bluuebunny/crossref_metadata_2025_split huggingface dataset:
Politics I: Slavery
Authors: Kraut Richard 
Published: November 2023

Abstract
We must now turn to a topic that looms large in the remainder of Book I of the Politics: Aristotle’s attempt to show that the enslavement of certain kinds of people is just. That he defended an institution that is inherently debasing and often brutal is a deeply disturbing feature of his political thought, and our repugnance increases when we learn that his attempt to justify this practice played a significant role in its perpetuation. Two millennia after the Politics was written, Aristotle’s assertion that some people are slaves by their very nature figured prominently in debates in Spain about the legitimacy of enslaving indigenous peoples of the New World.1 And in the American South, the existence of slavery in Greece and Rome-and the defense of slavery in the Politics-gave comfort to apologists for this institution.
The Approach to Playing Baroque Sonatas Some General Points
Authors: Rowland-Jones Anthony 
Published: November 2023

Abstract
The performance of a piece of music is likely to be of more significance, and probably more effective, if the player knows what the music ‘wants of him’, what it is intended to communicate, what its purpose is. In his analysis of the meaning and use of the sonata in the Baroque era, Newman cites many contemporary opinions, all saying that the purpose of music is to please and move an audience, the delectation of the player not being a prime consideration. More specifically, instrumental music dissociated from a church or dramatic context is ‘for the refreshment of the ear at entertainments and assemblies’.
Sound and Expression: Handel’s Sonata in G minor
Authors: Rowland-Jones Anthony 
Published: November 2023

Abstract
The recorder, or ‘flute douce’, cannot be regarded as an instrument ideally suited to playing sonatas. Because of its plangent articulation, and its intense yet pure and ethereal sound, the recorder was associated with scenes of ‘soft delight’, pastoral or garden settings, and other-worldly contexts. Except for the second and fourth Brandenburg Concertos, the Handel sonatas, and some of Telemann’s sonatas, trio sonatas, and other chamber music, the best Baroque music specifically written for the recorder is found within a literary or vocal milieu, such as episodes in Purcell’s Odes and theatre music and in Bach cantatas and Handel operas, where the sound of two recorders contrasts wonderfully with the presence of other instruments and voices. These are on the whole short passages and special occasions.
Ontologies of Music
Authors: Bohlman Philip V 
Published: November 2023

Abstract
Music may be what we think it is; it may not be. Music may be feeling or sensuality, but it may also have nothing to do with emotion or physical sensation. Music may be that to which some dance or pray or make love; but it’s not necessarily the case. In some cultures there are complex categories for thinking about music; in others there seems to be no need whatsoever to contemplate music. What music is remains open to question at all times and in all places. This being the case, any metaphysics of music must perforce cordon off the rest of the world from a privileged time and place, a time and place thought to be one’s own. Thinking—or even rethinking—music, it follows, is at base an attempt to claim and control music as one’s own.
The Institutionalization of Musicology: Perspectives of a North American Ethnomusicologist
Authors: Nettl Bruno 
Published: November 2023

Abstract
What is it that comes to the minds of musicians, music students, lovers of all types of music, members of the academic professions, when they hear or read the word ‘musicology’—or ‘Musikwissenschaft’ or ‘musicologie’ or ‘musicologia’ and so on? To some it suggests fascinating books and lectures from which one learns things one has never suspected about the music and composers one loves. To others it conjures up a kind of police force which sees to it that one learns about composers and their works, long past and perhaps distant, things quite irrelevant to one’s musical life in the present. To yet another audience, it is the voice of authority, a branch of knowledge that tells you what in music is good and worthy of hearing and what is bad and to be avoided.
Readiness to Sing: The Raw Material
Authors: Hemsley Thomas 
Published: November 2023

