12 results
5 - The Choral Foundations
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- By Timothy Day
- Edited by Robin Darwall-Smith, Jesus College, Oxford, Susan Wollenberg, University of Oxford
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- Book:
- Music in Twentieth-Century Oxford
- Published by:
- Boydell & Brewer
- Published online:
- 09 January 2024
- Print publication:
- 18 April 2023, pp 75-93
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Summary
Choristers and Lay Clerks
The 1879 Royal Commission on Cathedral Churches brooded over the choirs at the choral foundations. The members were under no illusions as to the continuing low standards of most of their choirs and the need for drastic measures to secure improvements. They were advised on all sides that boarding schools should be created for the choristers, so that these choirs no longer relied on local boys from the poorest families, but gave the sons of professional men an education that should equip them for entry to one of the reformed public schools.
They were not clear how a body of educated singing men could be obtained: educated Englishmen did not sing. Some thought that the newly established theological colleges in cathedral cities offered the best solution. Musically gifted ordinands (it was acceptable for clergymen to show an interest in music) could be taught to sing by men already ordained who had received the appropriate vocal training. Such men could form the choir of the cathedral while practising parochial duties in the city churches. But the Church of England made no such arrangements.
In 1879 Christ Church, which had previously run a day school for boys from the town, compelled all 16 boys of the choir to board at 1, Brewer Street. New College's boarding school (founded 1386) claimed to be the oldest school in England. In 1903 ‘a handsome new boarding-house’ was built on Savile Road, ‘where boys come’, it was reported, ‘from all over the country’. Magdalen College School, where choristers were educated, also an ancient establishment, had been reformed and re-invigorated in the second half of the nineteenth century. 1900 saw the retirement of a headmaster who had been a boy at the school, won First Class Honours at Christ Church in Mathematics, and rowed and run against Cambridge. That was some reassurance for those fathers who, as one music master asserted in 1927, regarded music ‘as a fitting pursuit for maiden ladies and foreigners with long hair’.
In 1899 a visiting American choir-trainer thought the quality of the boys’ voices at Magdalen ‘the most beautiful that could be imagined’. The choirmaster's golden rule was to ‘cultivate soft singing’ and ‘strengthen the head voice’, he discovered: the Informator Choristarum did not allow the least ‘forcing or pushing of the voice’ by the boys.
Understanding gaas Native Oxides By Correlating Three Liquid Contact Angle Analysis (3LCAA) and High Resolution Ion Beam Analysis (HR-IBA) to X-Ray Photoelectron Spectroscopy (XPS) as Function of Surface Processing
- Sukesh Ram, Amber A. Chow, Shaurya Khanna, Nikhil C. Suresh, Franscesca J. Ark, Saaketh R. Narayan, Aashi R. Gurijala, Jack M. Day, Timothy Karcher, Robert J. Culbertson, Shawn D. Whaley, Karen L. Kavanagh, Nicole Herbots
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- Journal:
- MRS Advances / Volume 4 / Issue 41-42 / 2019
- Published online by Cambridge University Press:
- 05 August 2019, pp. 2249-2263
- Print publication:
- 2019
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Chemical bonding in native oxides of GaAs, before and after etching, is detected by X-Ray Photoelectron Spectroscopy (XPS). It is correlated with surface energy engineering (SEE), measured via Three Liquid Contact Angle Analysis (3LCAA), and oxygen coverage, measured by High Resolution Ion Beam Analysis (HR-IBA).
Before etching, GaAs native oxides are found to be hydrophobic with an average surface energy, γT, of 33 ± 1 mJ/m2, as measured by 3LCAA. After dilute NH4OH etching, GaAs becomes highly hydrophilic and its surface energy, γT, increases by a factor 2 to a reproducible value of 66 ± 1 mJ/m2. Using HR-IBA, oxygen coverage on GaAs is found to decrease from 7.2 ± 0.5 monolayers (ML) to 3.6 ± 0.5 ML. The 1.17 ratio of Ga to As, measured by HR-IBA, remains constant after etching.
