bluuebunny/crossref_metadata_2025_split huggingface dataset:
Perti’s S. Petronio (1720)
Authors: Crowther Victor 
Published: November 2023

Abstract
The subject-matter of the oratorio is the appointment of St Petronius as bishop of Bologna by Pope Celestine I in AD 432. The librettist alludes to important historical events and theological controversies at the end of Celestine’s reign (AD 422-32) but his main purpose is to emphasize that the appointment of Petronius to the See of Bologna was an act of divine predestination.
Diverging Traditions 1: South and Central Asia
Authors: Fletcher Peter 
Published: November 2023

Abstract
within present-day Europe and the USA, there is widespread appreciation of the music and culture of the Indian Subcontinent. Although this is a recent phenomenon, its roots lie in nineteenth-century European linguistics. following the discovery of affinities between the dead languages of Sanskrit, Latin, and Ancient Greek in 1786 (by Sir William Jones, serving in India at the High Court of Calcutta), subsequent linguists, mistakenly equating language with ‘race ‘, held Indian culture to have derived from the ‘Aryans ‘. The ‘Aryans ‘ came to be imagined as a superior ‘race ‘ of conquering nomads from the Central Asian highlands, ancestors of both Europeans and Brahmans. The German natural history professor J. I(Blumenbach first publicized the idea that they were descended from the ‘Caucasus ‘ in 1795.5) Subsequently, German romantics imagined the ‘Aryans ‘ as a blond, blue-eyed ‘master-race ‘, originating in northern Europe. Such imaginings are all nonsense; but they remained popular into the second half of this century, and still persist in the popular imagination. The origins of Indian civilization, and of Hinduism, the direct source of India ‘s classical traditions of music and dance, are still worth investigating, if only briefly.
Africa
Authors: Fletcher Peter 
Published: November 2023

Abstract
It is fitting that this survey of traditional musics should start with Africa, for Africa gave birth to the first human beings and-we way assume-to the first human song. Africa also gave along the Nile, to one of the first civilizations. Africa retains some of the o1dest extant musical traditions, features of which have been used to reinvigorate tired musical traditions in the West; and, as Africans throughout the Diaspora have united, aspects of African and European music have combined to form new styles of popular music throughout the globe. Africa is a huge and varied land mass, larger than China and India added together. Throughout recorded history, the Sahara desert, spanning the width of the northern bulge of Africa, has caused the peoples to the north and the south to develop separately and--to that extent-· differently. To the north now lie Muslim states, the African identity of which has been, in various degrees, overlaid by cultural influences from West Asia; to the south, Muslim and Christian states, the majority of whose peoples follow a way of life still heavily conditioned by indigenous religion.
Westernization and National Musical Identity in Africa and Asia
Authors: Fletcher Peter 
Published: November 2023

Abstract
New technologies, and the new experiences occasion, affect different societies in different ways, according to prevailing, local, cultural traditions. The new musical technologies and experiences introduced to many countries of the world as a consequence of western colonization tended to weaken native musical traditions (though the responses differed, in various parts of the globe); but when new technologies of the twentieth century brought far-flung peoples and their musics into both visual and aural contact with each other—creating the impression of a world that is shrinking-it enhanced senses of national cultural identity among different peoples, and led to a revival of ‘national ‘ musical styles. It also encouraged the formation of ‘national ‘, popular styles that mixed local melodies, instru1nents, and timbres, with Western 1nusical characteristics—rather as, in nineteenth century, countries in northern and Eastern Europe attempted to fuse ‘national ‘ folk styles with the dominant Austro—German tradition. In order to understand more fully the variety of musical interrelationships that exists throughout the world today, it will be instructive to examine the ways in which various societies haveresponded both to colonialism and to the impact of electronic media.
Intermittency
Authors: Maconie Robin 
Published: November 2023

