bluuebunny/crossref_metadata_2025 huggingface dataset:
Structural insight into signal conversion and inactivation by NTPDase2 in purinergic signaling
Authors: Zebisch Matthias , Sträter Norbert
Published: May 2008

Cell surface-located nucleoside triphosphate diphosphohydrolases (NTPDase1, -2, -3, and -8) are oligomeric integral membrane proteins responsible for signal conversion and inactivation in extracellular nucleotide-mediated “purinergic” signaling. They catalyze the sequential hydrolysis of the signaling molecule ATP via ADP to AMP. Here we present the structure of the extracellular domain of
Rattus norvegicus
NTPDase2 in an active state at resolutions between 1.7 Å and 2.1 Å in four different forms: (
i
) apo form, (
ii
) ternary complex with the nonhydrolyzable ATP analog AMPPNP and cofactor Ca
2+
, (
iii
) quaternary complex with Ca
2+
and bound products AMP and phosphate, and (
iv
) binary product complex with AMP only. Analysis of the ATP (analog) binding mode explains the importance of several residues for activity and allows suggestion of a catalytic mechanism. The carboxylate group of E165 serves as a catalytic base and activates a water molecule, which is well positioned for nucleophilic attack on the terminal phosphate. Based on analysis of the two product complex structures in which AMP adopts different conformations, a substrate binding mode for ADP hydrolysis is proposed. This allows for an understanding of how the same hydrolytic site can be engaged in ATP and ADP but not AMP hydrolysis.
A mutation in mouse
Disc1
that models a schizophrenia risk allele leads to specific alterations in neuronal architecture and cognition
Authors: Kvajo Mirna , McKellar Heather , Arguello P. Alexander , Drew Liam J. , Moore Holly , MacDermott Amy B. , Karayiorgou Maria , Gogos Joseph A.
Published: May 2008

DISC1
is a strong candidate susceptibility gene for schizophrenia, bipolar disorder, and depression. Using a mouse strain carrying an endogenous
Disc1
orthologue engineered to model the putative effects of the disease-associated chromosomal translocation we demonstrate that impaired
Disc1
function results in region-specific morphological alterations, including alterations in the organization of newly born and mature neurons of the dentate gyrus. Field recordings at CA3/CA1 synapses revealed a deficit in short-term plasticity. Using a battery of cognitive tests we found a selective impairment in working memory (WM), which may relate to deficits in WM and executive function observed in individuals with schizophrenia. Our results implicate malfunction of neural circuits within the hippocampus and medial prefrontal cortex and selective deficits in WM as contributing to the genetic risk conferred by this gene.
Decentering Music
Authors: Korsyn Kevin
Published: May 2008

This book examines the struggle for the authority to speak about music at a time when the humanities are in crisis. By linking the institutions that support musical research, including professional associations and universities, to complex historical changes such as globalization and the commodification of knowledge, this book undertakes a critique of musical scholarship as an institutional discourse, while contributing to a general theory of disciplinary structures that goes beyond the limits of any single field. In asking a number of fundamental questions about the models through which disciplinary objects in music are constructed, the book suggests unexpected relationships between works of musical scholarship and the cultural networks in which they participate. Thus, David Lewin's theory of musical perceptions is compared to Richard Rorty's concept of the “liberal ironist”, Susan McClary's feminist narrative of music history is juxtaposed with T.S. Eliot's “dissociation of sensibility”, and Steven Feld's work in recording the music of the Kaluli people is compared to the treatment of ambient sound in contemporary cinema. Developing a framework for interpretation in dialogue with a number of poststructuralist writers, the book goes far beyond applying their thought to the analysis of music; by showing the cultural dilemmas to which their work responds, it suggests how musical research already participates in these ideas.
Fantasy Pieces
Authors: Krebs Harald
Published: May 2008

This book, written in the form of a series of dialogues between the Schumannian characters Florestan and Eusebius, proposes a theory of metrical conflict that rigorously develops the metaphorical application of the concepts of consonance and dissonance to metrical phenomena. An introductory chapter traces the history of this metaphor from its origins in the early 19th century through to the 20th century. In a series of theoretical chapters, the book then presents detailed descriptions of various types of metrical dissonances (particularly important types are grouping dissonance — based on the association of incongruent metrical layers, and displacement dissonance — based on the non-aligned presentation of congruent layers); a system of labels to characterize specific dissonances; explanations of musical processes that arise from the formation, manipulation, and resolution of these dissonances; and a discussion of the interaction of metrical dissonance with pitch structure, form, and extramusical elements. The emphasis throughout is on the description of the ever-changing metrical states within pieces of music, and on the characterization of the metrical progressions formed by these changing states. The theoretical chapters are interspersed with three intermezzi that adopt a historical or performance-related approach to the topic; these deal, respectively, with influences on Schumann's metrical style; with Schumann's compositional process as it relates to metrical dissonance; and with performance issues arising from metrically dissonant passages. Throughout the book, the theory is applied mainly in the analysis of Robert Schumann's music, but analyses of the music of 18th-century, other 19th-century, and early 20th-century composers are also included.
ONE Nineteenth‐ and Twentieth‐Century Theories of Metrical Conflict
Authors: Krebs Harald
Published: May 2008