Abstract
Oh! How great a master is the heart! Confess it, my beloved singers, and gratefully own, that you would not have arrived at the highest Rank of the Profession if you had not been its pupils; own, that in a few lessons from it, you learned the most beautiful expressions, the most refined taste, the most noble action, and the most exquisite graces: own (even though it may seem incredible) that the heart corrects the defects of nature, since it softens the voice that is harsh, betters an indifferent one, and perfects a good one: own that when the heart sings you cannot dissemble, nor has truth a greater power of per suading: and, finally, make it known (for I cannot teach it), that from the heart alone you have learned that certain inde scribable charm which runs softly through all the veins and finally reaches the very soul. Although the way to the heart is long and rugged, and known only to a few, a studious application will, notwithstanding, master all difficulties.
Impulse, Intention, and the Anacrusis
Authors: Hemsley Thomas 
Published: November 2023

Abstract
I have already spoken about the raw material of singing in our tradition: the impulse to express feelings and emotions through vocal sound. It is not the same as the wish to sing the feeling that many people have when listening to a great singer ( ‘Oh! I would love to be able to do that ‘). It is some thing much more basic, much more instinctive, more directly linked to ‘the primaeval sounds and exclamations, with which men express their inner feelings and reactions to impressions from the world around them ‘ (Manen, Bel Canto). This primitive impulse, together with a high degree of vital energy, is the essential raw material of singing, and must be cultivated and strengthened; but if it is to be turned into art, it must be controlled and guided by the singer ‘s conscious intention. If the physical attributes of the singer are such as to make the voice strong and of an appealing character, then so much the better.
The Work of the Imagination: The Study of Vocal Music
Authors: Hemsley Thomas 
Published: November 2023

Abstract
The purpose, indeed the sole purpose, of training for the profession of singing is to improve the connection between the imagination and the sounds that eventually issue from the singer ‘s mouth. The more competent the singer, the closer will be that connection, and therefore the greater the extent to which the quality of the end-result will depend on the quality of the imaginative activity that initiated the whole process.
Pulse
Authors: Hemsley Thomas 
Published: November 2023

Abstract
Although I do not intend to quote him at length, I freely acknowledge my indebtedness to his book, on this, and in deed on many other, aspects of the art of interpretation. After all, although I am writing nearly a century later, and although styles of performance have changed, the qualities that are basic to all musical performance have not changed. The aspects of performance which change are a matter of fashion, and are largely superficial. The aspects which speak directly to our instincts and our feelings remain constant. The danger inherent in much modern concern with so-called ‘authenti city ‘ in performance practice, is that exaggerated concern with superficial aspects of musical performance-fashion can easily deflect performers from the musical and poetic essentials. In particular it can too easily lead them to forget that their prime purpose is to communicate the contents of whatever it is that they are playing or singing.
Preface
Authors: Manning Jane 
Published: November 2023

Abstract
Heartened by the fact that New Vocal Repertory, in its recent new edition (Clarendon Press: Oxford, 1994), seems to be in regular use in leading music colleges and private practice, I have chosen a second batch of less familiar twentieth-century songs and song cycles suitable for general use. It appears that teachers and singers find it helpful for someone to test the water before they plunge into the bewildering whirlpool of contemporary vocal music, with its vastly diverging styles, idioms, and levels of difficulty. The blanket term ‘modern music’ is still used too vaguely. The musical difficulties experienced with certain atonal pieces written in the early part of the century by such great composers as Schoenberg and Webern, and the disconcertingly innovative notation of ‘experimental’ music of the sixties and seventies, have perhaps inhibited further exploration.
Dream Songs
Authors: Bennett Richard Rodney 
Published: November 2023

Abstract
This composer’s mastery of so many forms and types of music is deservedly admired. The breadth of his experience as a performer in widely varying styles enhances his ability to produce apt and eminently practicable music for all occasions. A large output of works suitable for young performers or amateurs should not, however, lead anyone to imagine that he is a lightweight. His authority is displayed equally in his large-scale symphonic and operatic works as in his music for film, or his jazz-influenced pieces. This is versatility at the very highest level and performers and audiences alike are the beneficiaries.
Three Songs
Authors: Cresswell Lyell 
Published: November 2023