Abstract
Does music matter? The short answer is yes it does. Music mat ters because it would have happened anyway. What does it matter? Music is a blanket term for human activities in organized acoustics. These activities include passive listening as well as active creation and performance. Acoustics matters because human beings can hear,just as chemistry (oenology, medicine) matters because people can and do recognize smells and in consequence develop the knowledge to do something about them. The same motivation to organize sense experiences produces the discriminations that nur ture art, literature, and, dare I say it, philosophy. The relatively dis tinguishing feature of music is that perceptions of the sound world organize themselves rather differently from visual, olfactory, or grammatical perceptions. So music is interesting because it reveals the distinctive priorities of audition and auditory reasoning, and especially interesting in a cultural context that finds it necessary or amusing to ask such a question.
Ratio
Authors: Maconie Robin 
Published: November 2023

Abstract
Apollo was so potent as a cultural and political symbol that the love-poet Propertius could hang his whole account of Actium around the god’s role. It was in Phoebus Apollo’s bay that the cosmic struggle took place (Elegies 4.6). The enemy fleet was damned in advance by the deified Romulus, Augustus blessed by Jupiter. Apollo leaves Delos to stand above Augustus’ prow; he lays aside his lyre and his role as god of music and poetry, and takes up his terrible guise as the avenger of piety and purity, who with his arrows once struck plague into the camp of Agamemnon.
Saint and Sinner
Authors: Bird John 
Published: November 2023

Abstract
The years spent in Frankfurt saw the emergence of three marked devel¬opments in Percy Grainger’s character and music. They were to become the nuclei around which the rest of his life and personality growth revolved and for this reason these years must be considered as the most crucial period of his life. In the order of importance given to them by Grainger himself, these three elements were: the development of unorthodox and colourful sexual appetites, the evolution of a highly idiosyncratic personal philosophy based on the concept of ‘racial charactology’, and the maturing of an individual musical style.
Unto Brigg Fair
Authors: Bird John 
Published: November 2023

Abstract
It could never be said of Grainger that he engaged in any activity with the undeviating singlemindedness which characterizes the lives of so many other composers. He never found appealing the idea of specialization and took pride in being an ‘all-round man’ with several irons in the fire at any one time. This inability to undertake long bouts of concentrated work was perhaps a handicap that prevented him from scoring more unqualified artistic triumphs than he did. Nevertheless, the years between 1904 and 1910 saw his most intense compositional activity, his emergence (though not recognition) as the most important folk-song collector of his day and the beginning of his fame as an international concert pianist.
‘Poor put-upon Percy’
Authors: Bird John 
Published: November 2023

Abstract
For a short period in 1907 Grainger and his mother lived at 26 Coulson Street, in a quiet row of small Georgian houses running parallel to the King’s Road near Sloane Square. The following year he heard for the first time a chamber work of the French composer Gabriel Faure and in March, when the Frenchman was staying in London; his host John Singer Sargent arranged a meeting with Grainger.
A Case Study in Supply and Demand - the Violin Scene
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
In December 1740 at Tom’s Coffee House, on Ludgate Hill in London, one of the first recorded auctions of musical instruments took place. The instruments came from the estate of London’s first concert promoter, an enthusiastic amateur called Thomas Britton. The inventory as it relates to musical instruments is interesting and runs as follows:. A fine Guitar in a case. 2. A good Dulcimer. 3. Five instruments in the shape of a fish. 4. A curious ivory Kitt and bow in a ase. 5. A good Violin by Ditton. 6. Another very good one. 7. One said to be a Cremona. 8. An extraordinary Rayman. [Jacob Rayman dwelt in Bell-Yard, Southwark about the year 1650. The tenor violins made by him are greatly valued.] 9. Ditto. IO. Ditto. II. Ditto. 12. One very beautiful one by Claud Pieray of Paris, as good as a Cremona. 13. One ditto. 14. Another very good one. 15. Another ditto. 16. A very good one for a high violin. 17. Another ditto. 18. An excellent tenor. 19. Another ditto by Mr. Lewis. 20. A fine viol by Mr. Baker of Oxford.
Liability for Misdescriptions - An Overview of the Civil and Criminal Law
Authors: Harvey Brian W , Shapreau Carla J 
Published: November 2023

