bluuebunny/crossref_metadata_2025 huggingface dataset:
Introduction
Authors: Johnson David Martel
Published: November 2023

Those people we refer to as eliminative materialists maintain that the world is thoroughly material in nature, and, furthermore, that this implies that the informal theory about human beings’ outer behavior and inner mental workings commonly called folk psychology must be wrong. To be more specific, these thinkers claim it follows from the facts that the world is material, and that material things behave and interact in certain ways, that there are not, never were, and never could be any such items as the beliefs, desires, emotions, sensations, moods, acts of choosing, and so on that ordinary people, some philosophers, and some philosophically inclined scientists think of as constituting the human mind.
Commonsense Refutations of Eliminativism
Authors: Marras Ausonio
Published: November 2023

Like William Lycan, I too believe that eliminative materialism, in any of its chief varieties, is a false doctrine, but I am skeptical that it is open to a direct, Moorean refutation, as Lycan supposes. Here are the reasons for my skepticism.1. Eliminativism in regard to the propositional attitudes is, in Lycan’s words, “materialism plus the claim that no creature has ever had a belief, desire, intention, hope, wish, or the like. “ This startling doctrine, endorsed by Churchland, (1981) Stich, (1983) and others as a plausible conjecture, is putatively established by its proponents by a number of arguments such as the ones that Lycan enumerates (El-E6).
The Significance of Ape Language Research
Authors: Shanker Stuart G , Taylor Talbot J
Published: November 2023

No supposition seems to me more natural than that certain kinds of plants multiply by seed, so that a seed always produces a plant of the same kind as that from which it was produced, but nothing in the seed corresponds to the plant which comes from it; so that it is impossible to infer the properties or structure of the plant from those of the seed that comes out of it; this can only be done from the history of the seed. So an organism might come into being even out of something quite amorphous, as it were causelessly; and there is no reason why this should not really hold for our thoughts, and hence for our speaking and writing.
“Roll Over Beethoven, Tell Tchaikovsky The News”
Authors: Altschuler Glenn C
Published: November 2023

You know my temperature’s rising, / the juke box is blowing a fuse,” Chuck Berry proclaimed. “My heart’s beating rhythm / and my soul keeps singing the blues. / Roll over Beethoven, / tell Tchaikovsky the news.” The news, of course, was that rock ’n’ roll was a “national pastime,” a powerhouse in American popular culture. “Maybe politically and socially you were a little shaky,” Cash Box crowed in 1957, “but man the whole music business rises, takes off its hat and salutes you.”
Introduction
Authors: Block Geoffrey
Published: November 2023

Richard Rodgers (1902-1979) was one of the most successful popular composers of his era and arguably the most successful, productive, diverse, and influential American composer for the musical stage of the twentieth century. As a songwriter, Rodgers was about as popular as a popular song composer can be. In fact, no fewer than nine Rodgers songs are featured among Variety’s Golden 100 songs of Tin Pan Alley (reprinted in Charles Hamm’s Yesterdays), a figure that equals the great Irving Berlin among all the songs copyrighted between 1918 and 19 56.’’ Rodgers’s songs are universally praised for their versatility, craft, and memorability as well as their emotional and dramatic qualities. In his influential survey of Rodgers songs in American Popular Song: The Great Innovators-1900-1950 (portions of which are excerpted in The Richard Rodgers Reader), Alec Wilder introduces his subject with unequivocal ardor: “Of all the writers whose songs are considered and examined in this book, those of Rodgers show the highest degree of consistent excellence, inventiveness, and sophistication.” Although most of the shows with Lorenz Hart (1895-1943) are remembered primarily for the songs, it needs to be said that from the earliest stages of his career Rodgers was concerned with their careful dramatic placement in his shows and films. More consistently than other outstanding songwriting composers of his era, including Berlin, Jerome Kern, George Gershwin, Cole Porter, and Harold Arlen, Rodgers, especially in his collaboration with Oscar Hammerstein (1895-1960), created a repertory of songs that have retained a credible attachment to their staged origins.
“Words and Music: Rodgers and Hart”
Authors: Block Geoffrey
Published: November 2023

