bluuebunny/crossref_metadata_2025_split huggingface dataset:
General Matters affecting the Violin, 1650-1700
Authors: Boyden David D 
Published: November 2023

Abstract
Tn the early seventeenth century ornaments were frequently written out in the music; and the terms, occasional signs, and execution of these ornaments were nearly as varied as the individual composers who used them. About the middle of the century the French lutanists and especially harpsichordists began to introduce a more rational order into this chaos, standardizing the ornaments and the names and signs for them. As a consequence, ornaments were less commonly written out, and instead, stereotyped conventional ornaments were indicated by signs which gradually came to have a more uniformly understood meaning. This state of affairs first became general in seventeenth-century France, and the lead of France was followed elsewhere in the eighteenth century. In Italy few specific ornaments were indicated by signs, the performance of the unadorned notes being left mainly to prevailing tradition and the discretion of the performer. Trills, for it stance, were conventionally inserted at cadences, and vibrato on long notes. In France improvised ornaments and passage-work decreased in favour as specific ornaments and their signs became conventionalized. On the other hand, the Italians seldom indicated the specific ornaments they played, and as a rule they improvised additions to the written notes in the slow movements.
The Technique of the Violin, 1700-61 (I): The Treatises. Holding the Violin and Bow. The Left Hand
Authors: Boyden David D 
Published: November 2023

Abstract
Technique is the indispensable means of transmitting the musical intentions of the composer to the listener. As Quantz rightly says, ‘The good effect of a piece of music depends almost as much on the performer as on the composer himself’. This is a general and simplified statement of the vital role of the performer in realizing the intentions of the composer. Broadly considered, a performer’s technique embraces far more than the mere mechanics of the instrument; to the latter must be added an understanding of contemporary notions of good taste, rhythm, dynamics, and expression.
Tempo. Alterations of Rhythm. Dynamics. Expression
Authors: Boyden David D 
Published: November 2023

Abstract
By the early eighteenth century time signatures had lost much of the tempo connotation they once had (cf. p. 181). Any tempo could be assigned to any note value-in principle, the modern system. As a result, there were more terms for tempo. Leopold Mozart, for instance, gives a large number of terms ranging from grave to prestissimo,1 and some of his terms are fairly subtly distinguished. Largo, for example, is still slower than adagio pesante (which, in turn, is somewhat slower than adagio), and should be performed with ‘long strokes and much tranquility’. For grave, Mozart says: ‘Sadly and seriously, and therefore very slowly ... long, rather heavy and solemn bowing ... consistent prolonging and maintaining of the various notes.’
Playing Techniques for the Baroque Clarinet
Authors: Rice Albert R 
Published: November 2023

Abstract
There are two main written sources concerning the playing techniques of the two-key clarinet-the German treatises by J. F. B. C. Majer (1732, 2nd edn. 1741) and J.P. Eisel (1738, 2nd edn. 1762). Both include sections devoted to music theory and provide elementary instructions or general comments regarding a variety of wind, keyboard, percussion, and stringed instruments. These books are the earliest and most important published sources dealing with the baroque clarinet.
Music in Religious Thought and Education
Authors: Webber Geoffrey 
Published: November 2023