This chapter begins by describing the 19th-century origins of some of the basic ideas that underlie the book's approach: the first metaphorical application of the terms “consonance” and “dissonance” to rhythmic structures (in the writings of Hector Berlioz); and early examples of the recognition of two basic categories of metrical conflict, based, respectively, on incongruent groupings, and on non-aligned presentation of congruent groupings (in writings of François-Joseph Fétis and Hugo Riemann). The second part of the chapter traces these ideas through the 20th century, referring to writings by Henry Cowell, Charles Seeger, Joseph Schillinger, Wallace Berry, Maury Yeston, and Carl Schachter, among others, and to various earlier discussions of the music of Robert Schumann.
TWO Metrical Consonance and Dissonance: Definitions and Taxonomy
Authors: Krebs Harald
Published: May 2008

This chapter begins by discussing layers of motion and how they are formed (by accents, repeated patterns, etc.), then describes how the interaction of layers creates metrical consonance (alignment) or one of two basic types of dissonance (non-alignment) — grouping dissonance and displacement dissonance. Grouping dissonance arises from the association of incongruent layers, displacement dissonance from the non-aligned presentation of congruent layers. A system of succinct labels for grouping and displacement dissonances is developed. The concept of families of related grouping and displacement dissonances is discussed. Most of the chapter focuses, however, on finer distinctions between dissonances of both basic types: between those based on simultaneous and on adjacent presentation of layers (resulting in direct and indirect dissonances, respectively); between those arising from the actual articulation of conflicting layers (surface-level dissonances) and those arising from the conflict between locally consonant layers and layers only implied by the context (subliminal dissonances); between those that occur on micro-levels, on intermediate levels, and on hypermetric levels (low-, mid-, and high-level dissonances). Varying levels of intensity of dissonance and various possibilities for combinations of dissonances (compound dissonances) are also considered. All types of metrical dissonance are amply illustrated from the works of Robert Schumann.
FIVE Metrical Revisions
Authors: Krebs Harald
Published: May 2008

This chapter, based on research undertaken in numerous libraries and archives in Europe, gives examples of Schumann's intensive compositional work on metrical dissonance. There are occasions when Schumann rendered originally consonant passages dissonant, usually by adding conflicting voices or adjusting the alignment of existing voices. He also frequently intensified or deintensified dissonances that were already present in his early versions, often by adding or eliminating dynamic accents. The chapter concludes with an investigation of possible reasons for such revisions: to clarify the form by intensifying the contrast between sections or by highlighting sectional boundaries; to create relationships between passages; or to create particular metrical processes.
SIX Interactions of Metrical Dissonance with Titch Structure; Form, and Extramusical Elements
Authors: Krebs Harald
Published: May 2008

This chapter demonstrates that metrical dissonance frequently interacts with other musical aspects in Schumann's works. One such aspect is musical form. Changes in metrical state often coincide with large- or small-scale formal boundaries. Particular metrical dissonances may recur at successive formal boundaries, thereby functioning as markers of those boundaries. Different formal sections may be dominated by different metrical dissonances; these dissonances thus contribute to sectional contrast, and hence, to the clarification of the form. Interaction of metrical dissonance with pitch structure is common as well. Metrical dissonance may be coordinated with analogous states in the pitch domain (various types of instability — pitch dissonance, sequential structures, lack of closure, or tonal ambiguity, and conflict). Finally, metrical dissonance may interact with extramusical elements, particularly the texts of vocal works. Dissonances may have a pictorial function, mimicking sounds mentioned in the text. They may highlight especially significant points of a text. They may symbolize contradictory aspects of a character or a situation; certain negative emotional or spiritual states (for example, insanity); or various types of conflicts and tensions mentioned in a poem. By reaching an understanding of the meanings of metrical dissonance in Schumann's vocal works, we can, by extrapolation, make some hypotheses about their meanings in the instrumental works as well.
SEVEN Performing Metrical Dissonances
Authors: Krebs Harald
Published: May 2008

This chapter offers a number of suggestions to performers of metrically dissonant music. It is important for performers to be aware of the location and scope of metrical dissonances in the works they perform. Exercises such as the isolation and independent practicing of individual layers, and the creation of hypothetical consonant versions of given passages, will help performers to become familiar with the structure of such passages, and to negotiate them successfully. It is not usually necessary to accentuate layers that are out of alignment with the notated meter (since they will stand out without such “bringing out”). It may, on the other hand, be wise to apply subtle stresses to the layers that form the notated meter (in passages where those layers receive little or no accentuation by register, density, dynamics, etc.). In subliminally dissonant passages (where the notated meter receives absolutely no confirmation, and the music is locally consonant), the performer could communicate the underlying dissonance with various physical gestures. Performers must communicate the meaning of metrically dissonant passages. They must feel the waves of tension and relaxation created by metrical dissonances and their resolutions, and convey them to the audience. Imagining a narrative might be helpful to the performer in achieving convincing communication of the emotional content of metrically dissonant passages.
EIGHT Carnaval des analyses
Authors: Krebs Harald
Published: May 2008

