bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Orchestra in England
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
Theorchestra in England, as elsewhere in Europe, arose in the second half of the seven teenth century in the context of a royal court. But in England the orchestra was far less a creature of the court and of aristocratic culture than it was in Italy, France, or Germany. The English court and its culture were decisively interrupted by the Puritan revolution and the Commonwealth. When the King returned and the court resumed in 1660, he was constrained by the continuing divisions between Catholic and Protestant, Whig and Tory, City and Court, and by the continuing vigilance that Parliament exercised over the budget. King Charles II, like his mentor and financial backer, Louis XIV, had Twenty-Four Violins, but they played in the theaters and at public concerts as well as at court.
Un Embarquement pour Cyth ère
Authors: Tunley David 
Published: November 2023

Abstract
The popularity of the French cantata has sometimes been attributed to the idea that it was a kind of miniature opera. While this description may be true of the later Italian form, it is doubtful if it accurately fits the French one. When Jean-Jacques Rousseau wrote ‘Cantatas nowadays are veritable dramatic works involving several actors, and differing from opera only in that the latter are performed in the theatre while cantatas are performed at concerts’ , he was, in fact, describing the contemporary Italian scene. Neither his words nor the description ‘opera in miniature’ are really relevant to the eighteenth-century French cantata..
Henry Purcell: Towards a Tercentenary
Authors: Kenyon Nicholas 
Published: November 2023

Abstract
We all pay lip service to Henry Purcell, but what do we really know of himã The words are those of Ralph Vaughan Williams, in the Foreword to Eight Concerts of Henry Purcell’s Music, given during the Festival of Britain in 195 1. More than forty years on, are we much the wiserã We know little more of Purcell’s life now than we did then, in spite of strenuous researches. His personality is, save for a few enigmatic clues, a shadowy, elusive thing onto which we can project almost anything we choose. In our understanding of Purcell’s music and its manner of performance, we may claim some signal advances, but who is to say whether they have brought us closer to the composer or merely closer to the taste of our own times in dealing with his musicã Many composers have been celebrated with conferences during their anniversary years, and the idea of those organizing ‘Performing the Music of Henry Purcell’ to hold it in advance of the tercentenary was an excellent one for it has helped to set the agenda for 1995 in the broadest possible terms. Performance and scholarship are as much of a ‘blest pair of sirens’ as words and music, and their imperatives frequently pull in different directions. But this conference showed players and directors and dancers and scholars all pulling together to establish the most fruitful lines of enquiry for the future. If the Purcell tercentenary achieves nothing else, this blueprint for future research and development will have been set. There is certainly more to be discovered (where is the elusive record of Purcell’s birthã!), and what we think we know already would benefit from further analysis. Many stimulating arguments of recent years, notably that over the dating of Dido and Aeneas chronicled in the pages of Early Music, depend on a heady mixture of factual hypothesis and stylistic analysis, which require further exploration.
Mozart’s Personality and Creativity
Authors: Steptoe Andrew 
Published: November 2023

Abstract
WHAT sort of person was Mozart? An extraordinary range of views has been put forward over the last two centuries. Some have regarded Mozart as a feckless, immature ‘natural’, a child of nature and almost an idiot savant, while others have emphasized his sober dedication to the Enlightenment. The Romantic portrait of a divinely inspired genius, unrecognized in his time but composing for posterity, has given way to an emphasis on his pragmatic craftsmanship; the fact, reiterated constantly through the bicentennial year, that Mozart wrote music only for specific purposes.
Prospects for a Theory-based Analysis of the Instrumental Music
Authors: Agawu Kofi 
Published: November 2023

Abstract
DOES Mozart analysis exist? In an assessment of recent Mozwt literature on the operas published a year before the bicentenary, James Webster made passing reference to ‘literally thousands of published analyses of Mozart’s instrumental music’.1 Those who might be inclined to doubt the accuracy of that claim may be puzzled further by an apparent omission from another discussion of the Mozart literature published during the same year in the authoritative Mozart Compendium. There, Alec Hyatt King surveys ‘analytical and critical studies’ without mentioning Heinrich Schenker, Felix Salzer, Leonard B.
Beaumarchais, Paisiello and the Genesis of Così fan tutte
Authors: Brown Bruce Alan 
Published: November 2023