Abstract
All the fraud and misdescription cases discussed so far have involved civil actions for damages and reimbursement. A civil action is a private action by one person against another with the object, usually, of claiming damages. Criminal trials, in con trast, are brought in the name of the sovereign and are publicly financed. From I July 1991 the County Court deals with civil actions involving claims up to £25,000 (or up to £50,000 depending on complexity); ‘small claims’ of up to £3,000 are referred to arbitration involving a simplified County Court pro cedure and lower costs. Otherwise the High Court is involved and this has unlimited jurisdiction. Over the last century since Hodges v. Chanot was decided, the civil law has been refined but not radically changed.
Shostakovich and Britten: Some Parallels
Authors: Kovnatskaya Lyudmila 
Published: November 2023

Abstract
The juxtaposition of the two names in the title of this article will come as no surprise to those who know of the personal relationship that existed between these two outstanding composers, or to musicians who have performed their works. But even if nothing was known about their meetings, or about their having dedicated compositions to one another, the attentive and musically informed reader will already have realized that there exists a fruitful field of study here, and will sense how organic, serious, and potentially rich this comparison is. At the same time, it is clear that these were two individuals who came from entirely different worlds and cultural traditions, and whose works revealed the fundamental disparities between their conceptions of art, ideology, and politics, their socio-cultural attitudes towards music, and their perception of musical genres in the context of their respective national schools of composition.
Igor Stravinsky: 1913—1951
Authors: Whittall Arnold 
Published: November 2023

Abstract
‘In borrowing a form already established and consecrated, the creative artist is not in the least restricting the manifestations of his personality. On the contrary, it is more detached, and stands out better, when it moves within the limits of a convention.’ These comments were included in the Autobiography of Stravinsky ghost-written by Walter Nouvel and first published in 1935—6. They can stand as a declaration of that neo-classic aesthetic whose elements may already have been latent within the ‘profoundly traditional’ attitudes to ‘cultural outlook’ and ‘musical technique’ of The Rite of Spring and the works which preceded it, and such attitudes became even more decisive when explicit reference to actual, ‘classical’ (earlier) stylistic and structural elements began to emerge.
Symphonic Music: II
Authors: Whittall Arnold 
Published: November 2023

Abstract
Chapter 3 dealt principally with composers who, in respect of date of birth, were the seniors of Schoenberg, Bartók, and Stravinsky. This chapter gives its main emphasis to those who were born between 1890 and 1910 and therefore came to creative maturity after the principal issue of early twentieth-century music—to retain or reject tonality—had already been raised. Hindemith, Prokofiev, and Shostakovich all ultimately opted to retain tonality, although (as with Bart6k, Stravinsky, Britten, and many others) it was often an intensively chromaticized tonality with properties appropriate to the kind of ‘modern classicism’ that attached great importance to the preservation of the traditional genres of symphonic music. Particular modal alternatives to diatonicism, like the octatonic scale, were a fruitful source of ambiguity, and the effect of their use was to challenge, if not seriously undermine, the relative stability, and tonal unity, of modern classicism, rather than, more radically, to prevent the establishment of such unity and stability in the first place.
Arnold Schoenberg
Authors: Whittall Arnold 
Published: November 2023

Abstract
On 7 December 1917, slightly less than two months after his forty-third birthday, Arnold Schoenberg (1874–1951) was finally discharged from the Austrian Army. His first period of military service had lasted from December 1915 until October 1916 and this second short spell had begun in September 1917. The disruption to his creative work was considerable. He was able to write the fourth of the Orchestral Songs Op. 22, in July 1916 (Nos. 1–3 had been composed while he was still in Berlin, between October 1913 and January 1915), but his main project during the war was the oratorio, Die Jakobsleiter. He completed the first draft of the text as early as January 1915 and began the music of Part One in June 1917, only to be interrupted by the second call-up three months later. Although he returned to the score as soon as his final discharge came through, and continued to work on it until 1922, the work was never finished. But for the wartime interruptions, the oratorio might stand–complete–as the most mighty and absorbing of transitional works. Certainly there is an element of tragedy in the picture of a genius at the height of his powers forced to let a major composition languish while providing a potboiler like ‘The Iron Brigade’, the march for piano quintet which Schoenberg wrote for a ‘festive evening’ at his army camp in 1916. From his early years as an orchestrator of other men’s operettas to his late years as a university teacher in America, Schoenberg suffered from the supreme frustration: the regular necessity to set his own work aside and perform other tasks in order to support his family. The sympathy for, and efforts on behalf of, other composers in a similar plight which his letters reveal are therefore as understandable as his often extreme irritation and impatience with bureaucracy and officialdom in all forms. For Schoenberg, in life as in music, inflexible systems were anathema.
Radicals And Rituals
Authors: Whittall Arnold 
Published: November 2023

