bluuebunny/crossref_metadata_2025_split huggingface dataset:
Compositions Based on a Cantus Firmus: The Magnificats
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The two Magnificats, printed one after the other in Monteverdi’s 16IO publication, deserve separate examination not only because of their unique character vis-a-vis the five psalms, but also because of their close relationship to one another. In addition to the cantus firmus and its contexts, cadence types, harmonic language, texture, style, and interpretation of texts, this chapter will explore the relationship between the two canticles. ‘Parody’ is an appropriate term to describe this relationship, for ten of the twelve verses exhibit similarities, in some instances very close parallels, between the two settings. Much of this chapter will be devoted to a comparison between the individual verses of the two Magnificats, whereby the varying contexts of the cantus firmus in style and texture will also be revealed. Through this process, the reader can observe both Monteverdi’s parody technique, as he adapts the setting of the same verse from one Magnificat to the other, and his variation technique, as he resets the same chant in the successive verses of each canticle. Such comparisons not only offer insight into the relationship between Monteverdi’s parody and variation techniques; they also offer a fascinating glimpse into the composer’s workshop in showing how he takes the material of one setting and recomposes it for the other. These comparisons demonstrate unequivocally that one Magnificat served as prototype for the other, but which one?While this question cannot be answered definitively, I will argue that the second Magnificat in the order of the 16rn print, the setting a 6, served as the source for the version a 7 with instruments.
Compositions not Based on a Cantus Firmus: Nigra Sum
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The remaining four pieces of the Vespers, the motets Nigra sum, Pulchra es, Duo Seraphim, and Audi coelum, are all in the modern solo or few-voiced style and are without any dependence on a cantus priusJactus. Nevertheless, an examination of these works demonstrates once again that, as in the psalms, hymn, Magnificats, and Sonata, variation techniques are a principal feature of Monteverdi’s compositional process.
Vocal Style
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
In late sixteenth- and early seventeenth-century Italy, singing was the most highly prized musical art. Castrati and other virtuoso singers were avidly recruited by courts and churches, and the new Roman and Florentine monody was developed principally by singers. Singing style also figures prominently in the writings of theorists and musicians of this period, although their remarks are often of a general nature rather than furnishing details of vocal training and voice-production. Nevertheless, it is possible to obtain from contemporaneous authors a reasonable idea of Italian preferences in singing style.
Metre and Tempo
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
Questions of metre, of mensural proportions, and of their relationship to tempo in the second half of the sixteenth century and the first half of the seventeenth century are among the thorniest issues faced by musicology and performance practice studies of this period. Conflicts and inconsistencies among theorists, diversity in notational practice, variety in the interpretation of notation in performance, changing styles, new genres, and variability in predominant note values all contribute to a sometimes bewildering picture of rhythmic notation, metric signatures, and their significance for tempo.
Vocal and Instrumental Ornamentation
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The practice of improvising ornaments to written melodic lines was centuries old by the time of Monteverdi’s Vespers. The earliest period from which we have detailed information about such embellishments is the sixteenth century, when many theorists were occupied with examining thoroughly all aspects of composition and performance, including the art of improvised ornamentation. Other sources of information from this period include instrumental transcriptions of vocal music, which often contain substantial ornamentation not found in the original versions. Until late in the sixteenth century there was no real distinction between vocal and instrumental ornamentation; in fact, instrumentalists were often advised to imitate the voice as closely as possible.
Tuning and Temperament
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
If the performance practice issues discussed in the preceding chapters seem ambiguous and incapable of definitive resolution, matters of tuning and temperament are equally problematic. Tempered tuning, mean-tone tunings, just intonation, Pythagorean tuning, and Ptolemaic tuning were all discussed and argued by theorists in the Renaissance and early seventeenth century. Pythagorean tuning, with its pure fifths, seems to have been preferred until about the middle of the fifteenth century. However, with increasing emphasis on the sonority of thirds and full triads in the late fifteenth century and the sixteenth century, mean-tone tuning, with its richer-sounding major thirds, became more popular, especially for organs and other keyboard instruments.
Original Preface
Authors: Manning Jane 
Published: November 2023

