bluuebunny/crossref_metadata_2025 huggingface dataset:
Differential Responses in Human Striatum and Prefrontal Cortex to Changes in Object and Rule Relevance
Authors: Cools Roshan , Clark Luke , Robbins Trevor W.
Published: February 2004

Event-related functional magnetic resonance imaging was used to measure blood oxygenation level-dependent responses in 16 young healthy human volunteers during performance of an attentional switching task. The task allowed the separate investigation of lower-order switching between concrete objects and higher-order switching between abstract task rules. Significant signal change in the ventral striatum was demonstrated on trials when subjects switched between objects but not when subjects switched between abstract task rules. In contrast, signal change in the lateral prefrontal cortex (PFC) was observed during all switch trials. The switch-related responses were not contaminated by task difficulty, because the greatest signal change was observed during the relatively easy switch trials, which required both lower-order and higher-order switching at the same time. The present data suggest that mechanisms of inhibitory response control in frontostriatal systems are organized according to distinct levels of abstraction. Specifically, the response selection computation carried by the ventral striatum, which projects to the orbitofrontal cortex and the medial PFC, is restricted to the transformation of concrete stimulus exemplar information into motor responses, whereas the adaptive function of the lateral PFC extends to the transformation of abstract task-rule representations into action.
India in 2002: The BJP's Faltering Mandate and the Morphology of Nuclear War
Authors: Sáez Lawrence
Published: February 2004

This article surveys some of the critical events that took place in India in 2002, paying particular attention to India's uneasy relationship with Pakistan. It also evaluates the significance of internal political developments, such as the significance of state assembly elections and the occurrence of riots in Gujarat. The survey concludes with a brief examination of India's economic developments.
Nepal in 2002: Emergency and Resurrection of Royal Power
Authors: Krämer Karl-Heinz
Published: February 2004

Under a nine-month state of emergency amid civil war, violence escalated and the human rights situation deteriorated. Dissent over extension of the emergency, and personal aversions between Prime Minister Sher Bahadur Deuba and party president Girija Prasad Koirala, led to a split in the ruling Nepali Congress Party. King Gyanendra dissolved the House of Representatives on the recommendation of the prime minister and called new elections for November 13. Gyanendra dismissed Deuba on October 4, as Deuba proved unable to hold the elections in time. The king assumed executive powers himself, nominated a new council of ministers, and delayed elections for an uncertain time.
North Korea in 2002: A Survival Game
Authors: Ahn Yinhay
Published: February 2004

The second half of 2002 witnessed dramatic ups and downs in North Korea's internal, external, and inter-Korean relations. The period contrasted with the relatively quiet first half. North Korea's shift started on the internal front with economic improvement measures unveiled on July 1. These measures were deemed extraordinary in both scope and intensity. On the external front, Pyongyang surprised the entire international community twice: on September 17, when the Japanese prime minister visited Pyongyang, and on October 17, when it was announced that North Korea had admitted to a visiting U.S. envoy the existence of a uranium enrichment program for developing nuclear weapons. After this disclosure, North Korea's external relations steadily deteriorated. The U.S. cut off its supply of heavy fuel oil to North Korea in December, and North Korea responded by removing seals and other monitoring devices installed by the International Atomic Energy Agency under the Geneva Agreed Framework. In inter-Korean relations, however, things went relatively smoothly. A number of important cooperative projects materialized, notably the connection of railways and roads, reunions of separated families, construction of the Gaeseong Industrial Complex, and others. Overall, the future prospects for North Korea do not look promising, mainly due to the worsening external environment after the disclosure of the uranium enrichment program. Should this issue drag on, it is likely to aggravate not only North Korea's internal and external relations but inter-Korean projects as well.
Generations, Legitimacy, and Political Ideas in China: The End of Polarization or the End of Ideology?
Authors: Sausmikat Nora
Published: February 2004

This paper investigates the relationship between political ideas and life stories, i.e., the influence of biographical learning on political orientation. It focuses on the political discussions among intellectuals and politicians who belong to the birth cohort of the late 1940s and early 1950s, the so called Zhiqing generation, and describes embedded and developed stereotypes of political identity and legitimation.
The Sixteenth Central Committee of the Chinese Communist Party: Hu Gets What?
Authors: Cheng Li , White Lynn
Published: February 2004

This essay offers data about China's Central Committee, Politburo, and Standing Committee, e.g., turnover rates, generations, birthplaces, educations, occupations, ethnicities, genders, experiences, and factions. Past statistics demonstrate trends over time. Norms of elite selection can be induced from such data, which allow a broad-based analysis of changes in China's technocracy. New findings include evidence of cooperation among factions and swift promotions of province administrators.
The Empowering Effect of Village Elections in China
Authors: Li Lianjiang
Published: February 2004