Abstract
OUR only first-hand information on the conception of Cost fan tutte is a letter of rather dubious authenticity from Mozart, inserted in the Extract from the Life of Lorenzo da Ponte, in which the composer requests a new libretto from his collaborator specifically on account of the success in Prague of Don Giovanni.1 It is far more likely that Mozart and Da Ponte’s last opera was born out of competition with pieces written expressly for the Viennese operatic troupe, their own included.2 Indeed, they advertised the connection to Le nozze di Figaro in the very title Cost fan tutte, and in the Presto section of the overture, where one hears the same neighbour-note phrase to which Basilio had sung these words in the earlier opera.
Recall and Reflexivity in Così fan tutte
Authors: Clark Caryl 
Published: November 2023

Abstract
WITH these words Ferrando and Guglielmo open the stage action of Cosifan tutte. Their quatrains are as rich in character definition as they are in presuppositional strategy. They pique our curiosity by placing us in medias res; prior conversation in the Neapolitan cafe with the still (publicly) silent Don Alfonso has prompted these defensive statements. Of what Dorabella is incapable we are not tmmediately sure; only by retrospectively interpreting Guglielmo’s more revelatory assertion about Fiordiligi are we able to construe that both women are suspects for betrayal.
From Caf’Conç;’ to Music-Hall
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
The Folies-Bergére, founded in May 1869, became the first Parisian music-hall avant la lettre when Leon Sari assumed the directorship in 1872 and began to offer circus attractions and ballets after the model of the Alhambra in London. In 1886 the new owners of the Folies, the Allemand family, inaugurated what would become the distinguishing feature of Parisian music-hall entertainment, the revue a grand spectacle.
Waltz, Cakewalk, Theatre Song
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
In BN 9600, just after the accompaniment to Hyspa’s ‘Les Elephants’, one finds a symbolic page: at the top, an unbarred string of chords, most of them semibreves and breves, evidently a practice run at the ‘Verset la’ique & somptueux’ (5 August 1900); at the bottom, a waltz melody (see Ex. IO.1). Both are in red ink, as if Satie perceived a cardinal significance in the juxtaposition of the pompously ecclesiastical with the overtly popular, of an old manner with a new one. Such were the stylistic extremes between which Satie was choosing in the summer of 1900. On the next few pages, he pursued his uneasy com promise, The Dreamy Fish.
The Composer as Playwright
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
In the milieu of the fin-de-siécle cabaret, the arts mingled as freely as the artists themselves did. Several of Satie’s musician friends at the Chat Noir-Albert Tinchant, Leopold Dauphin, Georges Fragerolle-were also poets. The artists George Auriol and Jules Depaquit were also humorists whose short stories vied with those of Allais for zaniness.
The Writer’s Position
Authors: Dunsby Jonathan 
Published: November 2023

Abstract
Here I put forward basic ideas about what the musician is probably doing. ‘Probably’ indicates that this is an earthy outset, not a deliberately philosophical one. In my experience many people come to music without having had the opportunity or encouragement to ‘think through’ what their engagement with this art may mean. Perhaps for the listener this is of no great moment, since life is too short to reflect on sheer enjoyment, earplugs or no earplugs (I shall return to this). Any technical entanglement with music, however, all the way from getting a sense of what ‘tonic’ might mean to mastering a Paganini Caprice on the violin, brings an inevitable pondering. Musicians think hard. Whether ‘think’ is quite the right word is debatable. We might prefer to say that they ponder on what they do as musicians, ‘ruminate’ and so on. The important point is that they do not usually work in some sort of unreflecting musical trance.
Brass instruments
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
One of the most striking visual features of a symphony orchestra is the array of polished golden bells and glittering tubing which characterises the brass section: it is clear why the section is so named. In a jazz big band, trumpets and trombones are joined by a phalanx of saxophones of equal metallic splendour; yet the saxophone is technically not a ‘brass’ instrument, but a ‘woodwind’. In fact, what distinguishes the brass and wood wind families is not the material of contruction, but the method of sound generation.
The human voice
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
Singing is the most natural and commonplace of all musical activities. Yet in many ways it is also the most remarkable. A professional singer is required not only to display the finest degree of pitch control, a wide range of tone colours and a volume sufficient to dominate a symphony orchestra, but also to render intelligible the words of the text being sung. In order to understand how singers cope with these sometimes conflicting demands, scientists have conducted many experiments using both professional and amateur performers. In particular, studies carried out at the Royal Institute of Technology in Stockholm by Johan Sundberg over the last fifteen years have contributed greatly to our understanding of the singing process. Although many aspects of this complex subject remain to be explored, it is now possible to provide an acoustical foundation for some of the principles of traditional voice training.
Electronic instruments
Authors: Campbell Murray , Greated Clive 
Published: November 2023