This chapter analyzes movements or works by Schumann and other composers, using the terminology and concepts developed in the preceding chapters. The works are: Berlioz, Symphonie fantastique (“Un bal”); Schumann, Intermezzi op. 4; Chopin, various works; R. Schumann, “Scherzo in F minor”; Clara Schumann, Piano Trio op. 17 (2nd mvmt.); R. Schumann, Faschingsschwank aus Wien op. 26 (1st mvmt.); Brahms, Piano Sonata in F minor op. 5 (1st mvmt.); R. Schumann, String Quartet op. 41 no. 2 (2nd mvmt.); Ives, “Two Little Flowers”; R. Schumann, Symphony no. 3 op. 97 (1st mvmt.); Schoenberg, Pierrot lunaire op. 21 (“Valse de Chopin”).
Epilogue: Morning Song
Authors: Krebs Harald
Published: May 2008

This epilogue analyzes one of Schumann's late piano works, the third of the Gesänge der Frühe (Morning Songs) op. 133. Although, as in most of Schumann's late works, there is much less metrical dissonance than in the works from the period before 1850, that device is a significant and pervasive feature of the movement.
23 CANTUS and Tonaries
Authors: Matthews Lora , Merkley Paul
Published: May 2008

One of the results of extensive research on Northern European tonaries was a database of this material. This database is similar to CANTUS, the large and growing on-line database for Gregorian chant that contains indexes of all the chants in selected MSS and early printed sources of the Divine Office. Using both databases, this chapter compares modal assignments of certain antiphons. The results of these comparisons have implications for the study of both tonaries and antiphoners, two very different kinds of documents that include common information concerning chant melodies. This pilot study suggests that further comparisons hold great promise.
Crossing Paths
Authors: Daverio John
Published: May 2008

This book explores the connections between art and life in the works of three giants of musical romanticism. Drawing on contemporary critical theory and a wide variety of 19th-century sources, it considers topics including Schubert and Schumann's uncanny ability to evoke memory in music, the supposed cryptographic practices of Schumann and Brahms, and the allure of the Hungarian Gypsy style for Brahms and others in the Schumann circle. The book offers a fresh perspective on the music of these composers, including a discussion of the 19th-century practice of cryptography, a debunking of the myth that Schumann and Brahms planted codes for “Clara Schumann’ throughout their works, and attention to the late works of Schumann not as evidence of the composer's descent into madness but as inspiration for his successors. The book portrays the three key players as musical storytellers, each in his own way simulating the structure of lived experience in works of art.
From Paris to Peoria
Authors: Lott R. Allen
Published: May 2008

The American tours of five visiting virtuoso pianists — Leopold de Meyer (1845-7), Henri Herz (1846-50), Sigismund Thalberg (1856-8), Anton Rubinstein (1872-3), and Hans von Bülow (1875-6) — are examined in this book in regard to their management, itinerary, repertoire, performance style, and reception. The transformation of audiences from boisterous to reverent, the gradual acceptance of the piano recital, the establishment of a canon of masterworks for the piano, and the evolution of concert-giving into a highly organized commercial enterprise are documented. Appendices include the itineraries of these five pianists, totaling almost one thousand concerts in more than one hundred cities, and the repertoire of Rubinstein and Bülow.
PRELUDE
Authors: Lott R. Allen
Published: May 2008

Several developments coalesced in the mid-1840s that encouraged a new influx of European musical performers to tour America, who were usually of a higher rank than those previously heard. These factors included the healthy economy of the United States, the abundance of virtuosos in Europe, and vast improvements in transportation (Atlantic steam travel greatly shortened the trip and increased its reliability). Even though many Europeans had serious doubts about the artistic sensibility of Americans, visiting pianists generally found a welcoming audience. Through its versatility as a solo and accompanying instrument, its newfound recognition in the concert room, its suitability in the home, where a rising number of musical amateurs made music for their own enjoyment and that of their friends, and its usefulness as a tool in music education, the piano had become by far the most important instrument in America.
CHAPTER 4 A Refined Parisian Pianist
Authors: Lott R. Allen
Published: May 2008

Unlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because of his well-known reputation, Herz was well received without having to resort to sensational publicity and attracted many amateur pianists and music lovers to his concerts. His piano music, noted for its brilliance and elegance, consisted primarily of variations and fantasias on opera themes. His performances of works for multiple pianos (e.g., Overture to Rossini's William Tell arranged for sixteen pianists on eight pianos) were popular with audiences if not critics. Bernard Ullman soon became Herz's manager and began resorting to more outrageous publicity. John Sullivan Dwight, Boston's most prominent music critic, was rhapsodic about Herz's performances.
CHAPTER 5 With Sivori and Knoop
Authors: Lott R. Allen
Published: May 2008

