bluuebunny/crossref_metadata_2025_split huggingface dataset:
Continuity and Innovation from Antegnati to Rusca
Authors: Kendrick Robert L 
Published: November 2023

Abstract
The first traceable corpus of pieces associated with sisters comprises stile antico Office settings, followed by the early concertos in stile moderno. The new century’s contributions to genres whose origins dated to the Cinquecento overlap both these repertories: Gallo’s and Soderini’s 1598 double-choir motets, Vecchi’s 1601 Penitential Psalms, the contrafacta by Cavalieri and Coppini, Sessa’s monodies, and Rognoni’s 1620 pedagogical divisions. This patrician repertory—the kinds of works that Claudia Rusca would have heard and performed as a young Milanese musician—allows us to place the remnants from her Sacri concerti in context.
Spirituality Style in Cozzolani’s Music
Authors: Kendrick Robert L 
Published: November 2023

Abstract
Cozzolani’s deployment of musical structure and surface features framed the polyphonic projection of the texts’ spirituality into the urban world. As duets of the Concerti sacri best manifest the new style’s characteristics: quick declamation, long triple-time periods, ostinatos or quasi-ostinatos, and climax by texture. The mercurial change from Casati’s works Bone Jesu fons amoris, O dulcis Jesu, Colligite pueri, and Sugamus omnes are the classical high-voice pieces of this stamp.
Clavier Instruments and Textures
Authors: Komlós Katalin 
Published: November 2023

Abstract
In this manner we kept on a loquacious intercourse the whole day, during which, he not only played a great deal on the Harpsichord, Organ, Piano forte, and Clavichord; but shewed me the theatre, and all the curiosities of Ludwigsburg, as well as wrote down for me, a character of all the musicians of that court and city.1
The Christ Church Viol-Consort Manuscripts Reconsidered: Christ Church, Oxford, Music Manuscripts 2, 397-408, and 436; 417-418 and 1080; and 432 and 612-613
Authors: Wainwright Jonathan P 
Published: November 2023

Abstract
It is well known that the library of Christ Church, Oxford contains some of the most important surviving manuscripts of seventeenth-century English instrumental music. Foremost amongst these are the three interrelated manuscript sets which are the concern of this essay: Mus. 2, 397-408, and 436 (‘The Great Set’); Mus. 417-18 and rn8o (‘The Bing Set’); and Mus. 432 and 612-13 (‘The Hatton Set’).1 The original owners and copyists of these manuscripts have recently been the subject of intense musicological enquiries,2 but many questions have remained unanswered. This essay will attempt to build on the recent research and, in the context of the increased awareness of the patronage of Christopher, First Baron Hatton (1605-70) and the copying activities of musicians in his employ, offers some further thoughts .on the provenance and the importance of these sets.
Lyra-Viol Musicã A Semantic Puzzle
Authors: Traficante Frank 
Published: November 2023

Abstract
It seems paradoxical that the laudable desire to be accurate and precise all too often results in scholarly writing that falls short of meaningful communication. Winston Churchill wrote that ‘the reserve of modern assertions is sometimes pushed to extremes, in which the fear of being contradicted leads the writer to strip himself of almost all sense and meaning’. By way of example he quoted the following passage by an unidentified scholar attempting to express what we know of King Arthur:It is reasonably certain that a petty chieftain named Arthur did exist, probably in South Wales. It is possible that he may have held some military command uniting the tribal forces of the Celtic or highland zone or part of it against raiders and invaders (not all of them necessarily Teutonic). It is also possible that he may have engaged in all or some of the battles attributed to him; on the other hand, this attribution may belong to a later date.
‘Evenly, Softly, and Sweetly Acchording to All’:The Organ Accompaniment of English Consort Music
Authors: Holman Peter 
Published: November 2023