Abstract
There are two distinct ways in which electronics are used in the production of musical sounds (Ernst 1977; Crowhurst 1975). In the first of these the electronic circuits are used simply to amplify the signal from some form of pick-up or microphone which is placed on or near an instrument. In this case the musical tones are generated by a vibrating mechanical system or air mass rather than by electronic circuits. We shall deal with arrangements of this type only very briefly. In the second way, electronic circuits are used to generate and shape the waveforms themselves before they are passed to a power amplifier and ultimately to loudspeakers. These are the true electronic instruments and what we shall be primarily concerned with in this chapter.
Béla Bartók
Authors: Whittall Arnold 
Published: November 2023

Abstract
Béla Bartók (1881-1945) completed his Second String Quartet in October 1917, and Halsey Stevens rightly says that ‘the whole direction of Bartók’s later writing might be deduced from this one work’.’ Then in his thirty-seventh year, Bartók had gradually developed a personal style from two principal sources: other composers, most notably Liszt, Strauss and Debussy; and folk music, which played a vital part in his life from 1905 onwards. Of all his earlier works it was probably the one-act opera, Bluebeard’s Castle (1911), which marked the most decisive stage in the establishment of this style, which, for all its various impressionistic, expressionistic and nationalistic components, clearly involved a reinforcement of tonality at precisely the time when Schoen berg was confirming his abandonment of it, and even Stravinsky (in The King of the Stars) seemed to be bracing himself to follow suit.
Stravinsky and Les Noces
Authors: Bowen Meirio 
Published: November 2023

Abstract
Stravinsky’s life span covered a quite unprecedented period of change and upheaval. So our first duty, always, is to try to imagine what it was like to grow up in Czarist Russia before 1900—or rather, because that is more important here, what it meant to be thirty years old, a composer in Paris, in 1912. Secondly, when we come to consider a work like Les Noces, we must first remember that it is dedicated to Diaghilev: and it simply isn’t possible to understand how Les Noces came to be written at all without some account of that extraordinary man: how he revolutionized ballet and the musical theatre, and how he set the young Stravinsky on a royal road.
Purcell
Authors: Bowen Meirio 
Published: November 2023

Abstract
Holst and Vaughan Williams, and other composers of their generation, were very drawn towards folk-song and the music of the Elizabethans. But it was my generation, including, of course, Britten, that found a new source of inspiration and a fresh example in Purcell. We were not taught Purcell in the Consetvatoire: we discovered him independently for ourselves. When I went to study at the Royal College of Music in London in the early Twenties, Purcell’s music was much less played than it is these days. It seems to me incomprehensible now that his work was not even recommended in composition lessons as a basic study for the setting of English. I may have been unlucky, but I think the omission was general. However, when I was 19, I began to conduct small amateur choirs with the object of studying in action, as it were, the English madrigal school—a repertory equally neglected in my Royal College training. Thus, when much later I found out about Purcell, I already had a good ear for the setting of English by his predecessors. Byrd, Tallis, Gibbons, Dowland, were no longer names in a history book, but composers of living music. Through their works, these composers were as alive to me as their great contemporaries Shakespeare, Marlowe, Spenser, and Sidney.
Britten
Authors: Bowen Meirio 
Published: November 2023