This article shows that Chinese villagers feel a higher level of political efficacy after their first free and fair village election because they can now remove unresponsive cadres. It concludes that enhanced efficacy may lead to more active participation, which in turn may affect political restructuring in Chinese villages.
How to Make (and Break) a Cicero:Epideixis, Textuality, and Self-fashioning in thePro ArchiaandIn Pisonem
Authors: Dugan John
Published: February 2004

This essay explores an aspect of Cicero's use of cultural writing for political ends: his employment of the epideictic rhetorical mode in two of his speeches, Pro Archia and In Pisonem. The epideictic is a ludic rhetorical domain that embraces paradoxes: it encompasses both praise and blame, is both markedly Greek and proximate to the Romans' laudatio funebris, and is associated both with textual fixity and viva voce improvisation. The epideictic mode is thus an ideal vehicle for Cicero's self-fashioning and, moreover, constitutes a framework which reveals that Cicero's encomiastic defense of Archias' Roman citizenship and his invective against his aristocratic nemesis Piso are polar and complementary opposites. The self-consciously literary quality of epideictic allows Cicero to transform the Pro Archia from a legal defense to a general meditation on literary culture in which Cicero blurs himself with his client to defend his own status within Rome's elite while fixing his version of his consulate in ornate prose. The Pro Archia simultaneously becomes a simulacrum of the poem which Cicero hopes Archias will write and Cicero's own pre-mortem funeral oration. Yet the Pro Archia's suppressed legal arguments pregure the eventual failure of his immediate self-fashioning aims. The In Pisonem's invective inverts the Pro Archia's self-fashioning strategies in order to debunk Piso's image and to recuperate Cicero's own prestige at the expense of Piso's. The In Pisonem has the same long-range cultural ambitions as the Pro Archia, but without the previous speech's hopes for tangible short-term success. Faced with his inability to cause Piso real political damage, Cicero crafts an ornately polished caricature of Piso designed to achieve canonical longevity. Cicero's reception by the orators of Seneca's Suasoriae and Controversiae gives evidence of the successes, and limitations, of these long-term cultural goals.
Democratic Ideology and The Poetics of Rape in Menandrian Comedy
Authors: Lape Susan
Published: February 2004

Many of Menander's comedies are structured according to a rape plot pattern in which a young Athenian citizen usually rapes and impregnates a female citizen prior to the opening of the play. In most cases, the rape leads to a happy ending: the marriage of the rapist and victim. This casual treatment of rape is striking because in all other respects Menander's plays are not only scrupulously faithful to Athenian law, they also use Athenian legal and social norms as their own generic conventions. Although the rape of a female citizen was a serious oense in Athenian law, potentially punishable with death, and a flagrant violation of the norms of Athenian citizenship, Menandrian comedy never morally or legally problematizes rape. This study considers how the comedies neutralize the potential legal signicance of rape and what this tells us about Athenian law and the ideology of democratic citizenship. It argues that by portraying a neutral form of rape, Menander's comedies implicitly articulate those factors which had the potential to bring "rape" within the purview of Athenian legal discourse. Menandrian Comedy's strategic fidelity to the norms of Athenian citizenship also tells us something about the gender ideology of Athenian democratic citizenship, that is, the ways in which relations between the sexes support and sustain civic relations between men in Athenian political culture and democratic ideology. While Menander's romantic plots uphold the laws of citizen marriage, they do not passively enact the legal constructs. In one common variant of the rape plot, the gendered construction of citizenship embedded in Athenian law is specically conjoined to democratic norms. In this type of play, a wealthy young citizen rapes and eventually marries the daughter of a seemingly poor citizen. By using rape to generate matrimonial unions between the rich and the poor, these plays extend democratic norms into the social arena. The formation of marriages across class lines disrupts the eects of intergenerationality in reproducing social and economic inequalities.
Dirce Disrobed
Authors: Joyce Lillian B.
Published: February 2004

The Punishment of Dirce was a theme that intrigued both artists and patrons of the Roman period. It appeared in diverse locations and media, notably as a wall painting in the House of the Vettii in Pompeii and the Toro Farnese once displayed in the Baths of Caracalla in Rome. In all representations, Dirce struggles with the bull that will trample her to death. Traditional studies of this imagery have focused on the formal characteristics of these representations, studying issues of workshop practice and the relationship between originals and copies. Scholars seldom analyze the meaning of the myth in depth. While most studies note that Dirce often appears in the guise of a maenad, they dismiss this observation. Additionally, it is rarely noted that Dirce's semi-nudity has any role in this story. In fact, her nudity is highly significant, for it was not part of the literary accounts. This study offers a fresh interpretation of Dirce's punishment considering the function of gender. Using literary sources such as Euripides, Plautus, Lucian, and Petronius, as well as visual images in a variety of media including wall painting, sculpture, gems, medals, and lamps, it is argued that artists and patrons combined maenadism and nudity to portray Dirce as a specifically female social transgressor. As a semi-nude maenad, the queen abandons accepted female decorum. These attributes allow the viewer readily to identify Dirce as guilty of hubris against family and society.
Symbolic Action in the Homeric Hymns: The Theme of Recognition
Authors: García John F.
Published: February 2004

The Homeric Hymns are commonly taken to be religious poems in some general sense but they are often said to contrast with cult hymns in that the latter have a definite ritual function, whereas "literary" hymns do not. This paper argues that despite the difficulty in establishing a precise occasion of performance for the Homeric Hymns, we are nevertheless in a position to identify their ritual function: by intoning a Hymn of this kind, the singer achieves the presence of a god before participants in a public festival. The key mechanism by which the hymnist does this is the evocation of a god via the elaboration of a typical unit of traditional hymnic discourse, what I call the "theme of recognition (before revelation)."