Abstract
In a famous passage about the consort music of his youth, Thomas Mace remembered that ‘We had for our Grave Musick, Fandes of 3, 4, 5, and 6 Parts to the Organ; Interpos’d (now and then) with some Pavins, Allmaines, Solemn, and Sweet Delighiful Ayres,’ and added: These Things were Performed, upon so many Equal, and Truly-Sciz’d Viols; and so Exactly Strung, Tun’d, and Play’d upon, as no one Part was any Impediment to the Other; but still (as the Composition required) by Intervals, each Part Amplified, and Heightened the Other; The Organ Evenly, Softly, and Sweetly Acchording to All.
Alma
Authors: Kennedy Michael 
Published: November 2023

Abstract
Alma Mahler wrote two remarkable books: Gustav Mahler and her autobiography And the Bridge is Love. After Mahler’s death she became the mistress of Oskar Kokoschka, the painter, and married the architect Walter Gropius, founder of the Bauhaus, in 1915. Soon they parted and were divorced. By Gropius she had a daughter, Manon, whose death from polio at the age of eighteen is commemorated in Berg’s Violin Concerto, with its dedication ‘to the memory of an angel’. In 1929 she married the writer Franz Werfel and eventually settled in the United States, where she died in 1964. Although she lived to the hilt for fifty-three years after his death, one senses from her writing that Gustav Mahler, even when she reacted against his music, dominated her existence. Their marriage was, on the face of it, doomed to failure, yet despite storms and stresses it held (just) because of Mahler’s intensive love for her. They were Hans Sachs and Eva personified. Her books are often fearfully inaccurate, they may have offended individuals, but by their frankness and tactlessness as an unlikeable self-portrait they give an unrivalled, if distorted, picture not only of Mahler but of a whole artistic circle. The letters Mahler wrote to her for ten years are a moving and vivid revelation of his real personality, belying the superficial impression of him as a neurotic megalomaniac teetering on the brink of madness, a misrepresentation for which Alma is largely responsible. She lays candid stress on his egocentricity, his intolerance, his incredible gaucherie in som rersonal dealings, but through her pages and through his letters shines a man with a keen sense of observation, a philosophical acceptance of human frailties, a sardonic sense of humour, an astute business mind and a touching capacity for real affection. He could laugh at himself. Writing to Alma in 1910 he admitted he had lost his temper at a rehearsal of the Eighth Symphony but later: ‘I came out of my corner like a sulky boy.’ It is also clear that, despite her pretensions, he was by miles her
Songs and Symphony No. 1
Authors: Kennedy Michael 
Published: November 2023

Abstract
Mahler’s earliest works need not detain us for more than a few lines. Some have already been mentioned. Mahler told Natalie BauerLechner: At the Conservatoire I never finished a single score. I usually stopped after the first or second movement, occasionally after the third … not because I was impatient to start another but because, before even finishing my work, I was no longer satisfied with it. I had already moved beyond it. Some of the earliest compositions which he allowed to be published are in the three books of Lieder und Gesange aus der Jugendzeit (Songs from the Days of Youth). The first of the three books, all published in 1892, comprises five songs written between 1880 and 1883. The remaining books contain nine settings from Des Knaben Wunderhorn, which will be considered in that context. Of Book 1, the third song, Hans und Grethe, to a text by Mahler, was composed on 5th March 1880 as one of a proposed set of five songs dedicated to Josephine Pois!, daughter of the postmaster at lglau, of which three survived.
1803-1830
Authors: Macdonald Hugh 
Published: November 2023

Abstract
The Berlioz family had been settled in the region between Lyons and Grenoble, the Isere department of France, since the beginning of the seventeenth century, if not before, and from being tanners in earlier generations they had risen to the respectable professions of law and medicine. Most of Berlioz’s paternal relatives were lawyers or doc­ tors, and he considered entering both professions himself, however briefly. His grandfather, Louis-Joseph Berlioz (1747-1815) was a lawyer in Grenoble and his father, also Louis-Joseph (1776-1848), was a doctor in the small town La Cote-St-Andre, about thirty miles north-west, not far from the main road north to Lyons. In this community Berlioz’s father was a prominent well-to-do citizen, briefly mayor in 1817, holding clear authority and responsibilities and giving himself energetically to them. His wife, Marie­ Antoinette-Josephine, nee Marmion (1784-1838), was brought up at Meylan, a few miles east of Grenoble.
The Music 1818-1830
Authors: Macdonald Hugh 
Published: November 2023