Abstract
One of the attractions of ‘radicalism’ as a critical concept is its flexibility, the questions it raises about what it means. Since the 1920s, has it been more radical for composers to attempt to ignore traditional styles and systems, or more radical to aim at conserving those styles and systems as completely as possible? Radicalism is always relative, and matters of perspective are no less significant when other general terms, such as avant-garde and experimental, are brought into the debate. Within the twentieth century as a whole, it is probably the case that the initiatives most generally recognized as radical have been those which distanced themselves most dramatically from contemporary norms, as in the work of John Cage and his followers after 1940, which aimed to dispense with the accepted image of the art-work by facilitating the production of parallel events and experiences—comparable to, yet very different from, events and experiences normally associated with art.
The Minimalist Experiment
Authors: Whittall Arnold 
Published: November 2023

Abstract
Contrasts between relative simplicity and relative complexity, between the exploitation of repetition and attempts to avoid it, have been part of twentieth-century music from the beginning. But it was only around 1960, in the United States, that an approach of such consistency, and techniques of such evident reductiveness, emerged that commentators sensed the need for a new label. Alongside the experimentalism of Cage and his followers, minimalist music seemed to offer an alternative to the twentieth century’s persistent concern with preserving or extending earlier stylistic and generic traditions, and with devising complex, avant-garde alternatives to those traditions. Even if, from a late-century perspective, all it appears to have offered is ‘the mystical rationalism of serialism in a new guisen that newness has proved sufficiently substantial and long-lasting to establish an immense gulf between it and the sounds and stylistic qualities of ‘old’ serialism. Minimalism cannot simply be equated with anti-modernism, however, and the paradoxes and ambiguities soon accumulate when the two phenomena are considered together. Such consideration suggests that the principal factor in this alternative music is not so much its ‘minimal’ content as its experimental attitude, confronting the need to win a place for its products within the existing institutional framework of concerts and recordings, and therefore to challenge mainstream modernism on its own ground.
Laments And Consolations
Authors: Whittall Arnold 
Published: November 2023

Abstract
The volatile musical scene of the late twentieth century embraces contrasts and oppositions which are mobile rather than static, promoting interactions as much as preserving separations. Moreover, distinguishing between ‘opposition’ and ‘interaction’ is as much a matter of personal taste as of provable ‘fact’. Aesthetic response to organized sound is never more fragile than when the compositions are relatively new, the styles relatively unfamiliar: and so a survey like the following, in this chapter and its successor, is consciously constrained and pro¬ visional, a personal response to certain landmarks selected from a terrain of immense diversity and complexity.
Theoretical perspectives II : general theories of rhythm and metre
Authors: Clayton Martin 
Published: November 2023

Abstract
I believe that it should be the aim of any specific study in rhythm to shed light on general issues, and this is certainly my intention here. This is not an aim which has been pursued with much vigour in recent years: such cross-cultural comparison has yet to regain the impetus it received from ethnomusicologists such as Curt Sachs, Mieczyslaw Kolinski, and Alan Lomax; studies in Western music often put forward ideas of general applicability which are however seldom tested in the context of non-Western repertoires; while studies in psychology have tended to be studies in the psychology of Western music.
Laykāri:: Rhythmic Variation
Authors: Clayton Martin 
Published: November 2023