The pragmatic operation of narrative such as this is similar to the device known in the study of magical texts as the historiola, or short narrative that serves as a verbal model for a desired outcome in the patient's world. This kind of operation is called, in this paper, "symbolic action," a term borrowed from the rhetorician Kenneth Burke. The theme of recognition is traced in the fabric of the expansive Hymns (II-V, VII), and the paper further argues that an important generic marker in the Hymns, the greeting of the god (χαíρεϵ), discloses their pragmatic function, the hymnist's skillful deliverance of the god before his hearers.
Vergil's Ajax: Allusion, Tragedy, and Heroic Identity in theAeneid
Authors: Panoussi Vassiliki
Published: February 2004

This essay attempts a reevaluation of the use of Greek tragedy in Vergil's Aeneid, drawing on recent advances in the study of literary allusion and on current approaches to Greek drama which emphasize the importance of social context. I argue that extensive allusions to the figure of Ajax in the Aeneid serve as a subtext for the construction of the personae of Dido and Turnus. The allusive presence of Ajax attests to the existence of a tragic register in the epic, which intersects with and complicates the multiple allusive registers within the poem. Moreover, I propose that a detailed examination of Vergil's manipulation of tragedy's articulation of socio-political and ideological problems may in turn illuminate the Aeneid as a national epic and its much-contested relationship with Augustan ideology.

More specifically, I argue that issues of identity and moral action explored in Sophocles' Ajax are crucial in the cases of Dido and Turnus, who similarly find themselves in conflict with and unable to adapt to the new social and political structure of Aeneas' new order. Like Ajax, Dido and Turnus define themselves through constant reference to their relationship with their people. All three, however, engage in action which pits them against the interests of their communities and which results in their complete isolation. Unable to adjust their behavioral code to ensure their survival, Dido and Turnus embody a heroic ideal which, though laudable, can have no place in Aeneas' Roman future. Vergil thus mobilizes a tragic allusive register in order to illustrate the tension between the celebration of this ideal and the realization that social change has rendered it obsolete. At the same time, the loss of the ideals that Dido and Turnus represent necessitates the articulation of a comparable, if not superior, ethical code which Aeneas is called on to embody. Allusive evidence linking Aeneas to the tragic Ajax, however, seems to indicate Aeneas' failure to emerge as a superior moral force in the poem.
Roll Over Beethoven, there's a New way to be Cool
Authors: Peterson Richard A.
Published: February 2004

For generations, preference for “high” and disdain for “popular” culture was a means the elite used to distinguish themselves from the masses. In sharp contrast, the display of high status today relies on familiarity with the full range of cultural fare. This change in evaluation of status poses a challenge for the future of the fine arts.
Bin Laden and Other Thoroughly Modern Muslims
Authors: Kurzman Charles
Published: February 2004

Osama bin Laden may have operated from a cave in one of the least-developed countries in the world, but his radical Islamic movement is thoroughly modern. In many ways, radical Islamists are a mirror image of Islamic liberals, whose peaceful struggle to establish democracy is actually more popular.
Caring for Our Young: Child Care in Europe and the United States
Authors: Clawson Dan , Gerstel Naomi
Published: February 2004

Parents in the United States struggle to find and afford even mediocre private child care. Most European countries provide quality publicly-funded programs. Should child care emphasize education or play? Parents or peers? Organized care or parental involvement?
Are American Jews Vanishing Again?
Authors: Goldscheider Calvin
Published: February 2004

High rates of intermarriage have become an obsession with Jewish community leaders. They fear the disappearance of Jews in America. But demography is not destiny. The case of the Jews shows one way ethnic communities can control their fates.
The Promise and Pitfalls of Going into the Field
Authors: Adler Patricia A. , Adler Peter
Published: February 2004

Firsthand reports from the field comprise some of the most valuable work in the social sciences. But findings are often controversial. Understanding how fieldwork is carried out can help readers assess ethnographic research.
Trouble in Watermelon Land: George Pal and the Little Jasper Cartoons
Authors: Neupert Richard
Published: February 2004

What should film studies do with blatantly racist cartoons from Hollywood's past? This article investigates one test case, George Pal's Little Jasper cartoon series from the 1940s—which provides an array of offensive racist stereotypes—arguing that film historians must confront both its racist strategies and its fascinating mode of production. The cartoons were created from 3D models with exquisite depth and color at a time when cel animation was the norm. Pal's works are complex ideological and aesthetic products that deserve to be studied and debated within the animation canon.
Intensified Continuity Visual Style in Contemporary American Film
Authors: Bordwell David
Published: February 2004

