: the relationship between the auctioneer and the seller/consignor; the relationship between the buyer and the auctioneer; and the relationship between the seller/consignor and the buyer. The sale of violins is governed by UCC section 2-328 in most states.2 In addition, some states have enacted additional legislation that may have an impact on conduct in the auction setting.