Margaret Case Harriman’s two-part New Yorker profile, originally published in 1938, appears here as it was modestly updated in Take Them Up Tenderly, a collection of Harriman’s essays published several months after the death of Hart. Harriman offers the most substantial contemporary introduction to Rodgers and Hart, already “regarded in their profession as musical dramatists rather than as songwriters: Like most writing on Broadway songwriters, then and now, technical discussion is reserved for Hart’s lyrics, including brief explanations of such matters as exterior (male), interior (female) rhymes, and dummy lyrics. Little is said about Rodgers’s music other than a remark about an alleged resemblance between “Here in My Arms” and the African-American spiritual “Nobody Knows the Trouble I’ve Seen.” Harriman emphasizes Rodgers and Hart’s “belief that a musical comedy should be as well constructed as a straight drama’’ and notes their recently successful integration of songs into stories in On Your Toes and Babes in Arms. Rodgers himself remarked on several occasions in Musical Stages that his concern with, and sensitivity to, dramatic action did not begin with Oklahoma! Harriman also introduces several anecdotes that remain in wide circulation, for example, the story of how “Blue Moon” belatedly evolved into its present title and lyric to take its place among popular song perennials.
“Rodgers Without Hammerstein”
Authors: Block Geoffrey
Published: November 2023

For nearly eighteen years Rodgers and Hammerstein enjoyed perhaps the most fruitful collaboration in the history of the American musical, and Hammerstein’s death in 1960 was an incalculable personal and professional loss. Five years earlier Rodgers himself endured an operation in which cancerous portions of his jaw, tongue, and lymph nodes were removed (see Rodgers’s “Cancer? I’ve Had It!” in Part IV}, but at fifty-eight he remained in relatively good health and clearly possessed the will and need to keep working. Along with other journalists, Arthur and Barbara Gelb announced a.
“Cancer? I’ve Had It!”
Authors: Block Geoffrey
Published: November 2023

In “Cancer? I’ve Had It!” Rodgers encourages millions of This Week readers that detection can often lead to a full cure. Rodgers relates how a pain in his jaw led to tests and the removal of a portion of one jaw and numerous lymph nodes, and how with mild medication he was able to appear on television, rehearse and write additional material for a new show (Pipe Dream), fly to California to attend “a lot of very fine parties; and visit his daughter Linda had no physical difficulties to overcome in doing a job for which a much younger man should have gone into training; nor were there any aftereffects except a feeling of great exhilaration and accomplishment. Though we recognize our attitude is illogical, many of us are reluctant to admit that we have had cancer, even if there has been a complete cure. Most of us seem to feel that there is some sort of stigma attached to the disorder, almost as though it were a so-called social disease. Why this should be, no one seems to know and the doctors themselves seem baffled by what can only be called a phenomenon of unreason. Reason or no, the net result is that we hear very little from the patient or his family about the cure and only learn of the disaster. The “net-net” result is more fear and less chance of cure. Frankness on a social level could be enormously helpful, and publications, such as this one, could aid greatly by demonstrating that the opposite side of the coin need not always be black. I am not fatuous enough to believe that everyone who develops cancer can be as fortunate as I have been, but it cannot be denied that my expirience stands for what it is-far from happy but far from terrible. I went to a small party this Sunday. Four people there had been successfully treated for cancer. I shall feel deeply rewarded if, having read this, some of you who have signs of this kind of trouble will go for early help-not through terror but through hope.
“The Broadway Audience Is Still There, Waiting for More Good Shows”
Authors: Block Geoffrey
Published: November 2023

During the run of Two by Two Rodgers discussed “the state of the theater” in an interview in Dramatists Guild Quarterly. At the outset, Rodgers states categorically that the problems with Broadway can be attributed to the absence of first-rate new material. He then offers his opinions on the current scene, expresses his antipathy to rock (which he calls hard rock and devoid of melody and harmony), and his appreciation of the sole nonrock component of Burt Bacharach’s Promises, Promises, the song “I’ll Never Fall in Love Again:’ Acknowledging the difficulties he had over an extended period of forced amateur labor from 1920 to 1925 and the resulting desperation that placed him on the verge of abandoning the theater (to sell underwear), Rodgers offers encouragement and advice to those who dream of a profesional career: get your work performed anywhere and by anybody. As Rodgers put it, “If I were starting out and the Astor Hotel [home of Columbia’s Varsity Show of 1920, Fly With Me] was still in existence, I would be satisfied to have my stuff shown in its men’s room. Any place:’ The following is an edited transcript of a recent question-and-answer session with Richard Rodgers about the state of the theater, held at the request of the Dramatists Guild Quarterly, expressly for publication in these pages. We are grateful to Mr. Rodgers for his generous cooperation in this project, whose questioners were the Quarterly’s editor and reporter. [Tagline by Dramatists Guild Quarterly editor. Q: You have just celebrated fifty years in show business by doing a new show and it, like most of your others, is a resounding success. How does bringing in a show differ from when you first began? RODGERS: Two by Two was fun in spots and murder in others. Q: Was it more of a chore-more murder-than it would have been ten years ago? RODGERS: I don’t think so. Your trouble in producing any show arises out of the confrontations with the people you are working with. You have your difficulties with writers and actors as people rather than as craftsmen or performers. This is where you have your trouble, just as you do in a club you belong to or a bar you go to. It’s the guy on the stool next to you who’s almost as neurotic as you are.
Cautious Crusade
Authors: Casey Steven
Published: November 2023