Abstract
It has long been my impression that the quality of the ‘English language group’ in a traditional song recital has been a little dis appointing, especially when compared with the richness of the German and French repertory. The same few songs, often culled from some examination syllabus many years ago, turn up constantly, and it appears that the available resources are not being used to best advantage. Our present century continues to provide us with the widest variety of styles imaginable, and works for voice and piano in English reflect this diversity. Recital items can range from weighty song cycles by British and American composers at their full maturity, to a wealth of more lighthearted fare.
The Wonderful Widow of Eighteen Springs/ A Flower (1942/1950) John Cage (1912-92) Text by James Joyce/no text
Authors: Manning Jane 
Published: November 2023

Abstract
These beautiful and simple songs belong in the ‘contemporary classic’ category, but they may not be as well known to the general music public as they deserve. Partly through ignorance and partly because of the wide range of styles that Cage employs, those not familiar with his work may not appreciate the purely musical virtues which have always distinguished this visionary figure from his many imitators.
A Mini Song Cycle for Gina (I984) John Tavener (born I944) Text by W. B. Yeats
Authors: Manning Jane 
Published: November 2023

Abstract
Tavener’s highly individual cycle may appear simple at first sight, but a polished performance will require considerable artistry and concentration from the interpreter. The rapt atmosphere must be sustained through the almost continuous vocal line of this extended scena. The simple word-setting and natural rhythmic flow have a folk-like quality; the basically straightforward idiom is devoid of vocal gimmickry, but full of surprises.
Voice from the Tomb op. 36A (nos. 1-6, 1980; no. 7, 1973) Gordon Crosse (born 1937) Text by Stevie Smith
Authors: Manning Jane 
Published: November 2023

Abstract
The sardonic but touching and unfailingly witty poems of this cycle are typical of their author; the composer has set them in such a way that the singer should not find it difficult to convey their meaning.
Wherever We May Be op. 46 (1982) Robin Holloway (born 1943) Text by Robert Graves
Authors: Manning Jane 
Published: November 2023

Abstract
The high opus number for a composer still in his early forties indicates a prolific output; much of it is vocal. The contrasts found in the five songs are most appealing. The vocal idiom is supply graceful and not too demanding of the singer’s stamina. The delicately bubbling opening song has great freshness, vitality and natural impetus.
The Hermit of Green Light (1979) Ross Edwards (horn 1943) Text by Michael Dransfield
Authors: Manning Jane 
Published: November 2023

Abstract
There cannot be many finer examples of writing for the countertenor voice than this. Edwards, a leading Australian composer, is acutely aware of the special qualities of incisiveness and enviable evenness of timbre typical of this voice. The four songs are fluent, dearly conceived and well contrasted, and the style throughout is most elegant. The piano writing is invitingly idiomatic. The dear textures should allow the singer to pick out pitch cues.
Mutability (1952) Irving Fine (1914-62) Text by Irene Orgel
Authors: Manning Jane 
Published: November 2023

Abstract
Irving Fine’s music is typical of a whole generation of American composers writing in an accessible and tightly controlled idiom based strongly on European tradition. It is a wonderfully challenging cycle. Its powerful musical and verbal images make Mutability an outstanding vehicle for a well-schooled artist who is able to command a wide range of colours and dynamics and is adept at fast articulation.
Three Songs (1961, revised 1970-71) Roger Smalley (born 1943) Text by Walter de la Mare
Authors: Manning Jane 
Published: November 2023

Abstract
Smalley’s very brief and highly concentrated songs are almost Japanese in their economy of content and delicate fragmentary style. His piano writing is resourceful and varied, as might be expected from a fine pianist; some modernistic vocal devices, such as glissando and singing without vibrato, are used most effectively. In general the tessitura is suited to a mezzo-soprano.
Four Songs (I958-60) David Del Tredici (born I937) Text by James Joyce
Authors: Manning Jane 
Published: November 2023