Do today's movies, filled with dazzling spectacle and often less-than-dazzling plotting and characterization,constitute a break with Hollywood's past? This essay argues that recent films rely upon many principles of traditional"continuity filming," but that there are nonetheless some important changes. In particular, certain techniques,such as fast cutting and free-ranging camera movement, have become more forceful and flamboyant. These techniques have blended into an approach to visual storytelling which we can call "intensified continuity." By analyzing films and reflecting upon comments gleaned from filmmaking professionals, the essay suggests where the new style comes from and how it affects viewers.
Affliction
Authors: Kouvaros George
Published: February 2004

Paul Schrader's Affliction (1998) tells the story of two brothers and the events surrounding a fatal shooting during a New England winter. More than this, however, the story told is also about place and the personal histories and traumas that form communities and families. This review examines some of the pathways connecting character and place in Affliction and also in Schrader's earlier film Light Sleeper (1991). Across these films, the director develops a series of echoes and resonances that connect the characters and work toward the creation of a cinematic milieu in which we find an ever-present relationship to the past.
The Autobiography of PIER PAOLO PASOLINI
Authors: Rappaport Mark
Published: February 2004

The Autobiography of Pier Paolo Pasolini re-examines Porcile, one of Pasolini's least well-received films, in light of his own comments about and obvious affection for the work and in relation to his better-known films Teorema and Salò. The seeming opacity of the film is clarified by reading it as a parable not only about transgressions in closed societies but also, more specifically, about homosexuality, a subject that Pasolini, although he made no bones about his sexual orientation in real life, never fully explored in his films.
Being John Malkovich
Authors: Repass Scott
Published: February 2004

In Being John Malkovich, Craig Schwartz discovers a portal that allows him to "be" John Malkovich for 15 minutes, thus opening a "metaphysical can of worms." The worms discussed in this articles include identity issues raised by the characters' abilities to change bodies, the film's play on the contrast between person and public persona, and director Spike Jonze's "first person" representation of the experience of entering Malkovich. Jonze and writer Charlie Kaufman also raise questions about the role of gender identity and the differences between humans and animals and animals and puppets.
Portraits Perversely Framed: Jane Campion and Henry James
Authors: Gordon Rebecca M.
Published: February 2004

Critics who disliked Jane Campion's The Portrait of a Lady (1996) suggest she was wasting her talents on a high-budget adaptation in order to reach a mass audience. Yet Campion does not adapt Henry James's novel so much as interpret it. By boldly dramatizing the unconscious sexual desires that riddle James's melodramatic novel, Campion exposes the spaces where traditional gender ideology fails, loosening the gender codes upon which the pleasure of melodrama rests. The result is a feminist narrative that is attractive to the mainstream but also capable of leading the audience to consider social systems in place beyond the theater.
Soul of the Cypress: The First Postmodernist Film?
Authors: James David E.
Published: February 2004

In the late 1920s, European expatriates in Hollywood made a number of independent experimental films influenced by avant-garde cultural movements. But these were preceded by three short experimental films made in 1920 by an American, Dudley Murphy, of which one, Soul of the Cypress, survives. Influenced by California Pictorialist photography of the preceding decades, it was in its own day recognized as an avant-garde film, but nevertheless it secured successful commercial distribution. The surviving print of the film, however, was drastically framed by the later addition of a pornographic coda that radically transformed its erotic theme and its social function.
The Memory of Loss
Authors: Nichols Bill
Published: February 2004

How can home movies from Europe originally shot in the 1930s, 40s, and 50s, become testimony to an entire way of life destroyed by war, Communism, and the politics of genocide?An interview with Péter Forgács about his astonishing compilation films explores the private history of peoples and nations "from below" and reveals the tone and texture of lives that perished or prevailed during decades of extraordinary tumult.
Telephonic Film
Authors: Schantz Ned
Published: February 2004

What do our fantasies of the telephone have to do with our fantasies at the movies? This essay calls out the Classical Hollywood Telephone, the quiet object whose smooth transmission of narrative information bolsters generic closure, and installs in its place a phone open to coincidence, capable of diverting attention and routing interest along unpredictable lines.
Robert Southard and the History of Traveling Film Exhibition
Authors: Johnson William
Published: February 2004

Abstract William Johnson: "A New View of Porn: The Films of Tatsumi Kumashiro." Tatsumi Kumashiro (1927-1995) became a leading maker of Japanese soft-core porn films in the 1970s and 1980s. Because he aimed to make films whose interest ranged beyond sexual arousal, his work sheds new light on the debate over screen pornography. This study examines several of his films and shows the distinctiveness of his approach.
"Blood Only Means What You Let It"
Authors: Magowan Kim
Published: February 2004