America’s struggle against Nazism is one of the few aspects of World War II that has escaped controversy. Historians agree that it was a widely popular war, different from the subsequent conflicts in Korea and Vietnam because of the absence of partisan sniping, ebbing morale, or calls for a negotiated peace. In this provocative book, Steven Casey challenges conventional wisdom about America’s participation in World War II. Drawing on the numerous opinion polls and surveys conducted by the U.S. government, he traces the development of elite and mass attitudes toward Germany, from the early days of the war up to its conclusion. Casey persuasively argues that the president and the public rarely saw eye to eye on the nature of the enemy, the threat it posed, or the best methods for countering it. He describes the extensive propaganda campaign that Roosevelt designed to build support for the war effort, and shows that Roosevelt had to take public opinion into account when formulating a host of policies, from the Allied bombing campaign to the Morgenthau plan to pastoralize the Third Reich. By examining the previously unrecognized relationship between public opinion and policy making during World War II, Casey’s groundbreaking book sheds new light on a crucial era in American history.
Extracting the New South
Authors: Steinberg Ted
Published: November 2023

Spring 1865 brought misery and death to the beleaguered Confederacy. All that remained of the formerly invincible Army of Northern Virginia was 55,000 desperate and starving troops, men battered by four years of war, their pride melting before thoughts of desertion. The indignities of war mounted. In April, the men trudged toward Amelia Courthouse, Virginia, driven on by the prospect of a rendezvous with rations arriving by train. But a snafu caused ammunition to be delivered mistakenly. As the men dragged themselves forward, they were reduced to eating horse feed—the corn on the cob commonly fed the animals. “Two ears were issued to each man,” one soldier wrote. “It was parched in the coals, mixed with salt, stored in the pockets, and eaten on the road. Chewing the corn was hard work. It made the jaws ache and the gums and teeth so sore as to cause unendurable pain.” Thus it was that one of the first things Gen. Ulysses S. Grant did after the South surrendered was send three days of rations to the former Confederate rebels, taking the edge off their hunger and welcoming them back into the United States.
Death of the Organic City
Authors: Steinberg Ted
Published: November 2023

Before 1880 it was not the least bit unusual to walk out into the streets of Atlanta and find cows. In 1881, however, the city’s political leaders decided that bovines were no longer welcome. The cows could come home, as the saying goes, but not to the streets of Atlanta—not after the city council passed a law making it illegal for cattle to roam the town. Apparently a large number of working people, who depended on the animals as a source of milk and meat, objected to the ordinance. A man named J. D. Garrison denounced the law as little more than a thinly veiled attempt at class warfare. “I speak the feelings of every man when I say this is the dictation of a codfish aristocracy,” he said. “It is an issue between flowers and milk—between the front yard of the rich man and the sustenance of the poor family.”
The Progerias
Authors: Fossel Michael B
Published: November 2023

In a book on cell senescence in human disease, it is negligent not to discuss progerias, yet from what perspective? Does cell senescence cause progerias? Do the progerias cause cell senescence? Are “progcroid syndromes” (Brown, 1995) related to cell senescence at all (Greally et al., 1992)? These echo older questions clinicians have asked regarding progerias, viz., do these diseases have anything to do with “real” aging (Reichel et al., 1971)? Shorn of sophistry, we don’t know.
Muscle
Authors: Fossel Michael B
Published: November 2023