Abstract
Berlioz never wavered in his assumption that composing music was his prime vocation. Circumstances and necessity steered him, like so many other composers, along many other paths, but to be composing was for him the highest source of fulfilment. He was not prolific and composed always with great care, as he explained during work on Les Troyens, drafting, polishing, revising, orchestrating. He rarely dashed off a short work in a moment of inspiration, preferring to let great subjects gestate in his mind before the hard work of composition began. The idea of the Symphonie fantastique was implanted two years before composition, that of Romeo et Juliette probably twelve years before, Faust seventeen years before, Beatrice et Benedict twenty-seven years before and Les Troyens forty years before. Only in the vaguest sense can he have been composing in these periods of incubation (and Faust provides an interesting exception in that Berlioz did some of the composing too soon), but they were, none the less, important to him. Into his largest works he put his greatest effort, not just because they took longer to write but because they drew on the deepest resources of his art.
The Music 1850-1869
Authors: Macdonald Hugh 
Published: November 2023

Abstract
The early 1850s were exceptionally active years in Berlioz’s public life. He was incessantly conducting, travelling and writing prose without apparently rediscovering the creative pressure that put La damnation de Faust together in similar conditions. His musical output was consequently slight, and it is tempting (though largely unfounded) to see the gap as a pause in which to prepare for the three great works of his last years: L’enfance du Christ, Les Troyens and Béatrice et Bénédict. The operas were of course the outcome of long years of contemplation, but L’enfance du Christ came into being in a quite unplanned way. Most of it was composed in 1853 and 1854, while the three movements which make up the central part of the trilogy, La fuite en Égypte, had been written three years earlier. In the interim he seems to have composed nothing. He was more concerned with retrieving some of his forgotten songs and choruses and publishing them in new collections. Tristia and Vox populi appeared in 1849, Feuillets d’album and Fleurs des landes in 1850; very little in any of these collections was new.
The final phase
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
During the most creative stage of his compositional process - the actual sketching or drafting of works rather than their revision or fair-copying - Brahms liked to be in rural, not urban surroundings, preferably of considerable natural beauty. Thus he spent his summers at various small resorts or hideaways, working out his music in his head during his habitual early morning walks. After the 1876 summer in Rügen, with its beech woods and desolate moorlands and frogs croaking in their ‘yearning, mournful C flat’ (as Brahms described it to Henschel), he preferred lakeland or mountain scenery.
The later music, 1883-96
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
The last dozen years or so of Brahms’s creative life brought no startling change of style - but his tendency, from at least the mid-1860s onward, always to create an organic unity, with ever greater motivic economy and tonal fluidity yet increasing potency of ideas, had solidified into a ‘late manner’ which combined concision of structure with remarkable freedom and richness of thought. A striking illustration is the Third Symphony, in F major, op. 90, composed at Wiesbaden in 1883. An immediate public success, for a short time (to Brahms’s irritation) it threatened to overshadow his other works in critical esteem.
General Characteristics
Authors: Radcliffe Philip 
Published: November 2023

Abstract
Early in the nineteenth century the distinction between ‘classical’ and ‘modern’ was less strongly marked than it is at the present day, and it was easier for the average music-lover to enjoy the works of living and recently dead composers without relying so much for his daily bread on the masterpieces of the past. The year 1809 marks not only the birth of Mendelssohn but also the death of Haydn, whose music, however, like that of Mozart, was already widely known and loved. The existing works of Beethoven, for all their provocative qualities, were not as far removed from the everyday language of music as is much of the more provocative work of the twentieth century.
The best society
Authors: Samson Jim 
Published: November 2023