Abstract Kim Magowan: "'Blood Only Means What You Let It': Incest and Miscegenation in John Sayles’s Lone Star."Lone Star revises a Southern cultural narrative in which incest and miscegenation, opposite sex taboos, paradoxically enable each other. By conditioning his audience to link the two taboos and to regard the prohibitions regulating each as arbitrary and subjective, John Sayles not only recuperates miscegenation as a sexual choice, but also provocatively endorses incest.
From Field to Frame: The Fine Art of Crop Art
Authors: Johnson Diana
Published: February 2004

The annual seed art competition at the Minnesota State Fair evokes the heritage of an agriculture-based economy. But portraits of middle-American icons rendered in the seeds of Minnesota crops, exemplified by the work of old-timer Lilian Colton, rub shoulders with a more contemporary view of Minnesota's place in society presented by urban crop artists like Cathy Camper.
Of Goose in Gascony: The Making of Confit in Centuries Past
Authors: Schneider Edward
Published: February 2004

From this translation of a French treatise on the Gascon way to preserve geese, ducks, other poultry and their fat, we learn how to house, fatten and butcher these birds, how to render their fat, how to prepare confit, how to store it and how to use it. To anyone familiar with the way confit is made today, few of the instructions will seem surprising; setting aside the technology to which it refers, this text provides a perfectly valid guide to confit-making in the twenty-first century. What is surprising, though, is that (in the view of the curator of the museum that owns the manuscript) this is a nineteenth-century copy of an eighteenth-century text, reflecting an if-it-ain't-broke attitude that may be instructive in these fix-it-anyway times.
"The Only Place to Eat in Berkeley": Hank Rubin and the Pot Luck
Authors: Glassner Barry
Published: February 2004

The Pot Luck restaurant in Berkeley served what was arguably the most sophisticated and inventive food in the East Bay in the 1960s and early'70s. Though unfamiliar to many present-day food writers and scholars,in its day the restaurant was well known. In the 1960s and early '70s,laudatory pieces appeared in magazines such as GQ and in Herb Caen's column in the San Francisco Chronicle. The owner of the Pot Luck, Hank Rubin, a man for whom food and cooking have been principal concerns since an early age, is perhaps best known as the former wine columnist for of Bon Apptit. This article reviews Rubin's considerable achievements at the Pot Luck, both culinary (e.g., the development of more than 600 soup recipes) and socio-cultural (e.g., Pot Luck is said to be the first restaurant in the Bay Area to hire African-Americans as waiters).
From Cave to Caféé: Artists' Gatherings
Authors: Chirico Robert
Published: February 2004

Historical documentation regarding public festivals and banquets continually acknowledges the alliance of painting, poetry, music, and design, but in contrast to these records, accounts of artists personal revelries remain scarce. This article discusses the festive, social, political, and artistic aspects of notable gatherings that took place over the past five centuries. Among the examples mentioned are the serious gatherings of Baccio Bandinelli's Academy and the meetings of the Dutch Rhetoricians (Rederijkers); the lavish parties of the 16th century artist Rustici and the modern-day Art Students League;the scandalous doings of the Dutch painters guild (Bentvueghels) in Rome and the antics of the Swedish sculptor Sergel. It also touches upon pre- and postwar banquets in Paris,Futurist and Dadaist gatherings, and the socializing of the New York School.
A Roman Anchovy's Tale
Authors: Downie David
Published: February 2004

A Roman Anchovy's Tale author David Downie investigates contemporary Roman uses of salted anchovies, comparing them to the garum, liquamen, muria, colatura, and hallex fish sauces, pastes and brines of antiquity. His point of departure is a self-styled "archeological restaurant" in the Italian capital, Magna Roma, where co-owner Luciano Carigato and colleagues make authentic garum following an Imperial-era recipe. Downie also discusses regional variations of ancient fish sauces, specifically hallex (fermented fish paste), such as Ligurian machet and southern French mlets, still made today on the Italian and French Riviera.
Gut Reaction: The Enteric Terrors of Washington Irving
Authors: Kaufman Frederick
Published: February 2004

Every school child has read Washington Irving's Legend of Sleepy Hollow, the story of an itinerant schoolteacher, poetaster, and rejected suitor named Ichabod Crane who witnesses the apparition of a headless horseman, that terrifying spectre whose detached cranium is in fact nothing but a pumpkin. Over the years this country's most famous ghost story has been interpreted in many waysas political allegory, archetypal comedy, forerunner of the American gothic traditionbut never specifically as a piece about food. Gut Reaction: The Enteric Terrors of Washington Irving will examine the role of squash and other edibles in Irving's work and seek to define a relationship between the early American food story and the early American ghost story, the link between what Irving once called America's "eating mania" and gut terror.
Cold War requisitions, scientific manpower, and the production of American physicists after World War II
Authors: Kaiser David
Published: February 2004