Muscles consist of large numbers of myocytes that join to form visible structures to allow movement. They receive innervation from the motor neurons that control them. Equally, they receive a substantial vascular supply to supply oxygen, glucose, and nutrients, while removing metabolic waste products such as carbon dioxide and lactate. Muscle strength varies histologically with the type of muscle fiber (white or red; type I or II), anatomically with size (diameter) and attachment (leverage), temporally with chronic use (exercise) and acute use (fatigue), and hormonally (testosterone, corticosteroid, thyroid, growth hormone, etc). Finally, and appropriately so, muscle strength varies chronologically with age.
Multiple Personality Disorder
Authors: Wenegrat Brant
Published: November 2023

In the previous chapter, I noted that the major modem-day illness roles in Europe and North America are of three types, and I discussed the first: disorders that resemble hysteria. The second type is multiple personality or, in DSM-IV terminology, “dissociative identity disorder.”1 Multiple personality disorder is conceptually linked to the recovered memory movement and to ostensible satanic ritual abuse; these are the subjects of the following chapter.
Community Intervention and Programs: Let’s Extend the Clan
Authors: Hardcastle David A , Powers Patricia R , Wenocur Stanley
Published: November 2023

One goal of community practice is to expand the circle so that more and more people will be embraced by others as an integral part of the human family. Chapter 4 presented environmental factors and the context of community practice. The purpose of this chapter is to convey a sense of what much of community work is like today, in terms of goals, approaches, and preoccupations. Through concrete examples, this chapter will showcase contemporary community intervention modes and successes.1 It will describe the kind of programs underway to address some of the problems outlined in Chapters 3 and 4. It will show how direct service practitioners can be part of activities such as building capacity, identifying assets, creating caring connections, and joining with others to promote community cohesion and individual and group self-respect. Community intervention encompasses the ability to tap community strengths and the skills of including, linking, engaging, and empowering citizens. (See Chapter 14 for advanced skills in connecting and organizing people and communities.) After decades of pessimism about the quality of community life, phrases such as community resiliency and comeback cities suggest a new societal atmosphere. Community practice also has increased status in our profession and workplaces.

U.S. News labels social work a “hot job” and says being a community practitioner is part of that hot track: “Elected officials are hiring these organizers as a liaison to the community, tracking problems facing constituents. Labor unions employ them to do fieldwork, and nonprofits bring them aboard for local issues, like organizing low-income neighborhoods against hospital chains said to be unsympathetic to the poor. More groups are bringing them on to do good work” (U.S. News & World Report, n.d.).
Using Social Marketing
Authors: Hardcastle David A , Powers Patricia R , Wenocur Stanley
Published: November 2023

A full-page ad appeared in the New York Times (August 21, 2000, p. A11) displaying a young African American male’s picture with a bold heading proclaiming, “Jared Has the Grades and the Determination. Now He Has the Tuition Too.” Another full-page advertisement asked, “Why Do So Many People Celebrate the Birthday of a First-Century Rabbi?” (The New York Times, December 9, 1997) and proceeded to answer the question with Biblical references. A third featured a photograph of a woman literally being squeezed by a giant hand and a bold heading “Please Don’t Squeeze the Actors!” (The New York Times, September 12, 2000, p. A25B).
Study Design
Authors: Valente Thomas w.
Published: November 2023

A study design specifics the number, timing, and type of data measurements relative to the intervention. Understanding study designs is crucial to conducting effective evaluation studies, since these designs specify the logic needed to determine program impact. This chapter discusses study designs, with an emphasis on intervention and control (or comparison) groups, and conveys the logic of study designs. Chapters 7 through 9 present the computer and statistical tools needed to implement them.
Data Collection and Management
Authors: Valente Thomas w.
Published: November 2023

This chapter describes techniques for collecting and managing evaluation data. Faulty collection and management of data can be a significant barrier to successful evaluation; valid and reliable data are needed to make valid and reliable estimates of program effects. This chapter presents procedures for data collection. coding, entry, and management.
Measuring Program or Campaign Exposure
Authors: Valente Thomas w.
Published: November 2023

Health promotion evaluations need to measure program or campaign exposure. Program exposure is the degree to which the audience recalls and recognizes the program. Evalualing policy changes requires knowledge about how the policy was implemented and expected to work. Evaluating health promotion programs requires knowledge about how the program was implemented and whether the audience was exposed to it.
Developing Literacy
Authors: Bartle Jean Ashworth
Published: November 2023