Abstract
I first met Benjamin Britten during the war, when I was musical director at Morley College. We wanted a tenor soloist for the Purcell verse anthem ‘My beloved spake’. Walter Bergmann, who was then chorus master at Morley, suggested Peter Pears, recently returned from America. When Pears came to rehearsal, Britten came with him. I can recall the occasion very clearly. I had in fact seen Britten before the war at the first public performance of A & J was Bom at a Lemare concert in the Mercury Theatre, Notting Hill.1 I had no intuition then that the slim figure walking down the gangway to take his bow before the public would become so decisive and beloved a personality in my life. But I have an unusually vivid mental picture of that moment.
Hindemith and Ludus Tonalis
Authors: Bowen Meirio 
Published: November 2023

Abstract
Hindemith’s Iudus tonalis was one of his most substantial compositions of the early 1940s. Written for piano solo, it comprised a set of twelve fugues, with eleven linking interludes and a postlude which are mirror images of each other. (If you turn the last three pages of the printed copy upside down, imagining the clef signs and accidentals the right way up and in their accustomed places, then they would read as the first three pages.) On the title-page, Hindemith has given it the following subtitle: Studies in Counterpoint, Tanal Organisation and Aano Playing.
Shostakovich
Authors: Bowen Meirio 
Published: November 2023

Abstract
Shostakovich’s Testimo was addressed to his countrymen, not the West—which is Shostakovich’s name for Europe and America. He was a Slavophile, not a Westerner. He disliked the West intensely, and he seems concerned in this book to make certain truths known to a future generation of Soviet com posers. In order to do this, he felt that he must send his manuscript illegally to the West, so that after his death—since the manuscript, if discovered in Russia, might have been destroyed—it could be ‘returned’ for a kind of ‘pub lication’. The mechanism is that the Russian version of the manuscript would be beamed back to Russia by radio and there picked up and transcribed by devoted listeners who type it on to samizdat. It’s a method which in principle has been used in Russia since Tolstoy. It was even for security purposes used by Krushchev.
T. S. Eliot and A Child Of Our Time
Authors: Bowen Meirio 
Published: November 2023

Abstract
It was quite by accident that I came into contact with T. S. Eliot. Yet soon he was to tum into a sort of artistic mentor. I met him through Frank Morley, an American colleague of Eliot’s. Morley was seconded from Harcourt Brace, the New York publishers, to Faber & Faber in London, where Eliot worked in the afternoons. Morley’s younger son, Oliver, then about 6, while musically very gifted, was virtually inarticulate verbally. If he spoke at all, he would make remarks like: ‘That dog barks in B flat.’ This was a real headache for the family. Morley asked W. H. Auden for advice. Auden recommended me, as someone musically well versed and interested in psychology. Thus it came about that Morley visited me at my tiny cottage (two up, two down) in Limpsfield, Surrey, on his way home to Crowhurst, further south down the road. The notion was that I should ‘teach’ Oliver at the piano about his obsessively beloved music, in order to tempt him to speak. Terms were discussed and agreed: and all the time I could see through the window, mooching about the minute grass frontage, the famous figure in the clerical hat-Eliot himself.
Dreams Of Power, Dreams Of Love
Authors: Bowen Meirio 
Published: November 2023

Abstract
The question is often posed to me: with which of your operatic characters do you most identify? The assumed answer is usually Mangus, in The Knot Garden—the modem reincarnation of Shakespeares Prospero as a psychiatrist. At the start of the opera, his dream is to be the ‘man of power I He puts them all to rights’. The romantic notion of the creative artist as someone who can solve mankind’s problems, as Shelley’s ‘unacknowledged legislator’, dies hard. Poland once elected Paderewski, a pianist, as Prime Minister; post-Cold War Czechoslovakia has a writer, Vaclav Havel, as President; and all Greece recently mourned the loss of its most charismatic film-star politician, Melina Mercouri. Personally, though, I lean more towards the irony of Gore Vidal, whose encapsulation of the ex-B-movie star Ronald Reagan as the ‘acting President’ seems just about right for all such figures.
The Mask of Time
Authors: Bowen Meirio 
Published: November 2023