Abstract
Throughout the history of Lutheranism the writings of Martin Luther himself have provided powerful ammunition for pastors and others seeking to defend the work of church musicians. Luther declared that the study of music was second only in importance to the study of theology, and he underlined the value of music both as a fitting way of rendering praise to God and as a vehicle to convey the word of God to the listener. But despite Luther’s sanction, the role of music in Lutheran worship developed during the seventeenth century into a source of considerable argument between conservatives and reformers.
Musical ‘Progress’ and Richard Strauss (1902)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Today, when music is obviously passing through many important changes, musical theorists naturally find that a purely historical treatment of their subject is interesting and profitable. But artistic historians are not always success-ful in guarding against a confusion of thought which betrays them into treating art exactly as if it were science, and into talking as if ‘artistic progress’ always ensured that old art was false compared with new.
The Hovingham Musical Festival (1902)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
There are musical festivals where the attention of the public and critics is claimed chiefly for the production of ‘novelties’, and there are musical festivals in memory of this or that great composer; but the Hovingham Festival [in Yorkshire] is remarkable as being purely in honour of music. The circumstance that novelties are composed for it, such as Dr Charles Wood’s Song of the Tem pest, is merely an additional point of interest in a programme of which the items were selected because they were enjoyable and valuable music.
Robert Schumann (1906)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The fifty years that have now passed since the death of Robert Schumann are crowded with musical developments of such various kinds and so variously related to Schumann’s work that, in the present state of musical party politics, opinions are as likely to differ about Schumann almost as much, though per haps not as violently, as about any of our own contemporaries. Few artists have so directly enlisted an almost personal affection for their work from the listener; and never has a musician’s work been more superbly, and yet unostentatiously, presented to the world by those to whom the task falls of founding the tradition of performance. Madame Schumann, whose death only ten years ago gives this week’s commemorative ceremony at the Beethoven-Fest in Bonn a double interest, was not only one of the greatest musicians within memory of the present generation, but also one of the greatest of teachers.
Julius Rontgen: A Great Musical Tradition (1932)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Julius Rontgen (whose death was announced in The Times last week) was the intimate friend of Grieg, Joachim, and Brahms, and the son and father of a Bach-like family of musicians carrying their musical tradition throughout the nineteenth century to the present generation. To those who have come into his sphere of influence he will remain rather as an inspiration for the future than as a link with the past. Nobody could see him in contact with younger musicians without thinking of Wagner’s Hans Sachs; and only the overwhelming great ness and richness of Bach’s art could inhibit a comparison between it and Ront gen’s enormous facility and industry as a composer.
Luigi Cherubini (1760-1842)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Luigi Cherubini, the Italian composer, (was born at Florence on 14 September 1760, and died on 15 March 1842 in Paris. His father was Maestro al Cembalo at the Pergola theatre, and began to teach him music when he was 6. By the time he was 16 he had composed a great deal of church music, and in 1778 he went to Bologna, where for four years he studied under Sarti.) This famous master well earned the gratitude which afterwards impelled Cherubini to place one of his double choruses by the side of his own Et vitam venturi as the crown of his Treatise on Counterpoint and Fugue, though the juxtaposition does Sarti’s music no good.
Orlandus Lassus (?1532-1594)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
His first two books of motets appeared at Antwerp in 1555-6, the latter containing the motet in honour of Cardinal Pole. The style of Orlando had already begun to purify itself from the experimental incongruities that led Burney, who seems to have known only his earlier works, to call him ‘a dwarf on stilts’ as compared with Palestrina.2 But where he is orthodox he is as yet stiff, and his secular compositions are, so far, better than his more serious efforts. In 1557, if not before, he was invited by Albrecht V, Duke of Bavaria, to go to Munich. The duke was an intelligent patron of the fine arts, a notable athlete, and a man of strict principles.
Claudio Monteverdi (1567- 1643)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Claudio Monteverdi (or Monteverde), the Italian composer, was born at Cremona in May 1567; he learnt composition from Ingegneri, a good polyphonic church composer (his Responsoria were long ascribed to Palestrina). His attention was early directed to the infant art of instrumental music, and the Duke of Mantua gave him his first appointment as string player. In 1602 he succeeded Pallavicino as maestro di cappella to the duke; and in 1607 he made a decisive impression with his first opera, Oifeo, in which was revealed the emotional and dramatic value of a new treatment of discords which, in his unaccompanied madrigals, had merely seemed to indicate the downfall of pure polyphony.
[The Operas And Their Influence]
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Wagner’s progress in opera has perhaps no parallel in any art, and certainly none in music, for even Beethoven’s progress was purely an increase in range and power. Wagner’s earlier works have too long been treated as if they represented the pure and healthy childhood of his later ideal; as if Lohengrin stood to Parsifal as Haydn, Mozart, and early Beethoven stand to Beethoven’s last quartets. But Wagner never thus represented the childhood of an ideal, though he attained the manhood of the most comprehensive ideal yet known in art.
Keyboard Talks: Second Series Musical Art-Forms
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
My subject for this series of Keyboard Talks is as general as a musical subject can be. It has, however, this principle of unity, on which I shall dwell with unscrupulous monotony from the first to the fifteenth talk-that it deals with musical compositions as wholes and also as individuals. I hope to show you that there is nothing abstruse or professional in viewing music in this light; on the contrary, the professional musician’s deepest and most comprehensive grasp of music is attained only when he has so completely cleared away all those technical and historical obstacles that trouble the naïve listener that he becomes a naïve listener himself, if a very experienced one.
Music and the Ordinary Listener
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
My title to these talks-’what the composer expects from the listener’-suggests a number of difficult questions, most of which depend more upon the composer than the listener. [In broaching this subject] I am much more frightened of you than you can possibly be of me; I have often myself administered the click of my switch on my portable wireless which so ruthlessly garrottes a speaker, or I might have been more particular in my title. I could have given offence to every living composer who does not agree with me by proposing to talk on what the sane composer expects of the listener.
Permanent Musical Criteria (1903)
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
I must apologize for the misleading appearance of my synopsis, but a line of argument such as I propose to follow always looks more complicated and dis jointed in a synopsis than it really is.1 The real argument may prove to be a series of logical steps so gradual and so obvious as to seem a pile of platitudes, while the synopsis, which can only give the chief points, and those only in the shortest possible phrases, may seem to be a bundle of paradoxes.
Communication
Authors: Maconie Robin 
Published: November 2023