Abstract
The New Zealand-born composer Lyell Cresswell, now resident in Edinburgh, has become established as an original and vital force in Scottish musical life, yet his music, always bold and individual, retains a strong identification with his heritage. His solo-voice piece ‘Prayer for the Cure of a Sprained Back’ sets a Maori prayer, and the type of vocalizing required is far from Western traditions. His stature as a composer of power and integrity is now receiving the recognition it deserves, and his development over the years has been most impressive.
Childhood Fables for Grownups (Set 1)*
Authors: Fine Irving 
Published: November 2023

Abstract
The early death of Irving Fine robbed American musical life of a rewarding and assured composer, who would by now have come to be revered as a major figure. His work is of the highest quality, rigorously imagined and strong in character. These delightful songs represent the composer in his lighter vein, but there is no sacrifice of compositional intensity. The first set of four are relatively modest in scale, but the later two songs are altogether more ambitious, and demand much of the performers. Each set can be performed separately, but the whole sequence constitutes an exciting and substantial addition to the general repertory.
Drei Lieder Aus ‘Der Struwwelpeter’
Authors: Hobbs Christopher 
Published: November 2023

Abstract
Christopher Hobbs belongs, with Howard Skempton and others, to a group of British composers associated with the late Cornelius Cardew, who, in the sixties, were especially concerned with preserving and developing the connection between the Arts and International Socialism. Inspiration was found in the examples of Brecht and others, who deliberately eschewed the idea of the artist, including the classical composer and performer, as representative of an elite’ or middle-class culture. New music had certainly become polarized in what now seems an unhealthy way, and those whose styles were consciously accessible were often unjustly neglected by the musical establishment.
Banquo’s Buried (1982) Cry Cock-a-Doodle-Doo!
Authors: Bauld Alison 
Published: November 2023

Abstract
This composer’s dramatic gifts are always evident in her work. Early professional experience as an actress in her native Australia, and an appetite for a wide range of cultural influences, especially the literary and visual art forms, equip her ideally to express herself with eloquence and flair. Although her music may appear relatively simple in its appearance on the page, it is highly disciplined and conceived with a very clear idea as to its interpretation, although she is keen to help a performance develop through the rehearsal period, and is not afraid to discard, adapt, and fine-tune details right up to the first performance.
Childhood Fables for Grownups (Set 2)*
Authors: Fine Irving 
Published: November 2023

Abstract
This song and its companion have considerable musical weight and sophistication, despite the light-hearted subjects, and the accompaniments are even more demanding technically than Set 1. Simpler melodic elements, as found in the first set, are developed in a more advanced musical idiom, and voice parts are a little more showy. However, generally speaking, the pianist bears the brunt of the responsibility for the interpretation.
A key signature of A flat is given, but there is a modal E flat feeling to the opening music. Appropriately there is considerable legato writing.
Despondent Nonsenses
Authors: Grant Julian 
Published: November 2023

Abstract
A perfectly proportioned miniature cycle of six songs, this should be very popular indeed with performers and audiences. It is not quite as simple to sing as may at first appear, because of the many subtleties of nuance and phrasing. Julian Grant’s work is always a pleasure to encounter, and his special knowledge and experience in dramatic forms is a great asset to the impact of his vocal works. He already has several operatic successes to his credit, including some outstandingly imaginative works for young people.
Fatal Harmony
Authors: Hellawell Piers 
Published: November 2023

Abstract
This is a brief but delightfully lyrical setting of a much-loved poem. It makes a lovely showpiece for a singer of strong musical gifts, and a fine sense of relative pitch. The vocal writing is in long spans and moves in decorative figures for much of the time. The music is divided into three sections, and the composer envisages two different ways of presenting the piece: either in its entirety, or with each section interspersed with other works.
Un Colloque sentimental (A Sentimental Conversation)
Authors: Matthews Colin 
Published: November 2023