Beginning most explicitly with the American involvement in the Korean War, and continuing unabated until 1970, the demand for Ph.D.-trained physicists in the United States followed a particular Cold War logic of "manpower" and requisitions. This logic, rehearsed by senior physicists, university administrators, government commissions, individual senators, and newspaper reporters from across the country argued that young graduate students in physics constituted the nation's most precious resource. The purported need to train ever-larger numbers of physics graduate students was often used to justify the structural rearrangements associated with "big science," from huge federally-subsidized budgets to factory-sized equipment. The exigencies of training roomfuls of graduate students, rather than mentoring handfuls of disciples, reinforced the prevailing American pragmatic, instrumentalist approach to theory.
Values of "pure science": Nishina Yoshio's wartime discourse between nationalism and physics, 1940-1945
Authors: Ito Kenji
Published: February 2004

This paper discusses Nishina Yoshio's attitude toward World War II and scientific research during the war. Nishina was the leading Japanese physicist in interwar Japan and the chief scientist of Japan's wartime nuclear power project. The paper describes how Nishina was caught between conflicting norms of his professional and national identities and how he tried to resolve the conflicts.
Scientism and social justice: Meghnad Saha's critique of the state of science in India
Authors: Sur Abha
Published: February 2004

Meghnad Saha, India's most distinguished astrophysicist of the 20th century, was a zealous advocate of large-scale industrialization and scientific development. Yet Saha became an outspoken critic of the science and industrialization policies of the Nehru era that seemed in accord with his own views. This paper examines the nature of the differences—ideological and hierarchical—between the social outlook and worldviews of Saha and Nehru's coterie of scientists, and thus offers an understanding of the state of science and technology in India during their time.
Aaron Copland's Third Symphony from Sketch to Score
Authors: Crist Elizabeth Bergman
Published: February 2004

Aaron Copland's Third Symphony, commissioned by Serge Koussevitzky and premiered by the Boston Symphony Orchestra in 1946, stands as the single true achievement of the composer's symphonic career. As befits such a weighty composition invested with personal and professional artistic aspirations, the genesis and evolution of the Third Symphony from sketch to score was unusually complex. The present study relies heavily on archival materials in the Copland Collection at the Library of Congress—including sketches and scores, historical recordings, and personal correspondence—to document the work's compositional history in detail. In sum, the textual history of the symphony involves nearly 20 manuscripts spanning as many years. Copland began composing the symphony earlier than previously thought and found thematic material for the Third in numerous other works dating back to 1940, four years before the actual commission. Variant autograph full scores embody contributions by Serge Koussevitzky and Leonard Bernstein made after the symphony's premiere in 1946 and publication in 1947; Copland's own copy of the 1966 revised edition contains additional changes and corrections. Such insights place the symphony in a new historical and musical context relating to his work during the Great Depression and the Second World War and reveal an unexpected collaborative dimension to Copland's compositional process.
Reconciling God and Satan: Max Reger's Phantasie und Fuge über den Namen B-A-C-H, Op. 46
Authors: Bittmann Antonius
Published: February 2004

Part of a veritable Bach-Kult deeply affecting musical life in Wilhelmine Germany, fin de siècle constructs of Bach, as exemplified by merous contributions to the 1905/1906 Bach-Umfrage of the journal Die Musik, declared the composer the fons et origo of progress and a miraculous healerof cultural decay. Bach, however,acquired a progressive modernist image that became inextricably intertwined with Wagner's to form a dialectic alliance ridden with great anxieties. In response to what Reger himself identified as the problem of "Wagneritis" —a pathological "misunderstanding" of Wagner afflicting many of his contemporaries and threatening even his own compositional development—Op. 46 presented a more salutary image of the Romantic composer. As an imaginative synthesis counterbalancing Wagner's presence with Bachian qualities, Op. 46 appropriates crucial aspects of Tristan's musical language, conflating them with a ubiquitous theme that consists of Bach's musically represented name. In the final apotheosis of Op. 46, a boastful reference to the dying hero of Strauss's Death and Transfiguration celebrates Reger's heroic victory over Wagnerian degeneration and hails a new era of cultural progress and health.
A Complementary Pair: Stylistic Experimentation in Mozart's Final Piano Concertos, K. 537 in D and K. 595 in B-flat
Authors: Keefe Simon P.
Published: February 2004

Given the chronological separation of Mozart's final piano concertos, K. 537 and K. 595, from his extraordinary sequence of 15 piano concertos of 1782-86 (K. 413-503), it is no surprise that critics have continually stressed stylistic and affective departures from the composer's norm. But the stylistic significance of these final concertos remains fundamentally misunderstood. In spite of sharply contrasting characteristics—ostentatious virtuosity in K. 537 and carefully measured writing in K. 595—these works are, in fact, kindred spirits. In both concertos Mozart experiments with the introduction of abrupt juxtapositions of harmonically contrasting material while avoiding the outright opposition of piano and orchestral forces evident in his earlier Viennese first movements; with piano figuration, omitting it when expected or reconstituting it at important formal junctures; and with unexpected thematic and harmonic disjunctions. While Mozart's harmonic experimentation in K. 537 and 595 can be partially explained in general stylistic terms, given similarities to passages in the last three symphonies, and considered representative of the "bizarre tonal sequences" and "striking modulations" often remarked upon by Mozart's contemporaries, it cannot be attributed to a fundamental shift in the composer's "world view." Rather, the complementary nature of radicalism and innovation in the two first movements in particular—K. 537 in the orchestral and solo expositions and recapitulation and K. 595 in the development—reveals these final concertos as thoroughly pragmatic and systematic essays in stylistic reinvention.
Carissimi's Tonal System and the Function of Transposition in the Expansion of Tonality
Authors: Stein Beverly
Published: February 2004