Abstract
Seeing a strange footprint in the sand, the castaway understood the most fundamental of human messages: that he was no longer alone.
The message was unintentional, unexpected, but none the less utterly unmistakable. Somebody had passed by that way. Someone else was on the island. The tide had not washed the print away; wind and rain had not dispersed it. It had to be recent; it had to mean somebody nearby.
Impressions taken from life are extraordinarily vivid. A thumb print on an ancient pot, or a paw print on a medieval floor tile, are written in a universal language which transcends all sense of time, culture, and dialect. Anonymous hand prints preserved for tens of thousands of years in cave paintings of Australia and Europe are signatures which speak to us across the ages with the same fresh insistence of being as a child’s finger painting today.
Notation
Authors: Maconie Robin 
Published: November 2023

Abstract
Seores and sheet music are facts of musical life. For a majority of composers of serious music within the Western tradition, musical invention is inseparable from writing notes on manuscript paper, just as, for a majority of practising musicians, the performance of music is inseparable from reading a score. Written music has its own traditions, which are not entirely the same as those of oral musical cultures; the latter embrace folk, popular, and improvised art music and an increasing number of serious composers now taking advantage of computing and recording technologies to invent music direct to recorded form. It is possible to imagine musical draughtsmanship declining as mechanisms for bypassing manuscript continue to proliferate.
Marriage and the Lure of Bayreuth
Authors: Thomson Andrew 
Published: November 2023

Abstract
On his return to Paris, d’lndy immediately plunged hack into his normal life of intensive activity and study. In January 1874, he re-entered Franck’s organ class as a full student member, with the hope of gaining a first prize, an award which would justify his chosen path in the eyes of his family. In the same month, on 25 January, student in status as he was, he received the honour of a performance by Pasdeloup of his concert overture Piccolomini, laboriously composed under Franck’s guidance. This work, the first part to he completed of an ambitious orchestral project, will he discussed later in this chapter.
Dogma and Symbolism
Authors: Thomson Andrew 
Published: November 2023

Abstract
In May 1890, Franck had an accident on the way to visit his pupil Paul Brand. Struck in the side by the pole of an omnibus, he struggled on to Brand’s house, hut after arriving, lost consciousness. Nevertheless, with great determination, he fought his pain, and carried on with his usual programme of teaching and playing. A serious attack of pleurisy with com plications eventually forced him to take to his bed, and he died on 8 November.
Musicians, Opera, and Audience in Mozart’s Time
Authors: Steptoe Andrew 
Published: November 2023

Abstract
Throughout his early years, Mozart was encouraged by his father to enter the service of a noble or princely household. Leopold Mozart believed that an appointment as kapellmeister was the surest route to security and success. The status of the musician in service was not high, but with perseverance a faithful and talented composer might reach a senior position; and for members of Leopold Mozart’s generation, there were few alternatives.
Da Ponte and the Buffa Plot
Authors: Steptoe Andrew 
Published: November 2023

Abstract
Lorenzo Da Ponte lived his life with much the same adventurous opportunism that characterizes his buffa creations. Talented and ambitious, he turned his hand to a variety of occupations as circumstances dictated. He supplanted less ruthless men in favoured positions, not on the basis of well-tried ability or reputation, but by seizing the chances that presented themselves. A certain moral flexibility brought-him success, yet more than once guided him to disaster on the rocks of social and political convention. His early life tells us much about the origins and style of his libretti for Mozart.
The Techniques
Authors: Barclay Robert 
Published: November 2023

Abstract
Chapters 2-5 have laid the groundwork for a description of the actual techniques of trumpet-making. One can now gain a historical and cultural perspective of the Nuremberg trumpet-makers, appreciate the diversity and complexity of their sources of raw materials, and understand to some extent their conditions of work and the kinds of tools they used. All of this is the very necessary background to the exploration of technique. It is now time to put all this together by following the construction of a trumpet from the sheet metal to the final twist of wire. As stated in the first chapter, perhaps the most efficient way of reconstructing early technique is to do it. No amount of theorizing upon the subject can quite rival a well-documented finished product.
Introduction: Webern and Lyric Expression
Authors: Shreffler Anne C 
Published: November 2023

Abstract
The music of Anton Webern (1883–1945) has been justly celebrated for its sparseness, severity, and control. Indeed because of these qualities Webern’s rarefied vision has never gained the place in the repertory or the popular consciousness accorded to Berg, Stravinsky, or even Schoenberg, and it is safe to suppose now that it never will. Though voices have been raised now and then in favour of a more humanist Webern–Theodor Wiesengrund Adorno and Luigi Rognoni were among the first to oppose the ‘Darmstadt project’ – his association with a cerebral, detached aesthetic remains strangely unaffected.2 Since the Second World War, Webern’s music has served two causes: first, serial composition in Europe and America, and second, the closely related development of serial and atonal analysis in America. Held up as the model for the new serialism of the 1950s and 1960s, Webern’s twelve-tone instrumental works were said to embody a complete break with what Henri Pousseur called ‘sentimental nineteenth-century understanding’ by building structures from sound itself.
Webern and Trakl: Historical and Aesthetic Connections
Authors: Shreffler Anne C 
Published: November 2023

