bluuebunny/crossref_metadata_2025_split huggingface dataset:
Ealing Studios
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
DURING the Second World War, Michael Balcon, the head of Ealing Studios, had been the most vociferous opponent of Rank’s business activities. Like many other liberals in the trade, he viewed Rank’s influence as overweening, with a dangerous tendency to monopoly. When Balcon became a powerful presence on the Palache Committee, Rank bought him off by offering him a deal which seemed too good to refuse; he would cover half Ealing’s production costs, in return for world-wide distribution rights. This was all very well while Rank ran his business in a laissez fairemanner, but once John Davis took the helm, everything changed. Davis wanted to reshape Ealing production so that there would finally be world-wide profits, and he intervened in the day-to-day running of Ealing in an increasingly importunate manner. Small wonder that, writing with hindsight in 1959, Balcon thought that distributors should ideally be ‘ancillary to a major production organ is action’.1In the 1940s, Ealing film production had been at its zenith, both artistically and financially. Balcon had headed Ealing from 1939, and he set in motion the sys tem of unit production which he had initiated at Gaumont-British in the 1930s. His practice was to encourage individuals so long as they concurred with his world-view. Once directors, producers, and scriptwriters were accepted into the coterie of ‘Mr Balcon’s young gentlemen’ (as they were called), they were given relative autonomy during production. During the 1940s, Balcon dominated the selection and nuancing of Ealing’s projects, which all combined realist aesthetics with liberal politics and performed consistently well at the UK box office.
Choirs and Places
Authors: Spink Ian 
Published: November 2023

Abstract
Today’s cathedral choirs are composed of lay clerks (sometimes called lay vicars) and choristers, but this is just the latest stage in a development that leads from the Middle Ages, via the upheavals of the sixteenth and seventeenth centuries, to the reforms of the I 840 Cathedrals Act, which set cathedral chapters and choirs on a new footing.
The Older Generation: Lawes, Cooke, and Locke
Authors: Spink Ian 
Published: November 2023

Abstract
Strictly speaking, the Chapel Royal was not a building, but a body of men and boys whose job was originally to sing the daily service wherever the king happened to be. Whitehall being the usual royal residence, the chapel was there too, but following a fire in January 1698, it moved briefly to St James’s Palace, then back again at the end of the year to Whitehall after the Banqueting House had been converted for use as a chapel. In 1703 Queen Anne decided that the Chapel Royal should return to St James’s, where it has remained ever since.1
Postscript: George Frideric Handel
Authors: Spink Ian 
Published: November 2023

Abstract
Handel visited London for the first time in the late autumn of r7ro and returned to Hanover the following summer, having had great success with his opera Rinaldo in the mean time. Towards the end of 1712 he was in London again, this time prepared to settle and ambitious to produce farther operas. Within a month he had composed an ode for the queen’s birthday (6 February), and on 19 March his ‘Te deum (to be sung when the Peace is proclaim’d) was rehears’d at the Banqueting I-louse at Whitehall, where abundance of Nobility and Gentry were present’.
Ely
Authors: Spink Ian 
Published: November 2023

Abstract
The Henrician foundation of Ely in 1541 stipulated a dean, eight prebendaries eight minor canons, eight lay clerks, and eight choristers, but the 1666 statutes (see App. E) amended the numbers in the choir to five minor canons, eight lay clerks, eight choristers, and an organist and master of the choristers-the latter paid for by savings from the three minor canons’ places.
Oxford
Authors: Spink Ian 
Published: November 2023

Abstract
According to Anthony Wood, choral services had been re-established by November 1660 in those colleges where they had traditionally been sung: ‘they restored the organ at Christ Church, Magdalen, New, and St John’s College, together with the singing of prayers after the most antient way: to which places the resort of people out of novelty, I suppose, than devotion) was infinitely.
Rochester
Authors: Spink Ian 
Published: November 2023

Abstract
While VlSltmg Chatham on naval business in April 1661, Pepys called in at Rochester ‘and there saw the Cathedrall, which is now fitting for use, and the Organ then a-tuning’.1 During the Civil War the cathedral had served as a stable for General Fairfax’s troops and sawpits had been dug in the nave, but the organ, according to Thomas Baskerville, had been preserved in a tavern in Greenwich, and thus spared the depredations of the Roundhead soldiery.
Musical form and the listener
Authors: Cook Nicholas 
Published: November 2023

Abstract
There have been many attempts to define what music is in terms of the specific attributes of musical sounds. The famous nineteenth century critic Eduard Hans lick regarded ‘the measurable tone’ as ‘the primary and essential condition of all music’ (trans. 1957: 105). Musical sounds, he was saying, can be distinguished from those of nature by the fact that they involve the use of fixed pitches, whereas virtually all natural sounds consist of constantly fluctuating frequencies. And a number of twentieth-century writers have assumed, like Hans lick, that fixed pitches are among the defining features of music (Radocy and Boyle 1979: 170—2). Now it is true that in most of the world’s musical cultures, pitches are not only fixed, but organized into a series of discrete steps (Dowling and Harwood 1986: 90—1). However, this is a generalization about music and not a definition of it, for it is easy to put forward counter-examples.
Imagining music
Authors: Cook Nicholas 
Published: November 2023