XPS is used to measure oxidation of Ga and As, as well as surface stoichiometry on two locations of several GaAs(100) wafers before and after etching. The relative proportions of Ga and As are unaffected by adventitious carbon contamination. The 1.16 Ga:As ratio, measured by XPS, matches HR-IBA analysis. The proportions of oxidized Ga and As do not change significantly after etching. However, the initial ratio of As2O5 to As2O3, within the oxidized As, significantly decreases after etching from approximately 3:1 to 3:2.
Absolute oxygen coverage, as a function of surface processing, is determined within 0.5 ML by HR-IBA. XPS offers insight into these modifications by detecting electronic states and phase composition changes of GaAs oxides. The changes in surface chemistry are correlated to changes in hydro-affinity and surface energies measured by 3LCAA.
Understanding GaAs Native Oxides By Correlating Three Liquid Contact Angle Analysis (3LCAA) and High Resolution Ion Beam Analysis (HR-IBA) to X-Ray Photoelectron Spectroscopy (XPS) as Function of Surface Processing — ERRATUM
- Sukesh Ram, Amber A. Chow, Shaurya Khanna, Nikhil C. Suresh, Franscesca J. Ark, Saaketh R. Narayan, Aashi R. Gurijala, Jack M. Day, Timothy Karcher, Robert J. Culbertson, Shawn D. Whaley, Karen L. Kavanagh, Nicole Herbots
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- Journal:
- MRS Advances / Volume 4 / Issue 41-42 / 2019
- Published online by Cambridge University Press:
- 14 October 2019, p. 2307
- Print publication:
- 2019
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Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- Book:
- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
- Print publication:
- 27 April 2015, pp ix-xxx
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Contributors
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- By George Attilakos, Rachna Bahl, Sadia Bhatti, Jennifer Browne, George Bugg, Katie Cornthwaite, Fiona Day, Timothy Draycott, Alison Gale, Kim Hinshaw, Tamara Kubba, David Levy, Shilpa Mahadasu, Fraser McLeod, Rasha Mohammed, Glen Mola, Deirdre Murphy, Sarah Newell, Patrick O’Brien, Karl Oláh, Matthew Prior, Rowena Pykett, Meenakshi Ramphul, Dimitrios Siassakos, Priya Sokhal, Bryony Strachan, Aldo Vacca, Helen van der Nelson, Cathy Winter
- Edited by George Attilakos, Tim Draycott, University of Bristol, Alison Gale, Dimitrios Siassakos, University of Bristol, Cathy Winter
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- ROBuST: RCOG Operative Birth Simulation Training
- Published online:
- 05 June 2014
- Print publication:
- 19 December 2013, pp vi-vii
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Chapter 10 - Chief complaint: altered mental status
- Edited by Rebecca Jeanmonod, Michelle Tomassi, Dan Mayer, Albany Medical College, New York
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- Case Studies in Emergency Medicine
- Published online:
- 05 October 2010
- Print publication:
- 02 September 2010, pp 357-410
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Bulky DNA adducts, 4-aminobiphenyl-haemoglobin adducts and diet in the European Prospective Investigation into Cancer and Nutrition (EPIC) prospective study
- Marco Peluso, Luisa Airoldi, Armelle Munnia, Alessandro Colombi, Fabrizio Veglia, Herman Autrup, Alison Dunning, Seymour Garte, Emmanuelle Gormally, Christian Malaveille, Giuseppe Matullo, Kim Overvad, Ole Raaschou-Nielsen, Francoise Clavel-Chapelon, Jacob Linseisen, Heiner Boeing, Antonia Trichopoulou, Domenico Palli, Vittorio Krogh, Rosario Tumino, Salvatore Panico, Bas H. Bueno-De-Mesquita, Petra H. Peeters, Merethe Kumle, Antonio Agudo, Carmen Martinez, Miren Dorronsoro, Aurelio Barricarte, Marìa Jose Tormo, José Ramón Quiros, Goran Berglund, Bengt Jarvholm, Nicholas E. Day, Timothy J. Key, Rodolfo Saracci, Rudolf Kaaks, Elio Riboli, Shelia Bingham, Paolo Vineis
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- Journal:
- British Journal of Nutrition / Volume 100 / Issue 3 / September 2008
- Published online by Cambridge University Press:
- 14 February 2008, pp. 489-495
- Print publication:
- September 2008
