bluuebunny/crossref_metadata_2025_split huggingface dataset:
Introduction
Authors: Frow John 
Published: November 2023

Abstract
We have never been modern’, writes Bruno Latour;1 meaning that the world has never conformed to the model of a universal rupture which, at a certain moment, would have divided historical time into two great blocs: on the one side the ‘hybridizing’ societies of the old world, where things and people were interrelated, where words had causal force, where practical knowledge was separate neither from power nor from cosmology; and on the other, the ‘purifying’ societies of modernity, in which knowledge and power become quite separate domains, words describe the world rather than performing it, and material things are ontologically distinct from the people who make use of them.
Gift and Commodity
Authors: Frow John 
Published: November 2023

Abstract
For much of this century one of the most powerful and most illuminating ways of thinking about the pattern of relations between persons has been through the opposition of the gift to the commodity. The apparent clarity of the contrast between two very different forms of the social life of things has made it integral to the more general logic that opposes traditional or archaic societies to industrial modernity. But just as that opposition, rather than representing a clear-cut temporal separation, turns out over and over again to be a form of mythical thinking in which the moment of rupture is endlessly repeated, so too, on closer examination, do the concepts of gift and commodity seem to partake of each other: the gift to be structured, as Marcel Mauss dearly recognized, according to forms of calculation and interest that in some sense resemble those of a market economy, and commodities in turn to be constantly endowed with non commodity meanings as they move within the moral economy of everyday life. Indeed, it may be the case that the concept of the gift is most interesting when it is understood not as a figure of pure gratuitousness but through the very ambivalence that provokes the question of how its logic really differs from that of the commodity.
Reporting lndigeneity: News and Talkback
Authors: Hartley John , McKee Alan 
Published: November 2023

Abstract
News tends to function with Lotman’s ‘catalogue of anomalies’, telling a community about the threatening, dangerous, and unfamiliar world beyond its boundaries. This distinction is not static and certain, however. Commercial television news tends ever more towards law formation. Here we examine the ways in which news stories, together with mediated feedback to them (via talkback and features), placed and shaped Indigeneity.
Journalism: Ethics, Training and ‘Indifference’
Authors: Hartley John , McKee Alan 
Published: November 2023

Abstract
There is some debate about what journalism is. As an occupation it has been described variously as a craft, a trade, a career (Barker, 1963), even sometimes as an ethnicity-’reporters are born and not made’ (Given, 1907: 148). It may also be a profession: The occupation which one professes to be skilled in and to follow. (a.) A vocation in which a professed knowledge of some department of learning or science is used in its application to the affairs of others or in the practice of an art founded upon it.
Between Metaphysics and Scientism: Rehistoricizing Victor Erice
Authors: Smith Paul Julian 
Published: November 2023

Abstract
There seems little doubt that Victor Er íce is the consummate Spanish art director. A recent reading of his first feature, El esp íritu de la colmena (‘The Spirit of the Beehive’, 1973), by Santos Zunzunegui begins by stating that there is a ‘fundamental agreement’ amongst critics that Erice’s work constitutes not only the high point of Spanish cinema of all time, but also one of the most notable examples of contemporary Spanish art in general.
Between Land and Language: Locating Bigas Luna
Authors: Smith Paul Julian 
Published: November 2023

Abstract
Bigas Luna is generally thought to be a film-maker of the body, who focuses on ‘the line of the stomach’. But it could also be argued that his main concern is place or space. Thus the so-called ‘Iberian trilogy’ of the early 1990s exploits the varied and picturesque locations of the Peninsula: the arid and empty plains of Monegros in Jam ón, jam ón (1992), the thrusting skyline of Marbella in Huevos de oro (‘Golden Balls’, 1993), and the streets, beaches, and ancient monuments of Barcelona and Tarragona in La teta i la lluna (‘The Tit and the Moon’, 1994).
Cross-Cut: City
Authors: Smith Paul Julian 
Published: November 2023