One of the long-term goals of all children’s choir directors must be to develop reading skills that foster independence. Teaching children music exclusively by rote in the choral rehearsal is equivalent to reading stories to a second- or third-grade class without ever letting the children read stories by themselves. It is a great disservice to the children if they are not taught to read music well. In the same way that very young children can master new language, the earlier they are taught to read music, the better. When they can read well, they receive enormous personal satisfaction and can be much more effective in the rehearsal.
Discipline
Authors: Bartle Jean Ashworth
Published: November 2023

It would be ideal if all children came into rehearsal bursting with enthusiasm and energy, sat quietly in their seats, prepared their music, and looked directly at you for the downbeat. This is perhaps impossible, but many of the ideas expressed in this chapter may help you get closer to the ideal and make music making more enjoyable for you and your students. One of the major concerns of teacher/conductors is discipline; hence this chapter has been devoted to exploring ways of preventing discipline problems from happening.
Preparing the Children to Sing a Major Work with Orchestra
Authors: Bartle Jean Ashworth
Published: November 2023

Singing a choral masterpiece with an adult choir, professional soloists, and a symphony orchestra is one of the most thrilling and memorable experiences a young chorister can have. For the children’s choir conductor, however, preparing such a massive work can be a daunting task. This chapter outlines the problems he or she may encounter in six specific works and offers suggestions for overcoming them through thorough preparation and organization.
The Strange Convergence of Affirmative Action and Immigration Policy
Authors: Graham Hugh Davis
Published: November 2023

In the early 1990s, when a sharp recession increased unemployment and threatened job security throughout the United States, newspapers began publishing stories about immigrants participating in affirmative action programs. The issue was especially controversial in cities with large immigrant populations, such as Chicago, Houston, Los Angeles, Miami, New York, and Washington, D.C. Civil rights leaders, anxious to protect affirmative action programs from criticism, avoided discussing the issue, as did immigrant rights leaders. Government officials responsible for affirmative action programs, unable to avoid comment, generally reiterated agency guidelines on eligibility, a response which affirmed, often in obfuscating bureaucratese, that immigration status was generally not relevant to affirmative action eligibility.

These stonewalling strategies by beneficiary groups and agency officials were often successful in deflecting criticism and sidetracking the issue. Affirmative action programs were a confusing mix of federal and local, public and private, court-ordered and agency-mandated. Journalists were rarely able to ferret out specific information about how many immigrants were benefiting from which programs. Larger issues, moreover, dominated the news in the early 1990s: the end of the cold war, the winning of the Persian Gulf hot war, the Bush-Clinton-Perot presidential contest, the controversies over national health care insurance and gays in the military, the Republican sweep of Congress in 1994. Affirmative action for immigrants was an emotion-laden issue, especially during recession, but it was not generally a page-one news item. Resentment of immigrants, though strong in the heavy immigration states of Arizona, California, Florida, Illinois, New York, and Texas, was not a powerful grassroots force in most other states.
Fluctuating Asymmetry, Developmental Instability, and Fitness: Toward Model-Based Interpretation
Authors: Gangestad Steven W , Thornhill Randy
Published: November 2023

Fluctuating asymmetry (FA) is thought to be the outcome of developmental instability, the imprecise expression of developmental design due to perturbations during development. Developmental instability, in turn, has been claimed to importantly reflect reduced fitness. It has furthermore been claimed to be an outcome of evolutionary processes that prevent organisms from fully adapting to their environments (including mutation, host-pathogen coevolution, sexual antagonistic evolution, and other coevolutionary processes), associated with the genetic variance in fitness that these processes create, and therefore an important source of insight into these evolutionary processes (see Moller and Swaddle 1997). These statements are theoretical. Because developmental instability and genetic variance in fitness are not directly observed, the credibility of claims that fluctuating asymmetry tap them depends on a variety of observations that indirectly support them. For instance, they gain support from observations that a variety of factors believed to introduce developmental perturbations (e.g., toxins, pathogens, physical stressors) increase FA, that FA is associated with fitness outcomes, and that FA possesses genetic Variance.
The Analysis of the Asymmetry Phenotype: Single Genes and the Environment
Authors: Mckenzie John A
Published: November 2023