Abstract
The composer says in a note in the score that the four songs were not intended as a cycle, but that the printed order is his personal preference if they are to be performed together. These extremely fine works stretch the singer vocally, but in the most beneficial way. Del Tredici understands the voice intimately and knows which devices are truly effective.
Three Leaves of Grass (1967) Leif Segerstam (born 1944)
Authors: Manning Jane 
Published: November 2023

Abstract
The flattering vocal lines of this skilful setting of three Whitman songs by a leading Finnish composer have a sensuous beauty. The style owes much to the Second Viennese School, showing a Webernian sensitivity to precise vocal shading and nuance. Swooping leaps over a wide range.
In the Temple of a Bird’s Wing (1956 and 1965) Elisabeth Lutyens (1906-83) Text by Teresa Tanner
Authors: Manning Jane 
Published: November 2023

Abstract
Lutyens, a much loved and mourned pioneer of the English avant garde, wrote a large amount of vocal works, all of which display the finest sensibility to vocal timbre and tessitura. Her vocal writing is virtuosic and wide ranging but smooth and comfortable to execute once the initial musical difficulties are overcome.
Ballad 2 (I970) Bernard Rands (born I935) Text by Gilbert Sorrentino
Authors: Manning Jane 
Published: November 2023

Abstract
This exciting and amusing theatre piece was, like many works of the time, written for the incomparable and greatly missed Cathy Berberian. As the composer says in a note in the score, it is one of a series of ballads, each featuring a specific area of vocal technique and gesture.
Music as Climate (1984) Paul Robinson (born 1949) Text by John Ash
Authors: Manning Jane 
Published: November 2023

Abstract
Although Music as Climate is written for bass and piano, it is best sung by a baritone. The many high notes which have to be articulated so quickly would put it out of range of most actual basses, unless falsetto is used. With shades of American-influenced minimalism, note pat terns are constantly repeated. The pitches are frequently doubled in the piano, thus relieving much of the potential strain on the singer.
The Evolution of a Canon at the Papal Chapel: The Importance of Old Music in the Fifteenth and Sixteenth Centuries
Authors: Dean Jeffrey 
Published: November 2023

Abstract
The whole body of music performed by the singers of the papal chapel iri the fifteenth and sixteenth centuries can be separated into three categories, distinguished by the varying degrees of permanence of individual compositions within the repertory. At one extreme we can place the very fluid body of ‘new’ music (new in the sense of its availability to the singers, not necessarily newly composed). Only a fraction of this music is apparent to us now. It was expensive to copy pieces into the big booklets and choirbooks that survive in the fando Cappella Sistina: a typical mass of fourteen openings would have cost over 4 scudi around 1540, at a time when the monthly salary of singers in the papal chapel (among the best paid in Italy) was about 9 scudi and a printed book containing five masses could be bought for 1.20 scudi.
A Virtuoso Singer at Ferrara and Rome: The Case of Bidon
Authors: Lockwood Lewis 
Published: November 2023

Abstract
No performer in early sixteenth-century Italy was more famous in his time than the soprano singer Antonio Collebaudi, called ‘Bidon’. 1 Born around 1480, probably in Asti, Bidon carved out a career that lasted from about 1500 to the early 1520s, when he died. His vocal virtuosity, which deeply impressed contemporary witnesses, made him an unusually desirable candidate for recruitment by rival patrons. As early as 1502, Bidon was one of three singers that the Ferrarese agent Gian de Artiganova brought back with him from a recruiting trip to Savoy; on arrival in Ferrara, Gian informed Duke Ercole I d’Este that the singers were ‘excellent in this art’.
Lully’s Orchestra
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
In a treatise on tuning keyboard instruments published in Paris in 1650 Jean Denis reports a curious and touching story. A beloved wife had fallen into profound melancholy. Her husband, in despair and having exhausted all known remedies, decided to follow the advice of a friend and hired the King’s famous string band, the Vingtquatre Violons du Roy. Following a previously agreed-upon plan, the members of the King’s band tuned their instruments in advance, entered the house, and crept noiselessly behind a tapestry suspended in the bedroom where the wife was sleeping:
The Decline of the Cantata and Cultivation of the Cantatille
Authors: Tunley David 
Published: November 2023