Abstract
Any technique intended to vary or develop rhythm (as opposed to a technique of textual or melodic variation which indirectly determines rhythm), may be thought of as an aspect of ‘laykān-‘-a word which has, like the related term lay, a variety of senses. The term laykān-is derived from lay, which (to summarize the discussion in Chapter 6) meant originally the space or rest between beats, and has come to mean both tempo and rhythmic density, and by extension become the closest equivalent of the English term ‘rhythm’.
Signs and Evocations
Authors: Rushton Julian 
Published: November 2023

Abstract
Arguments over the possibility, or desirability, of ‘absolute’ or ‘autonomous’ musical thought may never end. The validity of music—just music—as a cultured form of entertainment free of ideology and, in the view of E. T. A. Hoffmann or Hanslick, of connections with anything outside itself, has taken a beating from recent musicology, and there is no reason to exempt Berlioz from contextual treatment. Some of the concerns of contextual musicology will be touched on in this chapter, but I do not wish to disguise my own ideology, which is that the .survival of artistic works is not brought about by their usefulness as a key to unlocking past ideologies or further understanding cultural history.
Sources
Authors: Herissone Rebecca 
Published: November 2023

Abstract
THE seventeenth century produced some true monuments of music theory, of which Mersenne’ s Harmonie universelle (1636) and Kircher’ s Musurgia universalis (1650) are probably the best known. No such great books, however, were written in England. Although there were some learned tomes published, such as Butler’ s The Principles of Musik in Singing and Setting (1636) and, in the early years of the eighteenth century, the vast Treatise of Musick (1721) by the Scotsman Alexander Malcolm, writers in England generally had a rather different focus than did those on the Continent. The overwhelming majority of books dealt only with musical rudiments and the rules of composition, known collectively at the time as practical music. There was a strong predilection for simplicity and brevity which is amply demonstrated in the titles of the books themselves: Morley’ s Plaine and Easie Introduction to Practical Musicke, Bevin’ s Briefe and Short Instruction of the Arte of Musicke, Playford’ s Breefe Introduction to the Skill of Musick, and so on.1
Tonality
Authors: Herissone Rebecca 
Published: November 2023

Abstract
THE development of a harmonic rather than a melodic theory of structuring music was rather different in England than it was on the Continent. Whereas many European theorists sought to explain major and minor keys through the modes, in England the two concepts were treated almost entirely separately. This disparity probably resulted from two characteristics of English theory: first, the paucity of theoretical writings produced during the sixteenth century, which meant that there was no tradition of modal theory on which later writers could base their ideas; and second, the strong bias towards practical rather than speculative theory, as discussed in Chapter 1.
England: ‘ …yused of gentilmen, and of the best sort …’
Authors: Tyler James , Sparks Paul 
Published: November 2023

Abstract
Not long after it was introduced in France, the guitar also became known in England. It is first cited in Thomas Whythorne’s autobiography. Whythorne reports that when he went to London in 1545, he ‘learned to play on the Gittern, and Sithern which ii instruments were then strange in England, and therefore the more desired and esteemed’. The gittern, he writes, ‘was an instrument … yused of gentilmen, and of the best sort in thoz days’. One such gentleman was England’s Secretary of State, Sir William Petre, who owned and took lessons on a ‘gyttron’ in 1550. An engraved portrait of Robert Dudley, Earl of Leicester, dated 1568, in which a small guitar is included among the objects symbolic of his interests and pursuits, suggests that he too was a gentleman occupied with the guitar.
Virtuoso Texture in Fanny Hensel’s Piano Music
Authors: Cai Camilla 
Published: November 2023

Abstract
Fanny Mendelssohn Hensel wrote strongly worded paragraphs opposing Franz Liszt and the virtuoso school of performing and composing, but her words seem at odds with the high level of virtuosity that appears in her own piano music. This seeming contradiction will be shown to stem from her formulation of a useless virtuosity, as epitomized in Liszt’s music, which stood in opposition to a pure virtuosity that served the music itself.