Abstract
That Webern encountered the poet Trakl should be taken symbolically. Both, in common, are at home in a realm where there is neither common interest nor home any more. The works of both grow out of detached, submerged inwardness; both cry out the need of the soul, bound by itself in suffering. Both bear pure witness to God’s abandonment of living creatures. Their [Webern’s and Trakl’s] discourse, whose echo has vanished, is intended for Him.
Compositional Process
Authors: Shreffler Anne C 
Published: November 2023

Abstract
Though the physical evidence of Webern’s sketching process during the decade between 1915 and 1924 remained remarkably consistent, the musical content of the sketches and fragments contradicts the appearance of routine. Most of Webern’s efforts during this time were devoted to composing vocal music, for which he had developed a fairly regular procedure of working. Each surviving sketch can be easily recognized as belonging to a certain stage in the compositional process, and for most pieces the whole sequence of events can be reconstructed. Yet the most common feature of the sketches, paradoxically, is their diversity; most drafts of the same piece explore radically different musical ideas. Instead of hammering out and refining a certain musical response to a poem, Webern’s imagination suggested a wide variety of realizations. The sketches are the remnants of a kind of musical diary; some are no more than isolated musings on a poem while others represent long-term preoccupations. Going through Webern’s manuscripts of vocal music, one gets a real sense of the urgency with which he composed songs. Sheet after sheet reveals hasty jottings of vocal lines, often trailing off into text and rhythms only.
Different Readings of the Same Text: Sketches for ‘Verkliirung’, ‘Nachtergebung’, and ‘Offenbarung und Untergang’
Authors: Shreffler Anne C 
Published: November 2023

Abstract
While Webern was able to set some poems quickly from start to finish, others took much longer. He often returned to the same text many times over the course of several years. The incomplete settings that result reveal widely divergent approaches, as if he wrote down all spontaneous ideas that the text evoked rather than taking one thought and developing it. Between 1915 and 1921, Webern sketched different music to the same texts repeatedly; this tendency was especially pronounced with Trakl’s poetry. Webern sketched his ‘Gesang einer gefangenen Amsel’ and ‘Verklarung’ each more than six times, completing ‘Amsel’ (as Op. 14 No. 6), but not ‘Verklarung’. He also drafted several incomplete versions of Trakl’s ‘Nachterge bung’ and ‘Die Heimkehr’, as well as a passage from the prose poem ‘Offenbarung und Untergang’.
‘Abendland III’ (Op. 14 No. 4): Multiple Reference in Music and Text
Authors: Shreffler Anne C 
Published: November 2023

Abstract
The Hölderlin poem begins with three statements using the oratorical second person plural, addressed to the mighty cities: ‘1hr Städte des Euphrats … ‘. Trakl’s ‘Abendland’ echoes these statements with three exclamations interspersed throughout the poem.
Introduction
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
THE arrival of Napoleon’s forces on the Piazza di San Marco on 13 May 1797 may have ensured the unexpected—but possibly inevitable—suppression, annihilation, and loss to present-day human history of the story of the civilization of Venice. A curious amnesia among historians surrounds Venetian history, despite the steady flow of publications about Venice both in the popular press and in more serious historical and cultural works, most of which merely borrow from earlier studies.
This scholarly lacuna is particularly characteristic of present understandings of four of the most prominent cultural foundations or comprehensive charitable institutions for the unique civilization of Venice after its decline as a dominant world power: the ospedali grandi. Those complex comprehensive welfare institutions sponsored sacred and secular, vocal and instrumental ensembles which originated as choirs, or cori, for the performance of liturgical music in the chapels and churches annexed to them.
City of Man
Authors: Baldauf-Berdes Jane L 
Published: November 2023

Abstract
THE original genius displayed by the Venetians for adapting nature to found their city pre-echoes their adaptation of ideas borrowed from others, and, indeed, of human nature itself, in order to lay the foundations of the cori. A brief review of the Venetian context in which the ospedali and the cori existed is in order. In dealing with the ospedali, one faces a complex of historical, sociological, and cultural details. The scholarly canon for Venetian charity, culture, and music, mostly written before the adoption of modern research techniques, requires study. One soon discovers that, despite increasing interest in Venice among scholars, there has been little delineation of the elements crucial to understanding the background of the ospedali in which music found so congenial a seedbed.2 The magnitude and complexity of the problem are daunting.