An underlying assumption of the study of evolutionary developmental biology is that the more successfully individuals maintain a particular developmental pathway, when challenged by genetic or environmental perturbation, the relatively more fit they are (Maynard Smith et al. 1985; Hall 1992; Batterham et al. 1996; Gibson and Wagner 2000). Lack of developmental fidelity is perceived to incur a physiological cost and concomitant selective disadvantage (Maynard Smith et al. 1985; Parsons 1992). A number of methods have been used to estimate such developmental instability (Zakharov 1992) but departure from symmetry has been the most common (Markow 1995; Palmer 1996).
Developmental Instability: An Appropriate Indicator of Plant Fitness Components?
Authors: Tracy Mary , Freeman D Carl , Duda Jeffrey J , Miglia Kathleen J , Graham John H , Hough R Anton
Published: November 2023

Developmental stability refers to the ability of an organism to produce its predetermined phenotype under given environmental conditions (Zakharov 1989). The mechanisms governing developmental stability are described in chapters of part I of this volume. Developmental instability is manifested as an increase in asymmetry, withinindividual variance, the frequency of phenodeviants, or as an altered fractal dimension (Mather 1953; Palmer and Strobeck 1986; Graham et al. 1993a; Freeman et al., chapter 20, this volume). Developmental instability has generated great interest as a biological indicator of stress (Hoffmann and Woods, chapter 21, and Zakharov, chapter 22, this volume). This has resulted in widely diverse applications, from a biomonitor of pollution to a measure of genetic quality. The advantages of using developmental instability include its sensitivity, ease of measurement, and applicability across many different taxa (see Leung et al., chapter 23, this volume). As long as an organism displays symmetry or repeated production of some body part, then some estimate of developmental instability can be applied. While experimental studies are normally unable to distinguish among multiple interacting sets of stressors (i.e., different stressors do not produce different phenotypes), developmental instability parameters are commonly able to detect the synergistic and antagonistic effects of multiple stressors (Freeman et al. 1993; Graham et al. 1993a; Tracy et al. 1995; Kozlov et al. 1996; Shykoff and Kaltz 1998; Wilsey and Soloniemi 1998; and see Andalo et al. 2000, chapter 20, this volume). These attributes support the notion that developmental instability is well suited for identifying stressed organisms. Among the many unanswered questions that remain, the relationship between developmental instability and fitness is perhaps the most important.
Fluctuating Asymmetry Analyses Revisited
Authors: Palme Richard , Strobeck Curtis
Published: November 2023

Fluctuating asymmetries are small, random deviations from symmetry of bilaterally symmetrical traits (Ludwig 1932). They presumably reflect the residual variation after all the direct effects of genotype and environment on trait form have been removed (Mather 1953). As a consequence, the average unsigned deviation from symmetry, to which the term fluctuating asymmetry (FA) typically refers, has achieved prominence as a measure of developmental precision (Palmer 1996): the ability of a given genotype to produce the same target phenotype (Nijhout and Davidowitz, chapter 1, this volume) repeatedly-on opposite sides of the body-under well-defined environmental conditions (Zakharov 1992). Both genetic and environmental stress appear to increase FA (see chapters of parts II and V, this volume, and see Bjorksten et al. 2000). In addition, the subtle deviations from symmetry that yield FA may also relate to individual quality or fitness (M0ller 1997; Brown and Brown 1998; Houle 1998; but see comments by Clarke 1998). For these reasons, FA has been widely studied in many ecological and evolutionary contexts (M0ller and Swaddle 1997), although hints of discomfort about the validity of published claims have arisen on several fronts (Houle 1998; Palmer 1999; Simmons et al. 1999; Palmer 2000; Palmer and Hammond 2000).
Evolution of Egg Size and Number
Authors: Einum Sigurd , Kinnison Michael T , Hendry Andrew P
Published: November 2023

Reproductive traits are strong determinants of fitness and should thus be associated with intense selection. One important component of this selection is the period following fertilization of the ova. In a wide range of organisms, particularly those with high numbers of offspring, early life stages experience massive mortality (e.g., Fortier and Leggett 1985; Brosseau and Baglivo 1988; Iverson 1991). Thus, if phenotypic variation is present, the potential for selection on juveniles may exceed that at any other stage of life. Although some phenotypic variation may be caused by genetic variation among the juveniles themselves, the importance of maternal effects (particularly through egg size) has become increasingly apparent (reviewed by Roff 1992; Bernardo 1996a; Mousseau and Fox 1998a,b). It is now clear that egg size is an important fitness component, with offspring fitness after hatching tending to increase with increasing egg size (e.g., Roff 1992, pp. 348-352; Sinervo et al. 1992; Hipfner and Gaston 1999; Einum and Fleming 2000a).
Epidemiologic Analysis
Authors: Selvin Steve
Published: November 2023