Abstract
Some reasons for the decline of the cantata were suggested in the first chapter, where it was pointed out that as the Italian-inspired form arose partly as a reaction against Lully’s courtly and insular art, it was to be expected that when the warm enthusiasm for Italian music which flooded into France after his death had cooled a little, the cultivation of the cantata should somewhat abate. Lacking those balletic and choral elements so dear to French audiences, the form was almost bound to lose its popularity, especially when the tragédie-lyrique was infused with new life by Rameau in 1733. It is, indeed, from about this time onwards that a sharp decrease in the composition of relatively large-scale and dramatic cantatas is noticeable.
The English Organ in Purcell’s Lifetime
Authors: Gwynn Dominic 
Published: November 2023

Abstract
The period of Purcell’s lifetime saw a transformation and expansion of the English organ. With the stimulus of Dutch and French influences, the stoplist, layout, pitch, and compass changed. The study of the organ in seventeenth-century England is still in its infancy, but an outline has emerged from recent research which shows the inadequacy of the standard accounts. English organ-building history has a tendency to be picturesque, relying on anecdote and the pronouncements of famous men. At its best, it has unearthed a mass of documentary references, churchwardens’ accounts, the odd contract, letters and diaries, and so on. Researchers are now starting to add the available archaeological evidence, and are adding to, verifying, and reinterpreting the documentary source material. It should not be too many years before enough information has been accumulated to justify a statistical analysis. We will then be able to give a good picture of developments and variations.
Purcell’s Stage Singers
Authors: Baldwin Olive , Wilson Thelma 
Published: November 2023

Abstract
Jeremiah Clarke’s ode Come, Come Alongfor a Dance and a Song was composed ‘upon ye Death of ye Famous Mr. Henry Purcell, and perform’d upon ye Stage in Druery lane play house’. This scene of shepherds rejoicing in a holiday and then mourning the death of the ‘Glory of ye Arcadian Groves’ was surely the most moving of the tributes to Purcell, sung and acted by the four principal singers for whom he had written in his final year. The oldest of these singers, John Freeman, was 29; both the boy Jemmy Bowen and the girl Letitia Cross were under 15, and the bass, Richard Leveridge, was 24 or 25. We would be unlikely, nowadays, to hear a tribute to a major composer put on in a leading London theatre with performers so youthful, and this perhaps startles us into thinking about the differences between performers and performing conditions in Purcell’s day and the manner in which we perform him now. Looking at the ages, backgrounds, and personalities of the singers for whom he wrote should be illuminating.
Performance and Political Allegory in Restoration England:What to Interpret and When
Authors: Walkling Andrew R 
Published: November 2023

Abstract
Allegory is an essential component of the vocabulary of those of us who work with the texts, the drama, and a good portion of the music of the seventeenth century. Even a cursory familiarity with the high culture of the period will make clear both the extent to which allegory played a crucial role in many aspects of seventeenth-century public and courtly discourse and the multifariousness of allegorical expression-not to mention the widespread familiarity with particular kinds of allegorical symbols which prevailed at this time. In the context of allegory as a component of opera, Curtis Price’s article for The New Grove Dictionary ef Opera provides a useful starting-point. Price identifies three basic levels of allegorical expression that can be found in the operas of the seventeenth century: parable, mythological symbolism, and topical or political allusion. The first and second levels do not present any major interpretive problems: if a text uses parable to convey a moral or aphoristic message, that message can usually be understood with a minimum of difficulty. By the same token, mythological symbolism can be relatively easy to decipher, whether the purpose is to make a general statement about commonly held values or to pay respect to the author’s patron or another important personage. It is in the area of topical or political allusion that the problems of allegory become most apparent.
The Salzburg Symphonies: a Biographical Interpretation
Authors: Eisen Cliff 
Published: November 2023