Abstract
During the winter season of 1834-5 Chopin settled into a stable routine of composing and teaching, together with occasional concert appearances. By this time he was earning reasonable sums from teaching, and a certain amount from the sale of his music. He could afford to live stylishly, but he made no effort to put money aside, and for the rest of his life he proceeded on this rather ‘hand to mouth’ basis. As a result he was frequently short of funds, and the more so in that he enjoyed the luxuries of life. On such occasions he would hastily prepare a few further manuscripts for publication, or alternatively negotiate an advance on compositions not yet written.
Images of Chopin
Authors: Samson Jim 
Published: November 2023

Abstract
Chopin’s funeral at the Madeleine, paid for by Jane Stirling, was delayed until 30 October, while special permission was sought for women to sing in Mozart’s Requiem, in accordance with Chopin’s last wishes. After it the body was taken to the Pere Lachaise cemetery, with Prince Czartoryski as Chief Mourner. But well before the funeral the Chopin cult had begun. The day following his death Kwiatkowski made several sketches of Chopin’s face, the sources for innumerable later replicas. Clesinger also made a death mask and worked several plaster casts from two negatives, one of them commissioned by Jane Stirling. He was further charged by a committee chaired by Delacroix with the task of sculpting the monument that would be unveiled at a special ceremony at Pere Lachaise a year later.
The piano: technique and teaching
Authors: Watson Derek 
Published: November 2023

Abstract
‘The piano is the microcosm of music,’ Liszt wrote to Princess Carolyne in December 1877, echoing a sentiment from his open letter to Pictet of four decades previously. A century before, in 1777, Sebastian Erard began manufacturing his pianos in France and, in London, Adam Beyer introduced the sustaining pedal, a device patented by Broadwood in that city in 1783. Broadwoods, the favourites of Clementi and Beethoven, had a larger, rounder tone and a heavier touch than Viennese instruments, which were renowned for their light, pearly, easy touch. According to Broadwood’s records1 1783 was also the year in which demand for pianos outstripped that for harpsichords. From that time the piano, invented early in the century, came more and more into its own. It was pre-eminently the instrument of the nineteenth century.
Concertos
Authors: Watson Derek 
Published: November 2023

Abstract
Two piano concertos of c.1825 mentioned in Adam Liszt’s correspondence have not survived, so their content and connection with any later works is unknown. It is unsurprising that the prodigy-composer had such concertos in his repertoire. What may surprise is that Liszt did not publish any concerto-type works until the 1850s, some years after ending his virtuoso career. But, as with much of the piano output already discussed, the works known as the Concerto No. 1 in E flat and the Concerto No. 2 in A were evolved over many years (sketches exist for them at Weimar from the early 1830s) before eventual publication in their final form: No. 1 in 1857 and No. 2 in 1863.
Orchestral music
Authors: Watson Derek 
Published: November 2023

Abstract
The majority of the symphonic works date from Liszt’s years at Weimar (1848-61): the Faust and Dante symphonies, twelve symphonic poems, two Episodes from Lenau’s ‘Faust’, six festive marches, and Les Marts. This is a prodigious output when considered along with Liszt’s many other Weimar activities. Les Marts became the first of his Trois Odes Funebres, a set completed during the Roman years.
Crisis and Creativity 1799–1802
Authors: Kinderman William 
Published: November 2023

Abstract
The years around the turn of the century saw an important transition in Beethoven’s artistic development, accompanied by a biographical crisis of major proportions. No one category of analysis can adequately describe these complex events. The tension between consolidation and innovation, between retrospective and progressive tendencies, is particularly conspicuous in the music up to 1801, when, according to Czerny, Beethoven told his friend Wenzel Krumpholz that ‘I am only a little satisfied with my previous works. From today on I will take a new path’.
‘The Hammerklavier sonata 1816–1818
Authors: Kinderman William 
Published: November 2023

Abstract
My father thought that B. could rescue himself from his unfortunate domestic conditions only by marriage, did he know anybody, etc. Now our long foreboding was confirmed: he was unhappy in love! Five years ago he had made the acquaintance of a person, a union with whom he would have considered the greatest happiness of his life.
Struggle 1819–1822
Authors: Kinderman William 
Published: November 2023