Abstract
Many artists have felt impelled, towards the end of their lives, to give expression to the transcendental in some aspect or other. We can find this in Blake, in Yeats’s last poems, in a painting like Gauguin’s U’ho are We? ft’lzere do we come from? ft’lzere are we going? In The Mask of Tune, I tried to crystallize some of my own mature responses to the most fundamental matters bearing upon man, his relationship with time, his place in the world as we know it and in the mysterious universe at large. The gestation period for such a work was, of course, a long one, dating back to the early l970s—almost a decade before I actually put down any notes.
A Composer and His Public
Authors: Bowen Meirio 
Published: November 2023

Abstract
It is an act of faith to address an invisible audience. Is that faith anything to do with the much deeper faith, the faith in the ultimate virtue of the creative act, which a composer must have to write music at all in this time? What, in this matter of the composer and his public, has been there always and what is new? We have been for centuries used to receiving letters through the post, sheets of lines and blobs on paper, which when taken out of the envelope tell us things, and often in such a tone that we can imagine the loved (or hated) voice speaking out of the ink. This is the primeval miracle of any communication at a distance.
The Artis T’s Mandate
Authors: Bowen Meirio 
Published: November 2023

Abstract
Holderlin is a moving example of the Socratic madness which I speak of in this chapter. For he enjoyed the divine madness of poetic creation, yet suffered long periods of alienation into a clinical madness. If I am right in suggesting, in a previous chapter, that the artist’s job as such carries with it the constant, though for most of us mild, danger of impairing the sense of reality, then Holderlin’s real madness was in some way connected with his divine madness. But how, we do not know.
‘Dreaming On Things To Come ⃛’
Authors: Bowen Meirio 
Published: November 2023

Abstract
At the end of a filmed interview in Paris in 1994, I was asked a final throw away question: Do you think it possible for there to be another Tippett in the next millennium? My reply, perhaps rightly, was dismissive: one is enough! But then I began to think what indeed might be the future for a composer embarking on a career, as I had early in this century, with high aspirations and ideals and a determination to sustain them through thick and thin. Of course, I could not predict the course of world events in a century I might be just lucky enough to glimpse, though not to experience to any degree.
Biography
Authors: Meconi Honey 
Published: November 2023

Abstract
Until recently, the question ‘who was Pierre de la Rue?’ seemed an easy one to answer. Any thorough synopsis of his life would have gone as follows: he was almost certainly born in Tournai, probably around 1452, and started employment as a part-time singer (a tenor) in Brussels (1469). Additional employment was found in Ghent (1471–2) and then Nieuwpoort (1472 to before 2 February 1477), and at one unspecified time he held a canonicate at St Ode.
The Laughter of Falstaff: Comedy and Italian Politics
Authors: Tambling Jeremy 
Published: November 2023

Abstract
Verdi’s music, or, rather, the libretti and plots of the plays set to music by Verdi, are responsible for a whole range of ‘anificial’ poses in the life of people, for ways of thinking, for a ‘style’. ‘Artificial’ is perhaps not the right word, because among the popular classes this artificiality assumes naive and moving forms. To many common people, the baroque and the operatic appear as an extraordinarily fascinating way of feeling and acting, a means of escaping what they consider low, mean, and contemptible in their lives and education, in order to enter a more select sphere of great feelings and noble passions. Serial novels and below-stairs reading (all that literature which is mawkish, mellifluous, and whimpery) provide the heroes and heroines.
From Madama Butterfly to Turandot: The Crowd and the Gamble
Authors: Tambling Jeremy 
Published: November 2023

Abstract
Death by a man-whether they do it themselves, like Butterfly, or are stabbed, like Carmen, the provenance of the knife, or the choking hand, or the fading breath, is a man, and the result is fatal. So Catherine Cfoment comments on the ‘undoing of women’ in those most famous operas Otello, LaBohhne, Madama Butterfly, and Turandot. In the last two, women fit with those themes of Orientalism noticed in discussing Otello. Madama Butterfly is relevant for Puccinian politics in dealing so plainly with areas of racial and sexual exploitation which unite in the death of the woman.