Abstract
This is a lovely work by one of our most sensitive and versatile composers. it seems beautifully balanced in structure, although the composer, somewhat surprisingly, reveals, in his note at the front of the score, that the three central songs of the five were in fact written between 1971 and 1978 for ‘private pleasure’. ‘Le Jet d’eau’ is the composer’s earliest surviving piece. Eventually he had the idea of expanding them into a cycle, by enclosing them within the two unequal parts of the setting of Verlaine’s celebrated poem of the title. He has, on his own admission, also taken certain liberties with the texts, making several omissions and alterations to suit his personal responses to the special world of nineteenth-century French poetry.
The Golden Kingdom, Op. 33 (1979-83)
Authors: Matthews David 
Published: November 2023

Abstract
The Matthews brothers (cf. Colin Matthews Un Colloque sentimental) continue to produce some of the most rewarding work to come from the middle generation of British composers, yet their styles could hardly be more different. David, the elder, has a special fondness for the voice, and has written a good number of song cycles, some with orchestra. He unashamedly favours a lush romanticism, and creates a rich palette of vocal and instrumental colours set in warmly sensuous harmonic textures. This cycle of nine songs is a particularly beguiling compilation of varied settings, written over a number of years, and bound into a satisfying and nicely constructed whole.
The Witches’ Song*
Authors: Bauld Alison 
Published: November 2023

Abstract
Singing unaccompanied is of course a great test of musicianship and ability to pitch accurately and maintain tuning. Without the unfair advantage of perfect pitch it is difficult to envisage the singer managing this piece without the aid of a pitch-pipe or tuning-fork, but this could be used as a theatrical prop, obviously not furtively, and would be well in keeping with the natural eccentricity of the setting and characters.
Time Past N
Authors: Emmerson Simon 
Published: November 2023

Abstract
A work for voice and electronics might seem to indicate a specialized and somewhat rarefied taste, but this hauntingly beautiful work is immediately accessible in its firm tonality and logical construction. It is based throughout on a single hexachord and its transposition. Mellifluous vocal lines, consisting of syllabic fragments from the well-loved text (Sonnet XXX), range widely within the chosen pitch framework, and variety is provided by decorative melismas in the form of grace-notes.
Songs from the Exotic
Authors: Weir Judith 
Published: November 2023

Abstract
Judith Weir continues to delight us with the freshness of her ideas and her firm grasp of practicalities. She has discovered how to write accessible music that is not at all facile or superficial: a rare feat. Her musicianship is completely at one with her literary imagination and her sense of fun-also, her innate good taste. These gifts enable her to steer close to the areas of pastiche and parody without losing her individuality, or offending purists. Since the highly original, much-admired solo opera King Harald’s Saga (1979) she has written many more vocal works, including three full-scale operas, and her instinct for vocal writing is even more assured.
Abendlied
Authors: Buckley John 
Published: November 2023

Abstract
John Buckley is one of the most gifted and assured of the middle generation of Irish composers, and is deservedly enjoying an increasing international reputation. His music is richly cosmopolitan, showing the influence of major Continental masters such as Messiaen. This cycle makes a fine recital item, but none the less calls on considerable reserves of stamina from both singer and pianist. The vocal tessitura is consistently high, there are constant demands on breath capacity, and the ability to sustain long notes in the upper register is exhibited to the full.
Awa Herea (Braided Rivers)
Authors: Whitehead Gillian 
Published: November 2023

Abstract
A truly outstanding piece by one of the most consistently rewarding representatives of New Zealand’s art and culture. Gillian Whitehead has long been admired for her poetic vision, natural musicality, and craftmanship. Resident in Britain for many years, she now divides her time between Australia and New Zealand. Her output includes several operas and many other vocal chamber works, and all these show her exceptional lyrical and dramatic gifts. A real performers’ composer, she has often collaborated with New Zealand poets, most particularly Fleur Adcock.
Dominant to Tonic
Authors: Pratt George 
Published: November 2023