Abstract
Until recently, 1819 seemed to have been one of Beethoven’s least productive periods, with only a few canons and the II Dances for Seven Instruments WoO 17 attributed to that year. This impression has been substantially revised through the scrutiny of manuscripts unknown to earlier scholars, particularly the Wittgenstein Sketchbook in the Bodmer Collection held at the Beethoven-Archiv in Bonn and related documents in other collections. The chief discovery is that by the summer of1819 Beethoven had already conceived much of his next gigantic undertaking after the Hammerklavier Sonata: the 33 Variations on a Waltz by Diabelli op. 120, a work that was finished and published only four years later, in 1823.
Burial and Memorials
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
WHEN Schubert fell into a coma on the evening of 18 November, Ferdinand wrote a note to his father informing him that his son was dying. On the next day his father replied, bidding Ferdinand to seek comfort in God and trust in His wisdom and goodness; He would give him strength and courage. And, Franz Theodor continued: ‘See to it, to the best of your ability, that our dear Franz is forthwith provided with the Holy Sacraments for the dying, and I shall live in the comforting hope that God will fortify and keep him.’1 But Schubert never regained consciousness and, unable to take the sacraments from the priest summoned by Ferdinand, received only ‘extreme unction’. That afternoon he died. The day after his son’s death, as the next of kin, his father ordered the printing of 150 copies of the customary announcement of death, including information on arrangements for the funeral which was to take place the next day: Yesterday, Wednesday, at 3 o’clock in the afternoon, fell asleep, to wake to a better life, my most dearly beloved son Franz Schubert, musical artist and composer, after a short illness and having received the Holy Sacraments, in the 32nd year of his age.
Passio
Authors: Hillier Paul 
Published: November 2023

Abstract
The Passio will probably stand as the quintessential example of Part’s tintinnabuli music, in which the tintinnabuli principles function on a large scale to convey a long prose text of very special spiritual significance, and in such a manner that the two cannot be viewed separately. My main purpose here will be to examine the means by which Part has transformed the text—eight columns of closely printed prose in my copy of the Vulgate---into a unified musical utterance, whose power and beauty have been widely attested to by audiences throughout the world. But first I propose to trace the early history of the Passion genre, which forms an important background to Part’s particular approach.
Il Bolognese
Authors: Allsop Peter 
Published: November 2023

Abstract
Setting aside the preposterous fabrications and fictions of the previous chapter, it is remarkable how little remains of the life of Arcangelo Corelli considering his phenomenal inter national success. He was born on 17 Febmary 1653 in the small town of Fusignano near Ravenna, about fifty niiles from Bologna. This is confirmed by the baptismal records of the Parish of San Giovanni Battista in Liba di Fusignano: He was given the name Arcangelo after his father, who had died just a month before, on r 3 January. Of his faniily background we know little, although some genealogists have traced a dubious lineage back to the Middle Ages and beyond: Corelli was a common enough name in the region. Information regarding his early life and training has in the past been drawn largely from two sources.
Synaesthesia and Similarity
Authors: Cook Nicholas 
Published: November 2023

Abstract
In the Most Inclusive Sense, music is anything that somebody decides to call music; there is no a priori need to be judgemental about it. But analysing music, at least in the sense that analysis is practised and institutionalized in Western or Westernized academia, necessarily involves something over and above this; it involves a sense of commitment. To analyse music is to be committed to the premiss that music is in some sense more than just a pile of notes; indeed, it is precisely the difference between a pile of notes and a piece of music that constitutes the topic of analysis. But we can be more specific than that. To analyse music is also to be committed to the idea that we perceive the notes in terms of the relationships between them: we perceive each note as influencing, and being influenced by, other notes-or at any rate, if we do not, it is hard to see what we could be analysing. In a nutshell, we analyse the interaction between the elements of the music: that is what analysing music means. And exactly the same applies to multimedia. To analyse something as multimedia is to be committed to the idea that there is some kind of perceptual interaction between its various individual components, such as music, speech, moving images, and so on; for without such interaction there is nothing to analyse.