Abstract
Analogies have frequently been drawn between the structural organization of music and that of language. Indeed, it was at one time assumed that the two were more or less coextensive; baroque music theory was to a large extent an adaptation of the theory of rhetoric and was centred around the expression of textual meaning, so that, as Dahlhaus puts it (1982: 24), ‘Instrumental music, unless provided by a program-note with some intelligible meaning, was regarded not as eloquent but simply as having nothing to say.’ Similarly, in his apology for instrumental music published in 1739, the composer and aesthetician Johann Mattheson resorted to the linguistic analogy in order to justify the claim that music without words could have aesthetic validity: it is possible, he wrote, for the composer ‘to express truly all the heart’s inclinations by means merely of carefully chosen sounds and their skillful combination without words, so that a listener can completely grasp and clearly understand the motive, sense, meaning and force, with all the phrases and sentences pertaining thereto, as if it were a real speech.
Knowing and listening
Authors: Cook Nicholas 
Published: November 2023

Abstract
Imagine, if you can, that Martian musicologists of ten thousand years hence are attempting to reconstruct an authentic performance of Chopin’s E minor Prelude (Ex. 35). We will suppose that a copy of the score and a piano of the period have somehow survived the destruction of human civilization, and that the Martians have also found works of music theory that tell them that the notes of the score correspond to the various keys on the piano, that eighth-notes are all meant to be of a unit duration which is twice that of sixteenth-notes, that a dot prolongs a time value by a half, and so forth. How will this Martian performance sound? The question is unanswerable! But it is possible to imagine a performance being applauded (if Martians applaud) for its meticulous faithfulness to the score, in which the opening note lasted exactly three times as long as the second one, the eighth-notes of the left hand in the first eleven bars were all of precisely the same length, and, in the absence of any indication to the contrary, the dynamic level was exactly the same throughout the first eight bars.
The Music of Hans Pfitzner
Authors: Williamson John 
Published: November 2023

Abstract
For many reasons Hans Pfitzner was and remains controversial. This stems partly from his difficult personality, and partly from the nationalistic context in which are set his cultural beliefs. His music has also tended to be coloured by such labels as conservative and romantic. Yet he actually has a wide reputation for his `musical legend' Palestrina, and there is much in his output which sets him as the true heir of Wagner and Schumann. This is the first study in English of Pfitzner's output. It sets his music in the context of his cultural opinions, which, though conceived as reflections on music, have acquired a more political status to which the history of Pfitzner's times has contributed. It offers a revaluation of his music, partly in order to reveal the innate value of his stage works, chamber music, and songs, and also to illustrate the historical importance of his ideas, which reflect a German conservative tradition which was taken over and nearly destroyed by the Third Reich.
Italian Opera in Late Eighteenth-Century London
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
This interdisciplinary study attempts to make sense of what has long been regarded as a chaotic period in the history of opera in London. In 1778 R. B. Sheridan acquired the King’s Theatre and its resident opera company in what we would now call a leveraged buy-out, plunging the opera into escalating debts that were to haunt it into the 1840s. The 1780s and early 1790s were a stormy but exciting era: the company hired some of the foremost singers and dancers in Europe; ballet d’action came to London, with Noverre himself as ballet master; the company employed such composers as Sacchini, Anfossi, Cherubini and ultimately Haydn; it went bankrupt and carried on through years of wrangling in Canchery; the King’s Theatre burned down in 1789 and was rebuilt and re-opened in defiance of the Lord Chamberlain’s refusal to license the new building. Drawing on librettos and scores, ballet scenarios, pamphlets, scattered manuscripts, legal records, architectural drawings, newspapers and other sources, the authors reconstruct the history of the company its shifting artistic policies, analysing opera and ballet repertoy, performers, production circumstances, finances and managerial infighting.
Scientific Empiricism in Musical Thought
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay is an expanded version of a lecture presented at Swarthmore College on 28 February 1960 in the series ‘Seventeenth-Century Science and the Arts’, sponsored by the William J. Cooper Foundation. It was published in Hedley Howell Rhys (ed.), Seventeenth Century Science and the Arts (Princeton, NJ: Princeton University Press, 1961), 91–137.
A Clarification of Musica reservata in jean Taisnier’s Astrologiae, 1559
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay was first published in Acta musicologica, 31 (1959), 133–61, on the quadricentennial of Jean Taisnier’s Astrology, the little book whose dedication contained the text that is commented upon here. But my own involvement with musica reservata goes back to my doctoral dissertation of 1954. There I analysed the known occurrences and purported occurrences of the term and came to the conclusion that it was not capable of precise definition and therefore did not lend itself to scholarly usage. I thought it prudent then to drop it as a label for any aesthetic movement. I communicated my analysis of the sources and conclusions in a paper delivered at the Midwest Chapter of the American Musicological Society at Indiana University, Bloomington, 15 May 1954.2
The Earlier Rubato in Violin Music
Authors: Hudson Richard 
Published: November 2023