Abstract
Since Jane Jacobs’s influential The Death and Life of Great American Cities of 1961, theorists have not ceased to predict the end of a specifically urban mode of experience. The loss of the centre and of sociality; the decline of density and festivity; the disappearance of the public sphere: these are the common coinage of a debate which sets the intricate and intimate ‘side walk ballet’ of Jacobs’s Greenwich Village1 against the social and spatial dislocations of Mike Davis’s ‘fortress LA’.
Taking Stock: Das Gespräch Über Gedichte
Authors: Vilain Robert 
Published: November 2023

Abstract
Hofmannsthal can barely imagine that such a heresy exists and that a book such as Biese’s should be necessary. But in his view its fundamental premisses are at least accurate and for good measure he quotes the maxim of Goethe’s that is one of the intellectual pillars on which the book appears to be based: Harmonie des Daseins' is a phrase that Hofmannsthal will have noted in 1894 with both approval and apprehension. But he is soon dis­appointed: the book turns out to be a catalogue of past metaphors, 'eine Sammlung herrlicher Gedichte' [a collection of marvellous poems; RA i. rgr], with many excerpts from the Greek philosophers and the Church Fathers, which is not what he had hoped for.
‘Quagmires of History and Terminology’The Origin of the Violin
Authors: Holman Peter 
Published: November 2023

Abstract
The early history of the violin is a notoriously difficult subject. In 1875 George Hart wrote that it remained ‘more hopelessly obscured than the identity of the “Man in the Iron Mask”‘, while Gerald Hayes observed in 1930 that the violin was ‘one of the very few important instruments of which it can be said that at a given date it was not at all, and shortly afterwards it is found fully-fledged in active life’; as late as 1965 David Boyden was moved to remark that ‘most accounts of the “inventor” of the violin and the precise date and place of its origin bog down in the quagmires of history and terminology’.
‘Mynstrelles with Straunge Soundes’ Fiddles, Rebecs, and Viols at the Early Tudor Court
Authors: Holman Peter 
Published: November 2023

Abstract
The early history of string-playing at the English court is an obscure subject. Court documents of the fourteenth and early fifteenth centuries seem to use words such as violour, vieler, vidulator, gigator, crowder, and fytheler to describe individuals who were principally players of bowed instruments, though it is not always possible to match these words with the main types of instruments that occur in contemporary English pictures-those known today as the rebec, the vielle or fiddle, and the crowd or crwth. Furthermore, these terms, ambiguous enough to us already, tend to disappear from court documents in the course of the fifteenth century.
‘Common Musicke’ The Violin outside the Court
Authors: Holman Peter 
Published: November 2023

Abstract
According to our received notions of musical history, the violin was of little importance in England until the second half of the seventeenth century. ‘In England’, wrote Nicholas Kenyon in 1984, ‘the spread of the sonata, and of the violin, had to wait until the Restoration of Charles II in 1660.’1 Kenyon’s opinion has, at first sight, a sound basis, for it was shared by writers at the time. Roger North wrote, ‘the use of chests of violls, which supplyed all instrumentall consorts, kept back the English from falling soon into the modes of forrein countrys, where the violin and not the treble viol was in use’; and again, writing of music before the Civil War:
‘By Intervals Design’d’ Music for the London Stage
Authors: Holman Peter 
Published: November 2023

Abstract
ONE evening in February 1667 Samuel Pepys had a conversation with the theatre manager Thomas Killigrew. After a while Killigrew began to compare conditions in the London theatres before and after the Civil War: Killigrew and Sir William Davenant, the leading survivors of the pre-war London theatre, were the managers of the two ‘patent’ theatres, formed at the Restoration under the respective patronage of the king and his brother,James, Duke of York. Yet Pepys should have known better than to believe Kmigrew’s boast that the innovations of the Restoration stage had been made ‘by his pains’. As Killigrew let slip, the decisive agent of change was Charles II himself. Unlike his father, who was said never to have set foot in a commercial theatre, the new king took an interest in the affairs of the two theatres, and regularly patronized them in person.
The Symphonic Style
Authors: Whittall Mary 
Published: November 2023