For his first inland tour managed efficiently by Bernard Ullman, Henri Herz teamed up with the Italian violinist Camillo Sivori (1815-94), with whom he performed virtuosic duets, and later the cellist George Knoop. Herz was particularly successful in New Orleans, where he felt at home because of the French culture. Herz's performances often included improvisations incorporating American popular music, including minstrel tunes, into his opera-based works. Among the pieces he composed while in America are sets of variations on national American airs (“Yankee Doodle” and “General Jackson's March”) and on “The Last Rose of Summer”, probably his most popular new work based on the Thomas Moore setting of an Irish melody.
INTERLUDE I
Authors: Lott R. Allen
Published: May 2008

Although some writers took a cynical view of the influence of virtuosos touring the United States, most believed the visiting pianists were useful models for budding pianists and were responsible for awaking a general interest in music and improving the public's discrimination. Alfred Jaëll (1832-82) was the next world-famous pianist to visit America, making his debut in 1851 and touring with the Germania Musical Society orchestra. Two other important pianists who soon made debuts were the Americans Louis Moreau Gottschalk (1829-69) in 1853 and William Mason (1829-1908) in 1854, both returning from studying and performing abroad. Neither was as successful as the European performers, reflecting America's discrimination against native-born talent. Although there were frequent rumors that Franz Liszt (1811-86) would tour America, he never yielded to the numerous offers.
CHAPTER 7 A Rival or Liszt
Authors: Lott R. Allen
Published: May 2008

Sigismund Thalberg (1812-71) was the one pianist to rival Liszt in the 1830s. Bernard Ullman, with a decade of managerial experience, masterminded Thalberg's two-year American tour (1856-8) that included almost nightly concerts and totaled at least 340 concerts in seventy-eight cities. Thalberg found devoted audiences that returned over and over again to hear flawless performances of his celebrated virtuoso showpieces. While in the US, he also wrote variations on “The Last Rose of Summer” and “Home, Sweet Home”, the latter extremely successful. Ullman arranged a continuously changing roster of assisting artists that included singers and the American pianists Louis Moreau Gottschalk and William Mason. His performances of Beethoven concertos were a significant departure for a visiting virtuoso and were well received.
CHAPTER 8 At the Matinées
Authors: Lott R. Allen
Published: May 2008

Sigismund Thalberg's most satisfying appearances artistically comprised a series of more than fifteen solo matinees in New York and Boston, where he performed a wider repertoire, including works by Beethoven, Chopin, and Mendelssohn, before intimate audiences. Most of the audience members were women, since the daylight scheduling allowed them to attend without an escort, as was required at night. Thalberg also gave at least twenty concerts in ten cities for as many as forty or fifty thousand schoolchildren. Thalberg's first inland tour in 1857 was managed efficiently by Maurice Strakosch, who had begun his career as a piano virtuoso; at least fifty-nine concerts in thirty cities in the Midwest and Canada were given. The fashionable concertgoer, who attended more to be seen than to hear the music, was frequently attracted to the concerts of visiting celebrities. The new feature of providing reserved seats for an additional fee allowed the fashionable to arrive late and make a grand entrance while claiming their prize seats.
CHAPTER 9 Henry Vieuxtemps and a Troubled Season
Authors: Lott R. Allen
Published: May 2008

Bernard Ullman arranged for the Belgian violinist Henry Vieuxtemps (1820-81) to contribute some novelty to Sigismund Thalberg's second season in America, which was marred, however, by the financial panic of 1857. Audiences in the eastern cities who had already heard him multiple times were reluctant to spend money when finances were tight, and many concerts were canceled. Thalberg thus made two forays into the Midwest, where audiences who had yet to hear him were more eager to part with money. Like Leopold de Meyer before him, Thalberg brought his own Erard grand pianos, but he eventually had an understanding with the American piano firm of Chickering to supply pianos for his concerts. His last appearances in New York were at the orchestral concerts of the French conductor Alfred Musard (1828-81).
INTERLUDE II
Authors: Lott R. Allen
Published: May 2008

Partly because of the Civil War, no outstanding European pianist visited the United States during the 1860s. Women pianists were now entering the profession with a vengeance and several came to America, perhaps seeking greater acceptance than possible on the continent. Several of a very high caliber toured extensively throughout the United States shortly before Rubinstein's arrival, including Alide Topp (in the US 1867-70), Anna Mehlig (1846-1928; in the US 1869-73), and Marie Krebs (1851-1900; in the US 1870-2). Three more significant women pianists appeared later in the decade of the 1870s: the American Julie Rivé (later Rivé-King; 1854-1937), Arabella Goddard (1836-1922), and Annette Essipoff (1851-1914). The proliferation of women performers helped consolidate a pivotal change in the repertoire of the virtuoso pianist, who now interpreted works in a variety of styles by an array of composers representing the past and present.
CHAPTER 14 Escape to the New World
Authors: Lott R. Allen
Published: May 2008