The question of 17th-century tonality has intrigued scholars for years: how to make sense of a repertoire in which modal concepts appear to coexist with elements of common-practice tonality. Although the system of modes and that of modern tonality are different constructions, the aspect of functional tonality that allows for the presence of major and minor keys at all 12 levels of transposition developed in part from an extension of a technique carried over from modal practice, that of transposition of mode. Nowhere is this process of tonal expansion based on the concept of transposition of mode as clear or as well structured as in the music of Giacomo Carissimi (1605-1674), the Roman composer of oratorios, cantatas, and motets whose output spans the central 40 years of the 17th century. A close examination of Carissimi's music provides us with a snapshot of the expansion of tonality via transposition and, in addition, offers important suggestions for understanding the tonal practices of contemporaries such as Monteverdi and Cavalli. In Carissimi's music, four basic tonalities are still clearly distinguishable, recognizable through unique and predictable cadence patterns. They appear at transposition levels ranging from the three-flat to the three-sharp systems, with the one-flat system conspicuous in its absence. As shown, the core of eight central keys demonstrates key pairing in a way that models the traditional authentic-plagal relationship of modes. An overview of Carissimi's tonal system demonstrates how the ap- parent coexistence of functional tonality and much older concepts of mode and hexachord can be understood to be part of a rational and organized system. This study explores Carissimi's tonal scheme through an examination of his cantatas, the repertoire displaying the widest tonal range. Based on characteristic cadence frequencies, opening transpositions, and previously unrecognized standard cadence patterns, it is possible to determine the nature of the four primary tonalities and their relationships to one another. These cadence patterns also appear as organizing principles in works of several other 17th-century composers and suggest future avenues of research. The final section summarizes the conservative and progressive features of Carissimi's tonal system, relates his practice to discussion of transposition in two popular treatises of the time, Giovanni Maria Bononcini's Musica prattico and Lorenzo Penna's Li primi albori musicali, and compares Carissimi's practice to the system of church keys (based on common transpositions of the psalm tones) prevalent in the 17th century. A study of Carissimi's cantatas thus reveals the existence of a truly distinct 17th-century tonal practice which functions on its own terms at the same time as it exhibits concepts derived from traditional modal and hexachordal theory, as well as contemporary practices of psalmody and small-scale functional tonality.
Forward-Looking Retrospection: Enharmonicism in the Classical Era
Authors: Telesco Paula
Published: February 2004

Enharmonicism steps to the fore only occasionally in 18th-century music. Indeed, over the past two centuries, it has been commonly assumed that it was invoked only when a special affect demanded it (as in the much-discussed "Dance of the Furies" from Rameau's Hippolyte et Aricie). But a survey of 18th-century music refutes this perception and reveals that the enharmonicism of the 18th century can be broadly defined as belonging to one of two categories: simultaneous or immediate enharmonicism, and retrospective enharmonicism. Most early 18th-century examples restrict their usage to the simultaneous/immediate type, which consists of reinterpretations of enharmonic pivot chords. Retrospective enharmonicism, on the other hand, is less common than immediate enharmonicism but is remarkable because it presages the expansion of the diatonic tonal system into the chromatic tonal system of the 19th century. Retrospective enharmonicism does not involve the reinterpretation of an enharmonic pivot chord, nor is a reinterpretation perceived at any one point; it becomes clear only in retrospect that one must have occurred. Rather than a negation of some resolution tendency, as happens in the reinterpretation of a dominant seventh as an augmented sixth, there is a (typically large-scale) trajectory away from some tonic which is eventually regained through the enharmonic door. Some note or chord is respelled as its enharmonic equivalent, but without any aural clue. Drastic key changes of the sort typically encountered in instances of retrospective enharmonicism are for the most part proscribed in the writings of such composers and theorists as Rameau, Kirnberger, Koch, Heinichen, and Vogler, all of whom wrote in detail about staying within an orbit of closely related keys and rarely going directly from one key to another too far away. Nevertheless, this type of enharmonicism was a recognized compositional resource which, though used relatively infrequently in the 18th century, came to occupy a more central place in the realm of available compositional techniques in the 19th century.
Schumann's Piano Practice: Technical Mastery and Artistic Ideal
Authors: MacDonald Claudia
Published: February 2004