Abstract
Early in the Baroque period the solo violin, a relatively new instrument at that time, became the instrumental equivalent of the solo voice. In canzonas, sonatas, and eventually in concertos, the violin imitated the styles and forms of vocal music. We have already noted the practice of improvised embellishment in Corelli’s violin sonatas. Tempo rubato was therefore a part of this practice, in fact if not in name, as it had been in vocal music long before North and Tosi. The expression does not actually appear in violin sources, however, until the early Classic period, slightly after 1750.1
Haydn, Mozart, and Beethoven
Authors: Hudson Richard 
Published: November 2023

Abstract
Neither Haydn, Mozart, nor Beethoven ever wrote the word rubato in a musical score. There is some evidence, however, both in notation and in accounts of performance practice, of the existence in their works of the earlier as well as the later type of tempo rubato. The later type manifests itself in modifications of tempo—partly notated by the composer and partly added by the performer. Mozart described how he employed earlier rubato as a performer (see Chapter 5). This type may perhaps also be indicated occasionally by the notation. Both types of rubato occur in classic music to reinforce formal structure. Both tend in the late works of Beethoven and in romantic music generally to appear more and more for expressive purposes.
Introduction
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The early history of the piano is familiar, or easily accessible. Scrupulously documented with a mass of technical detail by Rosamund Harding, it has been summarized in many reference books, and more recently explored in a growing literature which reflects a new cult of old keyboard instruments. But the richness of this material, its concentration upon the period before 1850, and the antiquarianism of its more recent practitioners, threaten to distort our view of the piano’s development. Especially is this so if we consider its place in the broad stream of cultural, economic and social history. For the piano was not merely a prince of instruments, ‘a mirror reproducing whatever is most characteristic of the general state of music’. In its golden age it became the centre of domestic entertainment, of musical education and, not least, a coveted possession, symbolic of social emulation and achievement, within reach of an ever-widening circle of eager purchasers.
The Victorian Piano
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
Visitors to the Great Exhibition of 1851 were probably impressed by the range of pianos on display. Table I lists the numbers and nationalities of the exhibitors. Among them were a few old English firms, including Broadwood and Kirkman, and many newcomers. The great French tradition was represented primarily by Erard, with instruments from both its Paris and London factories. There was also an entry by Henry Pape, whose mechanical ingenuity and profound influence upon a generation of craftsmen were never matched by success in business.
The Emergence of Germany
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The rise of the German piano was sudden and swift. In 1860 the industry was small and undistinguished; few makers were known or respected outside Germany. Even local needs would sometimes remain unsatisfied, for in addition to production deficiencies, marketing procedures and stock control were rudimentary and unable to cope with seasonal fluctuations. In 1873 Amy Fay complained: ‘There isn’t a piano to be had in Weimar for love or money, as there is no manufactory, and the few there were to be disposed of were snatched up before I got here. I ... was obliged to go first to Erfurt and finally to Leipzig before I could find one—and even that was sent over as a favour after much coaxing and persuasion.’ A few years later she would have had no difficulty.
The British Market, 1880-1914
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
Germany’s capture of the British market was similar in many respects to her success in Australia, but its implications were far more serious in a country which itself manufactured pianos. By the eve of the First World War, approximately one out of every six pianos bought in England was German. The proportion may appear too low to justify speaking of’ capture’, but in terms of expenditure it was much higher because practically all the German imports were of good quality while many of the English pianos were very cheap. Moreover, the implications of such competition were more far-reaching than any figures can convey. Under its stimulus the whole concept of making and selling pianos was transformed. Old clogged channels of distribution were rejected and new outlets created: ‘They came through general merchants and commission agents, not the legitimate trade’ was a common complaint in England, as in Australia.
The Gig
Authors: Cohen Sara 
Published: November 2023

Abstract
While the last chapter was concerned with the structure and organization of batids; this chapter focuses upon bands in performance and discusses their involvement with an audience. Crikey it’s the Cromptons! were to perform a gig with Fairground, another band from Vulcan. At about 6.30 p.m. the band members congregated in the office at Vulcan Studios. Tony arrived carrying a large bottle of cider and a camera which he gave me so I could photograph him during his performance. He wore a large black suit, striped shirt, and brightly coloured tie of which he seemed particularly proud. ‘I collect hideous ties’, he told me.
Style and Meaning in the Music
Authors: Cohen Sara 
Published: November 2023