The American tour of Hans von Bülow, recently divorced from Cosima Wagner, was managed by Bernard Ullman; Bülow's letters to Ullman provide insight into his contract negotiations, which included the sponsorship of the Chickering piano firm. Bülow's performances were recognized for their unfailingly flawlessness and their faithful interpretation. His opening appearances in Boston included the world premiere of the Tchaikowsky first piano concerto. His opening New York appearances included the dedication of the new Chickering Hall.
CHAPTER 16 The Midwest and Back
Authors: Lott R. Allen
Published: May 2008

Hans von Bülow made two tours of the Midwest, where he essentially gave solo recitals with only a brief respite by the Canadian-American soprano Lizzie Cronyn (1852-1921). Letters that Bülow wrote while in America vividly record the rigors of constant traveling, which eventually wreaked havoc on his already depleted nervous system, forcing him to withdraw from his contract after fulfilling only 139 concerts out of 172. Bülow's performances, though possessing greater perfection than Rubinstein's, did not create the same sensation as Rubinstein's overtly emotional ones. However, Bülow's greater faithfulness to the intentions of the composers helped establish orthodox interpretations of the canonic piano repertoire for the next generation of serious performers and teachers.
POSTLUDE
Authors: Lott R. Allen
Published: May 2008

By the closing decades of the 19th century, the solo piano recital containing a survey of historical repertoire had won full acceptance, reflecting the increased view of music as edification rather than entertainment. Although some writers have contended that the visiting virtuosos were more harmful than beneficial, earlier testimony is clear that at the time most Americans believed they were a beneficent phenomenon, awakening musical interest among a wide range of audiences and providing excellent models for students and aspiring professional musicians.
The Patterns of Supreme Court Precedent
Authors: Gerhardt Michael J.
Published: May 2008

This chapter provides a detailed overview of the Supreme Court's handling of precedent from the Jay Court through the Rehnquist Court. It examines the principal patterns in the justices' approach to precedent, particularly the different tests they have used to reevaluate their precedents. Moreover, it discusses some basic data with respect to the Court's overruling of precedent, and concludes with an examination of the many ways in which the justices weaken precedents without explicitly overruling them.
Theories of Precedent
Authors: Gerhardt Michael J.
Published: May 2008

This chapter critically examines the most prominent theories which social scientists and legal scholars have developed to explain the role of precedent in constitutional law. It shows that legal variables matter more to the outcomes of cases than social scientists typically acknowledge, but less than many legal scholars claim. Nor, for that matter, have legal scholars been able to dismiss altogether the relevance of external factors to constitutional decision making, including the justices' personal attitudes about constitutional law and policy preferences.
Recognition in Mozart's Operas
Authors: Waldoff Jessica
Published: May 2008

Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Recognition — or anagnôrisis, Aristotle's term in the Poetics — is a moment of new awareness that brings about a crucial reversal in the action. Employing both literary and musical analysis, and drawing on critical thought from Aristotle to Terence Cave, this book explores the ways in which the themes of Mozart's operas — clemency, constancy, forgiveness, and other ideals cherished by late 18th-century culture — depend for their dramatization on recognition. Several of the operas culminate in a moment of climactic recognition, many involve the use of disguise, and all include scenes in which characters make significant realizations of identity, feeling, or purpose. Many turn explicitly on themes of knowledge, themes that possess a special resonance in an age that named itself the Enlightenment. A critical understanding of recognition in Mozart's operas reveals the late 18th-century culture of sensibility as an influential but uneasy presence in the age of enlightenment. At the same time, it opens up new ways of thinking about questions of cultural identity, conventions of ending, and the representation of cultural values in these works. Theoretical chapters are devoted to the concepts of recognition and plot; analytical chapters are devoted to Die Zauberflöte, La finta giardiniera, Don Giovanni, Così fan tutte, and La clemenza di Tito. Idomeneo, Die Entführung aus dem Serail, Le nozze di Figaro, and other works of Mozart and his contemporaries are also considered.
Singing from the Right Songbook
Authors: Holzapfel Otto
Published: May 2008

German-language hymns and hymnals played a foundational role in American Protestant life, providing historical counterpoint to the English Protestant traditions. By the eve of World War I, nonetheless, English-language hymns had largely supplanted German originals, or had been introduced because of their great relevance to the American religious experience of ethnic Germans and followers of Lutheran and Reformed Protestantism. This chapter traces the transformation in language and tradition, assigning agency to immigrant and ethnic Germans who used hymnody as a medium for adapting to American culture. Specific compilers and publishers, such as Heinrich Melchior Mühlenberg and C. F. W. Walther, are compared, as are denominational distinctions, such as those between Missouri Synod Lutherans and the Pennsylvania Germans.
Prayer on the Panorama
Authors: Bohlman Philip V.
Published: May 2008