Using real data from published sources, this engaging and lucid casebook shows how statistical tools can be used to analyze important epidemiologic issues. Its 18 cases address a variety of interesting research problems from Mendel's classic sweet pea experiments to recent studies of AIDS and exposure to electro-magnetic field radiation. Each includes a data set. The cases are described succinctly and the methods used to analyze them are then discussed in detail. A wide range of statistical and graphical tools are included, from simple mean values to nonparametric bivariate regression smoothing techniques. The level of discussion is sophisticated but mathematically simple, affording access to a broad audience interested in using collected data to study human health and disease. The author's focus on describing, interpreting and presenting results will set this book apart from other texts.
Multivariable Linear Regression
Authors: Selvin Steve
Published: November 2023

To examine the influence of maternal weight gained during pregnancy on the birth weight of a newborn infant while controlling for a variety of possibly important confounding factors. DATA The Department of Obstetrics, Gynecology, and Reproductive Science Peri­ natal Database maintained at the University of California, San Francisco (UCSF) contains data on a large number of characteristics of mothers and their newborn infants. Information on maternal age, smoking exposure, pre­ pregnancy weight, parity, height, and rate of weight gained during pregnancy was abstracted, forming a cohort of 427 Hispanic mothers who gave birth dur­ ing the eleven year period 1980 to 1990. In addition, length of gestation and birth weight were recorded for each mother’s newborn infant. Birth weight was measured immediately at delivery. The length of the gestation period was determined by a rigorous process combining information from the last menstrual period and Dubowitz scores. Mothers were routinely weighed at every prenatal visit, allowing an estimate of the rate of weight gained during each trimester based on simple linear regression interpolation.
Agogic
Authors: Debost Michel
Published: November 2023

Slight changes occur during a human instrumental execution. Agogic3 is the combination of the natural tendency of dynamics to affect tempo and rhythm, and vice versa. It concerns, for a great part, these natural phenomena: An accelerando invites a crescendo, whereas a diminuendo tends to drag. A stretched tempo increases the effect of a harmonic progression toward an accent. Upbeats are characterized by a more animated and lighter dynamic (weak beat) than downbeats (strong beats), which are by nature heavier and more stretched. Short values (sixteenths) in a fast tempo invite an even quicker pace, but the same values, in a slow movement, tend to drag. Long notes decay naturally if they are not sustained. Rubato allows phrasing to “speak” the music by imperceptibly stealing here the time that will be returned there. Silence attracts sound just as gravity affects mass. It is important to know about agogic, either to go along with it to enhance performance or to control it when it threatens to disfigure the musical discourse. Instruments have their own agogic. Cellos and bassoons thrive in their lower range, whereas flutes and violins find their best singing voice in their middle and uppermiddle registers. These natural characteristics help to color and pace music effectively.
Alignment
Authors: Debost Michel
Published: November 2023

The outer edge of the embouchure hole, the leading edge on which we blow, should be roughly on a straight line running through the middle of the tone holes. It is advisable for people who are unsure of their position to mark this with a drop of nail polish on the head joint and on the brand-mark ring. However, certain experienced players have found it more comfortable to open, that is, turn out, or to cover, that is, turn in the embouchure. This is a matter of taste and convenience. If it works for you, do it! If the amount of deviation one way or another makes you produce a sound that is too thin and reedy, chances are you are covering too much. If it is too breathy and out of focus, then your opening might be exaggerated. One of the advantages of the French system is that you have to have an average alignment of the headjoint for the fingers to cover the holes on the ring keys. It is hard to understand why students are supposed to learn on closed-hole instruments that encourage bad habits and then graduate to French-system flutes after they have developed such bad hand positions that it is terribly painful to change
Arpeggio
Authors: Debost Michel
Published: November 2023

The fundamental note of an arpeggio needs to resonate: it is not in bad style, therefore, to hold it a little, and even to give it a little vibrato. Especially when it is slurred, an arpeggio should not be seen as a staircase whose steps would be pushed away one by one by jutting the chin (figure 1), but as a chain (figure 2) whose links would be the notes wrapping onto one another in a seamless stream of sound. The highest point always seems the hardest. This is purely psychological, for if this note were part of an arpeggio reaching higher, it would not be a problem. Three things must be kept in mind: The higher the note, the lower the center of gravity should be. As the arpeggio rises, you should feel that you are sinking into the floor. The power that you feel in your abdominal wall comes also from your legs, just as when you lift a heavy object. If you are sitting, your lower back contributes to the legs’ involvement.
Articulation
Authors: Debost Michel
Published: November 2023