Abstract
The progression from dominant chord (V) to tonic chord (I) is the most powerful in Western tonal music. In its most emphatic form, it appears at the end of phrases, with both chords in root position, with a seventh added to V. Ycu will probably be familiar with this already, as the perfect cadence.
Paradoxically, it is logical to begin with endings. Tonal music is always being driven on in a forward direction until it reaches a cadence, a point of repose. But if you do not know where you are going, you cannot know what route to take to get you there. So a composer must conceive cadence points in advance, albeit probably subconsciously, before the preceding music, which goes to those cadences, can be fully invented.
Interlude I: The Major–Minor Misapprehension
Authors: Pratt George 
Published: November 2023

Abstract
We can easily be led to believe that major and minor are very different from each other. Books of scales and arpeggios, studied assiduously by instrumentalists and required for examinations, set out ‘major’ on one page, ‘minor’ on another. Works are described, verbally and in print, as being in given modes as well as keys. In a sense this is misleading to a student of harmony: it suggests a degree of restraint which does not exist.
On the largest scale of a whole work, changes of mode may be frequent and, at times, extensive. Beethoven’s Fifth Symphony actually contains more music in C major than in C minor. Although the C minor opening is an essential preparation for the C major of the Finale, it might be better considered as a work ‘on C’ rather than as the ‘symphony in C minor’ which is its usual description.
Closing the Circle
Authors: Pratt George 
Published: November 2023

Abstract
A complete circle of perfect fifths, based in turn on all 12 notes of the chromatic scale, reduces the concept of dominant relationships to absurdity, as you will see by reading and playing Ex. 7a:
The addition of a passing minor seventh at each step increases the headlong plunge from one chord to the next: every one is both the tonic resolution of its preceding dominant seventh and, simultaneously, the dominant seventh of its succeeding tonic (Ex. 7b):
Apart from its tedious predictability, this sequence is too long for the mind to retain much idea of a key-centre, of a point from which it departs and to which it returns. Play it fast and rhythmically enough, and you may discover a sense of repose as you return to the first chord. More slowly, however, it becomes a matter of indifference where the chain is broken: it could as easily go on to infinity, or fall off the lower end of your finite keyboard, as stop on any particular chord.
More Colourful Dominants: Augmented and Neapolitan Sixths
Authors: Pratt George 
Published: November 2023

Abstract
Another crop of colourful chords, best thought of as constructions on the second-level dominant, II, are the so-called augmented sixths.
The modifications to the diatonic chord are quite acute:
The third is sharpened to become major, and thus a temporary leading note which will rise.
The fifth is flattened to become diminished, and thus bound to resolve downwards, the shortest available distance.
The minor seventh is present, and naturally falls too.
The minor ninth is also included in one version and, of course, falls. as the semitone below is the nearest note in the following chord.
Transatlantic Romanticism and Parliamentary Reform
Authors: Giles Paul 
Published: November 2023

Abstract
The purpose of this chapter is to consider ways in which the schism between Britain and America affected the construction of English romanticism in the early nineteenth century and how events across the Atlantic helped to shape social and political reforms in the 1820s and 1830s. By parliamentary reform, I mean not only the reform of Parliament itself, culminating in the Great Reform Act of 1832 which enfranchised about one-fifth of the adult male population, but also the other major reforms enacted by Parliament around this time: in 1828 the repeal of the Test and Corporation Laws, which had discriminated against Dissenters by making membership of the Church of England ‘a Qualification for certain Offices and Employments ‘, and in 1829 the introduction of the Roman Catholic Relief Act, which effectively granted Catholic Emancipation by enabling Daniel O ‘Connell to take up his seat as MP for County Clare, to which he had been elected the previous year.
The First Cold War: Anglo-American Literature and the Oregon Question
Authors: Giles Paul 
Published: November 2023

Abstract
Relations between Britain and the United States in the middle years of the nineteenth century moved away from the accusations of sedition that had characterized the immediate aftermath of the Revolutionary war towards a situation in which transatlantic imperial rivalries began to come more sharply into focus. The 1830s and 1840s were marked by both political and geographical instability, since it was not until 1846 that Britain formally relinquished a claim to large areas of the Pacific Northwest that make up the present-day United States.