This chapter shifts the focus of the book from congregations, immigrant groups, and collective experience to the role of individuals and the concept of individualism in shaping American religious experience. Case studies of sacred musicians and music publishers, such as Alfred Grimm and David Einhorn, who variously reflect individualism in Lutheranism and Judaism, illustrate the ways in which discourse networks and embodied musical experience empower the individual to find a place against the metaphorical representation of vast American landscapes as panoramas. Hymnals are examined as personal and personalized collections of sacred song. The chapter concludes by examining the ways in which sacred music allows for processes of otherness, resistance, and the assertion of individuality.
After the Golden Age
Authors: Hamilton Kenneth
Published: May 2008

This book dissects the oft-invoked myth of a romantic Golden Age of Pianism. It discusses the performance-style of great pianists from Liszt to Paderewski and Busoni, and delves into the far-from-inevitable development of the piano recital. The book recounts how classical concerts evolved from exuberant, sometimes riotous events into the formal, funereal trotting out of predictable pieces they can be today; how an often unhistorical “respect for the score” began to replace pianists' improvizations and adaptations; and how the clinical custom arose that an audience should be seen and not heard. The book chronicles why pianists of the past did not always begin a piece with the first note of the score, nor end with the last. It emphasizes that anxiety over wrong notes is a relatively recent psychosis, and that playing entirely from memory a relatively recent requirement. The book presents a vivid tale of how drastically different are the recitals of the present compared to concerts of the past, and how their own role has diminished from noisily active participants in the concert experience to passive recipients of artistic benediction from the stage. The book's broad message proclaims that there is nothing divinely ordained about our own concert-practices, programming, and piano-performance styles. Many aspects of the modern approach are unhistorical — some laudable, some merely ludicrous. They are also far removed from those fondly remembered as constituting a Golden Age.
"My Brother Esau Is a Hairy Man"
Authors: Niditch Susan
Published: May 2008

The story of Jacob and Esau is told in the book of Genesis. With his mother's help, Jacob impersonates his hairy older twin by dressing in Esau's clothes and covering his own hands and the nape of his neck with the hairy hide of goats. Fooled by this ruse, their blind father, Isaac, is tricked into giving the younger son the blessing of the firstborn. This is only one of many biblical stories in which hair plays a pivotal role. In recent years, there has been an explosion of scholarly interest in the relationship between culture and the body. Hair plays an integral role in the way we represent and identify ourselves. The way we treat our hair has to do with aesthetics, social structure, religious identity, and a host of other aspects of culture. In ancient Israel, hair signifies important features of identity with respect to gender, ethnicity, and holiness. This book seeks a deeper understanding of Israelite culture as expressed, shaped, and reinforced in images of hair. Among the examples used is the tradition's most famous long-haired hero, Samson. The hair that assures Samson's strength is a common folktale motif, but is also important to his sacred status as a Nazirite. The book examines the meaning of the Nazirite identity null held by Samuel as well as Samson null arguing that long hair is involved in a complex set of cultural assumptions about men, warrior status, and divine election. The book also looks at pictorial and other material evidence. It concludes by examining the troubling texts in which men impose hair cutting or loosening upon women, revealing much about attitudes to women and their place in Israelite culture.
2 Event Concepts
Authors: Casati Roberto , Varzi Achille C.
Published: May 2008

This chapter analyzes the concept of an event and of event representation as an umbrella notion. It provides an overview of different ways events have been dealt with in philosophy, linguistics, and cognitive science. This variety of positions has been construed in part as the result of different descriptive and explanatory projects. It is argued that various types of notions — common-sense, theoretically revised, scientific, and internalist psychological — be kept apart.
4 Perceptual Development in Infancy as the Foundation of Event Perception
Authors: Johnson Scott P. , Amso Dima , Frank Michael , Shuwairi Sarah
Published: May 2008

This chapter examines event perception in infancy. To address the question of infants' segmentation and integration of the units of perceptual input, it considers the nature of the auditory and visual environment itself and how it might appear to infants, as well as intermodal events, in particular development of infants' sensitivity to audiovisual information. It also focuses on the broader theme of developmental mechanisms — how it is that emerging sensory skills contribute to developments in cognitive capacities to segment, synthesize, and interpret information to make sense of events. It is shown that despite the dramatic differences between auditory and visual information processing, there are some parallels, such as an analysis of distributional information.
6 Event Memory in Infancy and Early Childhood
Authors: Bauer Patricia J.
Published: May 2008

This chapter begins with a discussion of changes in the study of event memory in children. It then describes some of the most salient developmental changes in event memory over the first years of life and relates them to developmental changes in the neural substrate that permit the storage and later retrieval of memories of events long past. The chapter ends with suggestions of directions for future research.
7 Current Events: How Infants Parse the World and Events for Language
Authors: Pruden Shannon M. , Hirsh-Pasek Kathy , Golinkoff Roberta M.
Published: May 2008