Abstract
This chapter considers the music-making of the Jactars and Crikey it’s the Cromptons ! within the wider context of rock music and music in general, thus highlighting its cultural, social, and historical specificity. The aesthetics and ideology involved in the production of the Jactars’ and Crikey it’s the Cromptons !’ music had been particularly influenced by British and American punk styles of the 1970s. The ‘do-it-yourself’ message of punk, which has been well documented elsewhere (see Frith, 1983, and Laing, 1985, for example), encouraged many people, including members of the Jactars and Crikey it’s the Cromptons!, to form bands.
Scoring and Structure
Authors: Webber Geoffrey 
Published: November 2023

Abstract
This chapter is concerned with what might be described as the external characteristics of individual compositions, that is, their vocal and instrumental scoring, and overall musical structure. The study of scoring brings to light a highly pragmatic and adaptable approach on the part of the seventeenth-century musicians, one that tends to undermine any modern attempts to determine a single ‘authentic’ manner of performance, whilst an examination of structure reveals in particular the wide range of techniques adopted by composers to lend unity and coherence to a composition.
Giovanni Battista Viotti
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Viotti (1755-1824) is one of the most elusive figures in the history of music. The article in Grove’s Dictionary describes him as ‘the founder of the modern school of violin playing’. Of his twenty-nine concertos for violin and orchestra the best known, in A minor, No. 3, is said to have been written at the age of 14. (There must be some mistake here.) It will be interesting to see if Dr Adolf Busch can bring this most aristocratic of violin composers into his rightful position.
William Walton Coronation March, Crown Imperial
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Very great composers have sometimes written marches, and have enjoyed doing so. The history of criticism has no chapter on this subject, which is indeed little more than a paragraph in the depressing history of music written for great and patriotic occasions. Of the most famous of Handel’s four Coronation Anthems Mendelssohn remarks with astonishment that the beginning is as fine as anything that Handel or any man ever wrote, and the rest horridly dry and commonplace.
The Joachim Quartet (1902)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The listener comes from such performances as those of the Brahms F major Quintet on May 5 and the Beethoven A minor Quartet, Op. 132, last Monday with little mind for the customary classification of players into ‘schools’ and less mind for musical metaphysics in general.2 And yet the impressions these thrilling musical experiences leave on us are not describable in merely musical terms. They are so moving and so human that, if they are to be described at all, only the most general terms will be of any use, and even the least pretentious will be inoffensive.
‘Our Miss Fanny’: In Memory of a Great Artist (1934)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
With Fanny Davies1 something more vital than a tradition has passed away.2 By ‘the Schumann tradition’ we mean the tradition of Clara, not Robert Schumann; for he was not disposed to found any tradition and her habit of mind was to regard the establishing and maintaining of the right tradition as a sacred duty.
I can remember enough of Clara Schumann’s playing to distinguish between my proper childish acceptance of its authority and my free impressions, some of which were as disappointing as a child’s first sight of the sea if he has been told of its boundless immensity.
Wagnerolatry and Medieval Bells
Authors: Thomson Andrew 
Published: November 2023

Abstract
The decade of the 1880s witnessed the rapid growth of Wagnerolatry in France, which soon reached almost epidemic proportions. Not only the power of the music itself—‘bleeding chunks’ of which were regularly performed at the Concerts Lamoureux—but also the well-propagated theory of the unity of all the arts provided an extraordinarily potent stimulus in most areas of cultural activity.
The Schola Cantorum in Action
Authors: Thomson Andrew 
Published: November 2023

Abstract
The year 1900 represented a landmark in the history of the Schola Cantorum. New premises were urgently required for its burgeoning activities, and an ideal solution, both practically and symbolically, was found with the acquisition of the for mer English Benedictine monastery at 269 rue Saint-Jacques, beside the great church of Val-de-Grâce.
The Art of the Trumpet-maker
Authors: Barclay Robert 
Published: November 2023

Abstract
This is a study of the manufacture of brass instruments, particularly the trumpet, in Nuremberg during the seventeenth and eighteenth centuries. The book begins with a brief history of the instrument and the city where it was made, and an introduction to the changes in style, shape, and ornamentation which occurred over more than two hundred years. The techniques of extraction and purification, and the chemical and physical structure of the metals are discussed, especially in relation to the use of authentic materials in reproductions. A separate chapter deals with solders for brass and silver and their use in the workshop. The tools and workshop facilities are identified and detailed using contemporary illustrations and examples from the author's workshop. The longest chapter, which is highly illustrated, deals with the techniques of fabrication as practised today, and draws parallels between them and historical practice. The book concludes with a discussion of the philosophy, ethics, and practicality of using historical instruments or accurate facsimiles in modern performance.