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In contrast to some extensively examined food mutagens, for example, aflatoxins, N-nitrosamines and heterocyclic amines, some other food contaminants, in particular polycyclic aromatic hydrocarbons (PAH) and other aromatic compounds, have received less attention. Therefore, exploring the relationships between dietary habits and the levels of biomarkers related to exposure to aromatic compounds is highly relevant. We have investigated in the European Prospective Investigation into Cancer and Nutrition (EPIC) cohort the association between dietary items (food groups and nutrients) and aromatic DNA adducts and 4-aminobiphenyl-Hb adducts. Both types of adducts are biomarkers of carcinogen exposure and possibly of cancer risk, and were measured, respectively, in leucocytes and erythrocytes of 1086 (DNA adducts) and 190 (Hb adducts) non-smokers. An inverse, statistically significant, association has been found between DNA adduct levels and dietary fibre intake (P = 0·02), vitamin E (P = 0·04) and alcohol (P = 0·03) but not with other nutrients or food groups. Also, an inverse association between fibre and fruit intake, and BMI and 4-aminobiphenyl-Hb adducts (P = 0·03, 0·04, and 0·03 respectively) was observed. After multivariate regression analysis these inverse correlations remained statistically significant, except for the correlation adducts v. fruit intake. The present study suggests that fibre intake in the usual range can modify the level of DNA or Hb aromatic adducts, but such role seems to be quantitatively modest. Fibres could reduce the formation of DNA adducts in different manners, by diluting potential food mutagens and carcinogens in the gastrointestinal tract, by speeding their transit through the colon and by binding carcinogenic substances.
13 - The concerto in the age of recording
- from Part III - Performance
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- By Timothy Day
- Edited by Simon P. Keefe, City University London
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- The Cambridge Companion to the Concerto
- Published online:
- 28 September 2011
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- 27 October 2005, pp 247-260
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Some indication of the best-loved concertos and those most frequently performed in the concert hall in the earlier part of the twentieth century is given by Tovey in the works he selected for his famous Essays in Musical Analysis which appeared in the 1930s. These were originally written as programme notes for concerts given by the Reid Orchestra in Edinburgh that he founded in 1917. Tovey included a handful of concertos by Bach including the Concerto for Two Violins in D minor and the third and fourth Brandenburg Concertos, and by Handel just the Organ Concerto, Op. 7, No. 1. He selected thirteen works by Mozart including five piano concertos. There is the Cello Concerto in D major by Haydn. There are all the Beethoven concertos except the Piano Concerto in B flat, Op. 19, and all Brahms's works in the genre. There is Chopin's Piano Concerto in F minor, Op. 21, Schumann's three concertos – the Violin Concerto hadn't yet been discovered – and Mendelssohn's Violin Concerto, Op. 64. There are works by Saint-Saëns and Max Bruch and Glazunov. The twentieth-century works include Stanford's Clarinet Concerto, Elgar's Cello Concerto, Delius's Violin Concerto, and Sibelius's Violin Concerto. Tovey thinks that the number of ‘great works in the true concerto form is surprisingly small; far smaller than the number of true symphonies’. And yet you search in vain the early record catalogues, the pre-First World War listings, to find recordings of these comparatively few canonical masterpieces.
13 - Elgar and recording
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- By Timothy Day
- Edited by Daniel M. Grimley, University of Nottingham, Julian Rushton, University of Leeds
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- Book:
- The Cambridge Companion to Elgar
- Published online:
- 28 September 2011
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- 06 January 2005, pp 184-194
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The size and nature of Elgar's recorded legacy
Elgar first went into a recording studio in January 1914 at the age of fifty-six. In the next twenty years he was to take part in more than fifty recording sessions and leave behind him a recorded legacy of more than fifteen hours as an orchestral conductor.