This chapter focuses on what children need to know about events before they learn their first verbs and, more broadly, their first relational terms. Topics covered include when infants begin to perceive, process, and represent actions and spatial relations; the cues used to segment events into meaningful units; research on infants' ability to discriminate the semantic components containment, support, and degree of fit; research on infants' discrimination of path and manner; and factors that hinder or support infants' abstraction and categorization of spatial relations.
11 Movement Style, Movement Features, and the Recognition of Affect from Human Movement
Authors: Pollick Frank E. , Paterson Helena
Published: May 2008

This chapter explains the recognition of affect from human movement within the broader context of the recognition of different styles of movement. It begins by defining the meaning of movement style and then discusses possible theoretical constraints and what essential properties of a movement might support recognition. This leads to the notion of decomposing movements into features and a review of studies investigating the decomposition of movements into features. The recognition of affect from human movement is then explored.
14 Animacy and Intention in the Brain: Neuroscience of Social Event Perception
Authors: Heberlein Andrea S.
Published: May 2008

This chapter examines a set of related concepts, including judgments of animacy, judgments of agency or intentionality, and anthropomorphizing, focusing on the functional neuroanatomy of each process. Anthropomorphizing can be viewed as an illusion: stimuli possessing certain features appear to automatically elicit attributions of mental states and other qualities associated with people, in the face of declarative knowledge that the stimuli are not only not human but, in many cases, inanimate. Studies of illusions are particularly useful in revealing the organization of perceptual processes. The chapter considers studies of anthropomorphizing — that is, the attribution of personhood and person-related features such as emotions, intentions, personality traits, and beliefs to inanimate objects. It gives particular attention to the neural circuitry underlying social attributions based on the kind of minimal stimuli described above, relating these findings to other social processes in which the same neural regions have been implicated. Finally, it proposes a framework relating judgments of animacy, agency or goal, and emotion.
Selling the Korean War
Authors: Casey Steven
Published: May 2008

How presidents spark and sustain support for wars remains an enduring and significant problem. Korea was the first limited war the United States experienced in the contemporary period—the first recent war fought for something less than total victory. This book explores how Truman and then Eisenhower tried to sell it to the American public. Based on primary sources, this book explores the government's selling activities from all angles. It looks at the halting and sometimes chaotic efforts of Truman and Acheson, Eisenhower and Dulles. It examines the relationships that they and their subordinates developed with a host of other institutions, from Congress and the press to Hollywood and labor. And it assesses the complex and fraught interactions between the military and war correspondents in the battlefield theater itself. From high politics to bitter media spats, this book guides the reader through the domestic debates of this messy, costly war. It highlights the actions and calculations of colorful figures, including Taft, McCarthy, and MacArthur. It details how the culture and work routines of Congress and the media influenced political tactics and daily news stories. And the book explores how different phases of the war threw up different problems.
Introduction
Authors: Casey Steven
Published: May 2008

Although the Korean War was the first limited war the United States fought in the modern period, and although historians now view it as a watershed moment in the growth of the “national security state,” no one has undertaken a systematic analysis of the domestic debates sparked by the war. This chapter first examines the reasons for this gap in the literature. The remainder of the chapter then sets out the book's methodological background: the central individuals and organizations that were engaged in domestic propaganda; how they interacted with the “clubby” yet highly partisan Congress of this era; and the opportunities and difficulties they faced when dealing with a media that, while generally wedded to norms of objective reporting, was a highly complex and diverse entity.
11 Steady Improvements
Authors: Casey Steven
Published: May 2008

The campaign to sell voluntary repatriation was not the administration's only PR success in 1952. As the war persisted, officers and officials at all levels made big improvements in their publicity efforts. Many learned from earlier mistakes. In the Far East, senior officers also established more effective bureaucratic structures and brought in more personnel to help deal with reporters. On the ground in Korea, the changing nature of the war also eased the military's task. As the fighting bogged down in stalemate, it became less newsworthy. For the first time, the military also had enormous control over what reporters saw. And at the same time, they were now in a position to alleviate the two practical problems that had soured military‐media relations in 1950: appalling billets and antiquated communications. In Washington, meanwhile, officials undertook numerous information campaigns that helped sustain a measure of support for the war.
Introduction: Teaching Confucianism as a Religious Tradition
Authors: Berthrong John H. , Richey Jeffrey L.
Published: May 2008

Although “Confucianism,” both as a term and as a category of religious tradition, has been the subject of much controversy, reasons to regard and teach Confucianism as an authentic East Asian religious tradition are both abundant and sound. Problematizing and historicizing Confucianism as a religious tradition are necessary first steps toward understanding how Confucian ideas, institutions, and practices both accommodate and challenge understandings of religion. These in turn can benefit both teachers and learners of Confucianism.
Learning Confucianism through Filial Sons, Loyal Retainers, and Chaste Wives
Authors: Knapp Keith N.
Published: May 2008