Abstract
MOZART’S dissatisfaction with Salzburg, and his antipathy to Archbishop Colloredo, have traditionally been the stuff of Mozart biography. ‘I must frankly confess’, Mozart wrote to his father from Strasbourg in 1778, ‘that I should arrive in Salzburg with a lighter heart, did I not remember that I am to be in the service of the Court. It is that thought which is intolerable to me’.1Most scholars put the blame for Mozart’s misfortunes squarely on Colloredo’s shoulders: a tyrannical despot, unaware of Mozart’s genius or unwilling to acknowledge it, he plagued the young composer and eventually forced his removal from court service. According to Hildesheimer, Colloredo ‘reacted [to Mozart] with strangely excessive emotion and constant irritation’,
An Early Form in Mozart’s Late Style: the Overture to La clemenza di Tito
Authors: Küster Konrad 
Published: November 2023

Abstract
LA clemenza di Tito and Die Zauberflöte are Mozart’s last operas; their overtures are his last symphonic movements. The overture to Die Zauberflöte seems to be a modern sonata-form movement of the time. After a slow introduction the Allegro section begins quietly; the exposition can be understood as a standard form consisting of primary group, transition, secondary group and codetta. A thematic development section follows; and the recapitulation differs only slightly from the exposition. This is the normal form of Mozart’s later Viennese overtures.1 The Cost fan tutte overture is exception.al in that some sections seem to be shorter than usual for a normal sonata-form movement, and in the recapitulation they appear in a new order; but as a whole such alterations of the standard pattern are unremarkable.
From Simplicity to Complexity in La clemenza di Tito
Authors: Neville Don 
Published: November 2023

Abstract
MOZART’S first full essay into opera seria, Mitridate, re di Ponto, opened in Milan in 1770. His last, La clemenza di Tito, had its first performance in Prague in 1791. Before the Mitridate premiere, personnel involved with the production expressed concern over the likelihood that the 14-year-old would have insufficient understanding of the ‘chiaro edoscuro’ necessary for the theatre.1 In Tito, plain ‘contrast’, as a dramatic element, is particularly exploited. It regulates the ebb and flow of the dramatic rhythm and gives focus to the character conflicts and to the moral predicaments from which many of these conflicts arise.
The Cafe-Concert
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
The café-concert (caf’conç;:’ or caf’conc’ for short) established itself during the Second Empire as the standard diversion of the urban bourgeoisie and working class. Its origins, however, may be traced back to the mid-eighteenth century, to two distinct ways of combining supper and song. One was the practice of offering entertainment along with refreshment at a cafe; the other was the private singing society (or caveau).
Introduction
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
Satie grew up with music, much of it what we would call popular. His father Alfred, a shipping broker in the Norman coastal town of Honfleur, was a studious and cultivated man, a linguist and a passable musician with an interest in aesthetic issues. When Wagner assaulted Paris during the 186os, Alfred published articles in the local paper that took the part of Rossini, then still alive. Little is known about Satie’s mother, nee Jane Leslie Anton of Scottish and English parentage. We have only Alfred’s description of his fiancée in a letter (25 March 1865) to his close friend (and, later, renowned historian) Albert Sorel, affirming that Miss Anton was ‘very distinguished, has a very culti vated mind, is a good musician, and draws well’-in short, she had all the attainments of a properly raised bourgeois woman. Hence, it is easy to credit the assertion that Satie ‘must have passed his infancy in a home where domestic music-making was a regular event’.
Satie’s Humoristic Works for Piano
Authors: Whiting Steven Moore 
Published: November 2023

Abstract
Satie’s twenty years in the cabarets of Montmartre had acquainted him with a wide range of satirical techniques. At the present juncture, his years of collaboration with Vincent Hyspa bore unexpected fruit in the venue of the concert hall. We have seen that Hyspa was best known for his parody of familiar music: airs from opera and operetta, military songs, children’s songs, folk-songs, and so forth, all of which he arranged (or deranged) to suit his satirical purposes.