From the summer of 1830 through the fall of 1831, Schumann worked diligently at the piano with the intention of becoming a professional performer. Beginning in May 1831 he regularly recorded his progress in his diary, describing his repertory, hand position, his aesthetic and technical goals, his frustrations and triumphs. Repeatedly he wrote of the clash between a cherished ideal, nurtured in him as an amateur, of music as an expression from the heart, and what he deemed the routine music making of professionalism—a clash played out in his piano practice until it reached an impasse he was unable to resolve in his performance. The conflict Schumann experienced was related to a larger one in the world of European concert music, namely the demand for ever more dazzling exploits just as music was elevated to the highest position among the arts. This essay presents the nearest possible look into a young artist's mind as he grappled with a dilemma basic to his generation: how to embrace the newest athletic developments while still claiming music as an expressive language reaching into inner depths that are supposedly immune to its power to dazzle. As one example it shows Schumann's progress toward a finished, ideal performance of Chopin's Variations, opus 2, as this is documented in a series of exercises recorded in his practice diary. These deal little with any mechanical problems in the set but instead give a glimpse of how Schumann hoped to realize physically his imagined, ideal sound world.
Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children
Authors: Koniari Dimitra , Predazzer Sandrine , Mélen Marc
Published: February 2004

This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece into the appropriate category and to evaluate the segments' degree of similarity. Experiment 3 investigated the segmentation process, which underlies the organization of musical events into groups. Experiment 4 explored children's ability to reconstruct a piece of music after hearing it. The influence of musical training is investigated by comparing musician and nonmusician children. In addition, the effects of different musical features are explored.

La présente étude porte sur le mécanisme d'extraction d'indices dans le cadre des processus cognitifs sous-tendant l'écoute d'un morceau de musique chez des enfants de 10-11 ans. Les diverses procédures utilisées dans les quatre expériences portent sur trois processus: a) la catégorisation de caractéristiques musicales, b) la segmentation du discours musical et c) l'élaboration d'un schéma mental de la pièce. Deux courtes pièces du répertoire classique pour piano ont servi de matériel expérimental. Les expériences 1 et 2 évaluent la capacité des enfants à classer des segments issus d'un même pièce musicale dans leur catégorie respective et à apprécier leur degré de similarité. L'expérience 3 étudie le processus de segmentation qui sous-tend l'organisation des événements musicaux en groupes. L'expérience 4 explore l'aptitude des enfants à reconstruire la pièce après l'avoir entendue. L'influence de la formation musicale est prise en compte à travers une comparaison d'enfants musiciens et non-musiciens. De plus, l'effet de différents traits musicaux est exploré.
A Rule of Thumb: The Bandwidth for Timbre Invariance Is One Octave
Authors: Handel Stephen , Erickson Molly L.
Published: February 2004

Listeners were unable to determine whether two different notes separated by an octave or more were played by the identical or a different wind instrument and similarly were unable to determine whether a vowel sung at different pitches separated by an octave or more was sung by the identical or a different soprano or mezzo-soprano.
The Tritone Paradox and Perception of Single Octave Related Complexes
Authors: Ragozzine Frank
Published: February 2004

In the tritone paradox, listeners perceive octave-related complexes separated by tritones such that tones from one half of the pitch class circle are heard as higher in pitch and tones from the opposite half are heard as lower. It is theorized that listeners compare these tones to a pitch class template, which has an orientation with respect to height that differs among listeners, in making these relative height judgments. In the present experiment, listeners heard octave-related complexes presented one at a time (rather than in pairs), in addition to tone complexes separated by tritones. On the basis of the pitch-class-template theory, it was hypothesized that pitch class would have a similar influence on perceived height for both sets of stimuli and that perception of the single tones would correspond to perception of the tritone paradox. The results supported these hypotheses.
Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music
Authors: Iyer Vijay
Published: February 2004

The dual theories of embodied mind and situated cognition, in which physical/temporal embodiment and physical/social/cultural environment contribute crucially to the structure of mind, are brought to bear on issues in music perception. It is argued that cognitive universals grounded in human bodily experience are tempered by the cultural specificity that constructs the role of the body in musical performance. Special focus is given to microrhythmic techniques in specific forms of African-American music, using audio examples created by the author or sampled from well-known jazz recordings.
How Jazz Musicians Improvise
Authors: Johnson-Laird P. N.
Published: February 2004

This article defends the view that theories of creativity should be computable and that only three sorts of algorithm can be creative. It proposes a central principle of algorithmic demands for jazz improvisation: a division of labor in terms of computational power occurs between the creation of chord sequences for improvisation and the creation of melodic improvisations in real time. An algorithm for producing chord sequences must be computationally powerful, that is, it calls for a working memory or a notation of intermediate results. Improvisation depends on the ability to extemporize new melodies that fit the chord sequence. The corresponding algorithm must operate rapidly in real time, and so it minimizes the computational load on working memory. The principle of algorithmic demands is supported by analysis and a computer model.