This chapter provides instructors with a means of introducing an alternate and more popular side of Confucianism: stories and images of historical men and women whose actions embodied the Ru teachings. These figures are usually noted for, in the case of men, their filiality or loyalty, and in the case of women, their chastity. Instead of presenting the tradition as merely a system of ideas, this approach indicates that for most Chinese Confucian values were not just intellectual notions, but forms of behavior that could and had to be embodied by its practitioners. Instead of merely plodding through dry texts, through these materials, students interact with the tradition by reading arresting and strange accounts and looking at vivid and telling images. Finally, instead of merely perusing the books read by the elite, these tools of propaganda furnish a sense of how the great majority of premodern Chinese understood and viewed the Confucian tradition.
King Janaka's Contest
Authors: Glucklich Ariel
Published: May 2008

This chapter looks at the Upanishads, primarily the Brihadaranyaka and Chandogya. It focuses on a priestly contest at the court of King Janaka where the philosopher Yajnavalkya explains the nature of reality, particularly Atman and Brahman. The foundation of the Indian Vedanta philosophy is explained.
Kanishka and Krishna
Authors: Glucklich Ariel
Published: May 2008

This chapter looks at the city of Mathura, which lies on the Yamuna, during the period between the Mauryan and Gupta empires. Dominated by the Kushana ruler Kanishka, this period saw the rise of devotional religion focused on Krishna. The religious texts of the period achieved a sophisticated cultural synthesis, best exemplified in the Bhagavad Gita and Manu Smriti.
The Second Rationality
Authors: Glucklich Ariel
Published: May 2008

This chapter sets aside the work of the intellectual and cultural elites. It identifies the cultural productivity of the lower classes of Hindu society, including women, low castes, magicians and sorcerers, medical practitioners, and others. Much of this material comes from texts like the Atharvaveda, Rig Vidhana, medical literature, and Tantra. The underlying assumption, that religious values are embedded within practical affairs, is carefully examined.
Water Is Thicker than Blood
Authors: Bennett Jana Marguerite
Published: May 2008

Marriage and singleness appear in the contemporary era as problems for scholars and laypeople alike. Several problems related to marriage and singleness include questions of gender roles, the nature of public and private, and sexual ethics. Many contemporary theologians focus almost exclusively on “theology of marriage” and offer solutions using sociopolitical means, but they fail to see the damage that this limited focus on marriage alone has for ecclesiology.

Augustine of Hippo becomes a reference point for addressing this split between married and single people, as well as questions about gender and public/private distinctions. This book argues that Augustine's theological method shows a better way of thinking through some contemporary problems by demonstrating how Augustine views marriage and single states of life in light of the church's life and history.

Via retelling salvation history (creation, fall, redemption, and eschatology) and taking a look at the political life of the church in its worship practices, this book shows that marriage and singleness cannot be intelligibly separated from each other, that gender and gendered relationships must be seen in light of friendship with God, and that the marriage between Christ and the church is the first mediator in any state of life. The water of baptism, Christians' first birth and initiation into the life of Christ, becomes the primary standard for relationships, rather than familial ties.
Seeing the World with Augustine
Authors: Bennett Jana Marguerite
Published: May 2008

This chapter addresses the question of how marriage and singleness might be related to the Household of God by considering the church's own life and focus: Christ, scripture, worship. To think about relationships between things like scripture and marriage beyond simple proof‐texting or in theological terms rather than social‐scientific terms requires, in George Lindbeck's words, “a scriptural world” that provides an “interpretive framework.” Augustine of Hippo, a premodern theologian who wrote extensively on both marriage and singleness (and influenced many other theologians), appeals as a good interlocutor, despite being out of favor in recent years for his supposed views on sex and sexuality. This chapter briefly examines Augustine's use of scripture and liturgy in his own work and considers the ways in which Augustine makes use of salvation history as a primary way to discuss Christian states of life.
The Political Household of God
Authors: Bennett Jana Marguerite
Published: May 2008

This chapter considers God's own reconfigured eschatological Household, the church, by examining the third dichotomy raised in chapter 1: the public/private distinction. Reflecting on Augustine's City of God in conjunction with contemporary scholars John Milbank and Bernd Wannenwetsch, this chapter shows how the church is itself a politic that holds polis and oikos in tension. There can be no intelligible distinction made between the City of God and the Household of God given that the church is made to be Christ's body and is oriented to life in God. Christians are first members of this Household, and only secondarily members of smaller households, which are themselves formed in relation to the church.
At Home in Christ
Authors: Bennett Jana Marguerite
Published: May 2008

This chapter examines the Household of God and smaller households by looking more specifically at how members of those households ought to live in this “in‐between” time. This chapter considers, first, virtue and practice as part of how the Household of God forms constituent households and then looks at specific practices of the Household and households. Some practices considered include Eucharist, baptism, and hospitality; baptism and confirmation in relation to dating, novitiates, marriage, and procreation; being dependent on other members of the household; and related questions about gender differences, bodily differences (as in disability), and ecumenical conversation.