Abstract
E. T. A. Hoffmann’s review of Beethoven’s Fifth Symphony, published in the Allgemeine musikalische Zeitung in 1810, has always been regarded both as one of the finest testimonies to an enthusiasm for Beethoven that was informed by thoughtfulness and imagination, and also as a primary document of the musical aesthetics of the Romantic era, and therefore, to that extent, a source of the misunderstandings that were part of the ‘romantic picture of Beethoven’. There is no escaping the fact that, in some important features, Hoffmann’s musical aesthetics were in direct contradiction to the principles underlying Beethoven’s music.
The ‘Underlying Idea’
Authors: Whittall Mary 
Published: November 2023

Abstract
I carry my ideas around with me for a long time, often a very long time, before I write them down. My memory remains so true the while that I am sure not to forget a theme, even years later, once I have hold of it. I change some things, discard, and try again until I am satisfied with it; then the elaboration begins in my head: expanding, compressing, raising, and ‘ deepening; and as I know what I want, the underlying idea never deserts me. It rises, it grows tall, I hear and see the image in my mind in its entire extent, as if cast in a single mould, and all that remains is the task of writing it down, which is accomplished quickly, as and when I find the time, because I sometimes have several things on the go at the same time, but am sure of not confusing any of them with any other.
Rendering the Structure as a Whole
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
In an interesting, though largely subjective, review of Erwin Bodky’s book on Bach, Glenn Gould accused the author of having written only about fugue subjects, and not about the performance of whole fugues, and criticized him for not having addressed himself to the question of how Bach achieved the cohesion of large scale works.1 This criticism is justified, though it could be levelled at all the authors of eighteenth-century treatises. Despite the thoroughness with which C. P. E. Bach and Quantz deal with everything that pertains to good execution, they fail to tell us how they envisaged the structure of fugues, sonatas, suites, or concerto movements in terms of performance. True, Leopold Mozart speaks on a number of occasions of the continuous line, the filo of a composition, though he does not tell us how to grasp this connecting ‘thread’ or where, for example, the moments of greatest and least tension are, and so on.
Appoggiaturas
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
Appoggiaturas, which could be either short or long, were the most common eighteenth ccntury ornaments. Significantly, C. P. E. Bach calls the short appoggiaturas ‘unvariahle’, thus revealing that the duration of the other appoggiaturas was not always precisely determined: it was variable.
The Application of Ornaments that are not Notated
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
Although Bach’s ornamentation is far more precise than that of the majority of his contemporaries, he is sometimes guilty of unclear or ambiguous notation. Quite a number of mistakes have crept in, especially in works that have survived only in copies or in printed form. Some signs have been mistaken for others, and some are in the wrong place.
The Visual Appearance of the Sketches
Authors: Cooper Barry 
Published: November 2023

Abstract
THE sheer visual appearance of Beethoven’s sketches has deterred many a scholar from making full use of them. Quite apart from the fact that related sketches are now often in widely separated locations and have presented formidable difficulties for reconstructing the sketchbooks as Beethoven used them, there are considerable problems in simply deciphering what he has written. It therefore seems desirable here to discuss first the nature and appearance of the sketches, and the problems of deciphering and transcribing them into ordinary notation, before examining their contents in detail; for an understanding of what they signify and in what ways they may be ambiguous is greatly helped by a knowledge of their peculiar notational features and Beethoven’s idiosyncratic handwriting. Moreover there has hitherto been no detailed discussion of what are the principal difficulties of reading the sketches, and how these difficulties may be overcome.
First Conceptions: Piano Sonata in D Minor, Op. 31 No. 2
Authors: Cooper Barry 
Published: November 2023