His earlier recordings, those up to 1925, about a third of the total, were made by means of the acoustic process. In an orchestral acoustic recording session you would have seen thirty or forty men huddled together in front of one or two or occasionally three recording ‘horns’ sticking out from the wall, capturing the sounds. There would be only a handful of violinists, perhaps six in all, and probably only a single cellist, who would be mounted on a platform which could be moved back and forth, nearer or further away from the recording device. The flutes and clarinets and oboes would be sitting immediately behind the small body of strings, but if the first flute or the first clarinet had a solo, he – invariably he – would stand up and gingerly but quickly make his way through the strings and lean forward within a few inches of the mouth of the horn. Bassoonists would often be seated opposite the violinists with the horn players mounted on platforms high behind them with their backs to the conductor so that the bells of their instruments were directed at the recording horns.
10 - English cathedral choirs in the twentieth century
- from Part III - Choral music and song
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- By Timothy Day
- Edited by John Potter, University of York
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- Book:
- The Cambridge Companion to Singing
- Published online:
- 28 September 2011
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- 13 April 2000, pp 123-132
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In the twentieth century the English cathedral and collegiate choir has consisted typically of about sixteen trebles – boys with unbroken voices, aged between about eight and thirteen (often with four additional ‘probationers’) – and at least six men taking the three lower parts. Numbers have varied from time to time in any particular choral foundation; in recent times York, Durham and Winchester Cathedral choirs have all used twelve men, as have Magdalen College, New College and Christ Church Cathedral in Oxford. King's College and St John's College in Cambridge have both used fourteen men's voices, each with six basses. St Paul's is the largest establishment of all, with thirty-eight boys and eighteen men.
Historians, journalists, critics and cathedral musicians themselves have been sure they can identify a style of singing peculiar to these choirs which they define by reference to purity of tone, accuracy in intonation, precision in ensemble, and an absence of rhetoric. The ‘essence’ of the cathedral choir said one authority is ‘the boy's voice’, and its men are ‘at their best when they blend with that clean white tone’. Again and again throughout the century the same epithets have been used to characterise the singing, ‘pure’, ‘otherworldly’, ‘ethereal’, ‘impersonal’; writers who do not admire the style refer to its ‘coldness’, its lack of ‘passion’ or ‘personality’, to the cultivation of beauty of sound at the expense of any real expressiveness, to ‘under-interpretation’, to rather barren meticulousness; a French critic writes about ‘performances that are millimetrées, as if they were mathematical exercises’.
Letter to the Editor
- Timothy Day
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- Journal:
- Tempo / Issue 161-162 / September 1987
- Published online by Cambridge University Press:
- 04 February 2010, p. 111
- Print publication:
- September 1987
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The History of the Department of State IX
- Timothy Pickering, William R. Day, Wm. H. Taft, Elihu Root, Gaillard Hunt, C. Palau, Porto Rico
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- American Journal of International Law / Volume 6 / Issue 1 / January 1912
- Published online by Cambridge University Press:
- 04 May 2017, pp. 119-148
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- January 1912
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The highest duty of an American diplomatic or consular officer is to protect citizens of the United States in lawful pursuit of their affairs in foreign countries. The document issued in authentication of the right to such protection is the passport.
Broadly speaking, the Department issues two kinds of passports — those for citizens and those for persons who are not citizens. Citizens’ passports are ordinary and special; aliens’ passports are for travel in the United States and for qualified protection abroad of those who have taken the first steps to become American citizens.
The citizen’s passport is the only document issued by the Department of State to authenticate the citizenship of an American going abroad. The Act of August 18, 1856, makes the issuance to one who is not a citizen a penal offense if it is committed by a consular officer. Before this law was passed the Department did not issue the document to aliens; but it was permitted to this government’s agents abroad sometimes to issue it to others than American citizens. The Personal Instructions to the Diplomatic Agents of the United States of 1853 said:
They sometimes receive applications for such passports from citizens of other countries; but these are not regularly valid, and should be granted only under special circumstances, as may sometimes occur in the case of foreigners coming to the United States.