Abstract
IN this part of the book we shall explore in detail a variety of compositional problems that were liable to confront Beethoven in the course of composing individual works. Such a study cannot effectively be made with just a single work, since not all works presented the same problems. In most cases, too, not all the sketches survive, and some compositional problems do not show up clearly in the extant sketches for a particular work, while others seem very conspicuous. For example, the great wealth of sketches for the late quartets impedes any overall view of a work’s evolution, but it facilitates a study of the various aspects of a particular question such as the number of movements Beethoven was planning for the work. Conversely in the early sketches one can sometimes trace the overall growth of a complete work relatively easily, even though detailed study of the creation of individual features is impossible because of insufficient sketches. Thus by careful selection of sketches from a number of different works, it is possible to put together a picture of the pattern of evolution of Beethoven’s compositions in general which is fuller and more wide-ranging than any that could emerge from just a single work.
The Madrigals: Books V & VI
Authors: Watkins Glenn , Stravinsky Igor 
Published: November 2023

Abstract
THE fifteen-year gap between the appearance of the fourth and fifth books of madrigals is puzzling. We know that Gesualdo had not remained totally inactive during this period since he had published two books of Sacrae Cantiones in 1603. Yet it might still be logical to suppose that the pause before his last two madrigal volumes represents a genuine incubation period for the development of the stylistic features of his most mature creations.
The Responsoria
Authors: Watkins Glenn , Stravinsky Igor 
Published: November 2023

Abstract
ALTHOUGH Gesualdo’s character as a composer has until recently been known to us only from his madrigals, the somewhat larger view now afforded by the knowledge of his sacred works and two instrumental pieces does not materially affect our picture of him as a com poser working within the framework of the older forms. The madrigal he inherited from a line of distinguished predecessors from Festa and Arcadelt to Rore and Marenzio, and the motet in its various guises had had an even longer history. Yet neither the madrigal nor the motet implied a rigid formal design. The madrigal could change its shape for expressive purposes, and this same quality infused the motet also with a new life at a moment when it might otherwise have outlived its usefulness.
Handel’s Music for the Peace of Utrecht, 1713
Authors: Burrows Donald 
Published: November 2023

Abstract
Handel’s first visit to London had coincided with the establishment of a Tory ministry, buttressed by the Queen’s favour and a substantial majority in the 1710 election. The change of government had important consequences for the direction of British foreign policy. During the period of Handel’s first visit the secret diplomacy had already begun which led to the signing of the first peace articles between Britain and France in September 1711.
The King’s Return; Handel’s Re-establishment at the Chapel Royal
Authors: Burrows Donald 
Published: November 2023

Abstract
The waves of political, social, and domestic pressures at the British court that had swept Handel away from the Chapel Royal after 1714 brought him back again in the 1720s. Much can only be surmised about the forces involved, but the route of Handel’s return to the occasional life of the Chapel can be established in relation to the wider background of contemporary court history and musical activity in London.
Other Chapel Royal Music from the Second Period, 1722–1726
Authors: Burrows Donald 
Published: November 2023

Abstract
The evidence for a revival of the Caroline Te Deum in the 1720s has already been presented in Chapter 5. It remains only to note some features of its performance at this time and to examine the musical construction of the new setting of ‘Vouchsafe, O Lord’. The artistic weight of the work now fell heavily onto the alto soloist Francis Hughes, who must have performed all of the music originally composed for Elford in addition to his own previous music; the new movement was also composed for him.
The New Reign and the 1727 Coronation
Authors: Burrows Donald 
Published: November 2023

Abstract
The death of the King on his way to Hanover on 11 June 1727 generated some routine administrative activity for the Chapel Royal. The Gentlemen, in common with other employees of the court, had to be sworn into their places afresh and special arrangements were made for aged absentees, such as John Gostling, who could not come up to London for the purpose. The establishment was tidied up: no fewer than five Children were discharged from the Chapel during June 1727.
The Relationship between Perfect and Imperfect Time
Authors: Berger Anna Maria Busse 
Published: November 2023

Abstract
While it is relatively easy to establish which signs were used to indicate what mensurations, the question how all these signs were related to one another is not so easy to solve. The most common of these relationships is that of perfect to imperfect time. Music of the Renaissance abounds in instances of successive and simultaneous use. When perfect and imperfect time occur simultaneously, the relation ship can usually be determined without much difficulty. It cannot be assumed, however, that horizontal relationships of mensurations were always identical with the vertical ones. Consequently, when imperfect time precedes or follows perfect time, the question arises which value should remain equal under both tempora, the breve, semibreve, or minim? It is striking that not a single modern scholar considers the possibility of semibreve equivalence.
Proportion Signs
Authors: Berger Anna Maria Busse 
Published: November 2023

Abstract
Proportions as applied to harmonic intervals have formed the basis of treatises on music since antiquity. However, the earliest theoretical explanation of rhythmic proportions—or, to be more specific, fractions in which a certain number of notes in the numerator are made equal to a different number of notes of the same type in the denominator—was given by Prosdocimus de Beldemandis in his Tractatus practice de cantus mensurabilis of 1408.
First Philharmonic
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
Established by musicians in 1813, the Philharmonic is the world's second oldest concert society; only Leipzig is senior. Weber and Mendelssohn were active honorary members; Joachim and Clara Schumann lifelong friends. The list of gold medalists runs from Elgar and Beecham to Sibelius, Rachmaninov, and Tippett. Most instrumentalists and many singers of international repute mounted its platforms. Berlioz, Wagner, Tchaikovsky, Grieg, Dvorak and Strauss came to preside over their music. Celebrating a venerable institution, this history, based upon exhaustive research in the Society's archives, also addresses wider themes, which continue to bear upon concert life: the evolution of repertoire and performance, audience, agent and conductor; networks of recruitment; patronage and the market place; the collective biography and proliferation of London orchestras; the economics of fees and rehearsals. Shaw once claimed that the Philharmonic's generosity towards Beethoven was the only creditable incident in English history, and never mentioned by historians. A leading authority on the economic and social history of music now attempts to repair that omission.
Beginning
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The Philharmonic Society was created by professional musicians working in London who wanted a regular platform for serious, predominantly instrumental and orchestral, music. They needed ‘patronage’ from people who were then described as ‘amateurs’. But they had every intention of running their own show. This apparently simple description will need reappraisal as our story unwinds, for at least two reasons. Behind its facade of unity and determination, the Philharmonic was, probably from its start, a loose association of diversely talented and motivated people whose purposes, constituency, and control were bound to change.
Beethoven and a Balanced Budget
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The most celebrated events in the history of the Royal Philharmonic Society are its dealings with Beethoven, particularly in relation to the Ninth Symphony. Every biographer discusses them, and they have been chronicled minutely and debated without cease by musicians and historians concerned that nothing about the composer and that canonic work-’a cultural symbol of enormous importance’-should escape scrutiny.
Plateau and Descent
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
0n 23 June 1855 the directors sent Wagner ‘cordial thanks for his attention, zeal and ability, as Conductor of the Concerts, in carrying out their views’.There was no question of inviting him to return; nor, of course, would he have wished to do so. Davison later recalled the situation with unconcealed relish: ‘the Music of the Future’ did not suit ‘our great conservative institution’; but then, thanks to the Society’s ‘vigorous constitution’, the greatest of English musicians ‘courageously grasped the baton’ and a golden age began. Later commentators have sung along with this hymn of thanksgiving after the storm.
Interlude for War
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
On 3 September I 939 all public entertainment was officially cancelled until further notice. In the spring the plenitude of London’s musical life had been celebrated in a festival organized by Owen Mase, a BBC executive, connected with the Philharmonic, who had managed, for that limited purpose, to ‘unite the whole musical establishment on his council’, with the King and Queen as patrons, and a culmination of six magnificent concerts by the BBC Symphony Orchestra under Toscanini.