Articulation implies the word article, a locution allowing the language to be clearer, more legible, more . . . articulate. Newspaper headlines use no articles: “Mother Robs Bank for Son’s Bail.” A whole story in six words, but hardly an example for musical interpretation. Each musical phrase can be taken as a spoken sentence, each element of this phrase as a word, and each note as a syllable. This, in turn, consists of consonants and vowels. The sound equivalent of any syllable is unique to each language. Consider the imaginary words tude and ture (for example, in latitude and miniature): it is difficult to compare the dryness of the French u, the guttural German ü or y, the velvet of the Italian and Spanish out, the wet English you. The wonder of sounds!. The consonant t is more or less dental; in the r, we hear all the different flavors: the rasp of the German and French and the roll of bel canto in Italian, Spanish, and the ancient French that can still be heard in some French-speaking provinces and lands (such as Canada and Lebanon). The brogues of Ireland and Scotland and the local tongues of England roll around like a mouthful of pearls. The r seems to be the stumbling block of Japan, where r and l are pronounced almost identically. Modern English speakers find it hard to deal with either the rolled or the guttural r. Learning a foreign tongue or two opens one’s mental scope; for a musician, and particularly for a flutist, it is a charming and helpful tool for articulation and for a natural phrasing.
Breathing2: Mechanics
Authors: Debost Michel
Published: November 2023

Pulling in the tummy during inhalation is the result of education and of attitude control that a screaming infant cares nothing about. This look is fine for fashion models, but for breathing it is hopeless. Standing at attention, tummy tucked in, chin up, and eyes to the horizon is superb for a Marine on the parade ground but is not a good idea while playing the flute. Here is a simple exercise to feel a true abdominal inhalation: sit with knees and feet joined; bring your elbows to your knees while exhaling. When you inhale, your torso cannot move and your breathing is really abdominal. Of course, it is not advisable to play in this position! Now lie on your back. In this position, you cannot raise your shoulders upon inhalation. However, you can raise your tummy freely. This is the most natural and the best breathing procedure. Duplicate it while standing. Try to avoid the impression of inflating your lung cavity. Atmospheric pressure does that by a bellows effect when you create a void inside your lungs. Nothing should stand in the way of fresh air. The bellows effect explains why our breath is shorter at high altitudes. Because of the lower atmospheric pressure, the same chest movement gives us less air. If you breathed with clenched teeth, you would do a very poor inhalation. You would be breathing with high shoulders. You would produce a strong hissing noise, perceptible from a distance and your teeth would feel cold. If you opened your jaws but left your tongue in the path of incoming air, you would get a slightly better inhalation (although it would still be placed in the upper part of your chest). You would feel the cool air inside your mouth, but you would still make this unpleasant sucking noise that flutists often produce. A sucking noise at air intake shows that your mouth and your throat are closed and that your tongue is in the way.
Bridge
Authors: Debost Michel
Published: November 2023

In the course of twenty-four hours in the life of a flutist, the break between low and medium ranges is breached hundreds of times. Yet it is still one of the critical points of instrumental playing, especially when it must be slurred slowly. It shows once more how deceptive is the assumption that “only fast is difficult.” After more than half a century of playing the flute, I still have to think ahead and work at making the bridge smooth and musical, but it brings rewards. The problem lies in the fact that we have to go from two handfuls of fingers (D2) to only one or two (C2) and back. To make matters worse, these happen to be our dear little devils no. 1 and no. 2. “The second octave C–D, for instance, requires an extremely complex coordination of seven fingers and a thumb (an exchange that can be simplified by anticipating the D with the second and third fingers of the right hand while playing the C and vice versa).” And, I may add, not using the right pinky.
Finger Antagonisms
Authors: Debost Michel
Published: November 2023

Often I feel that some of my fingers weigh a ton. This is especially obvious in trills that seem to always want to go their own way, out of context and beyond my will. Even in scale patterns and in simple arpeggios, difficulties arise when fingers work in different directions. Before being able to practice them, it is important to determine why certain patterns are more awkward than others. “Down” fingers, through gravity and natural reflex, move faster than “up” fingers. This is one more reason to avoid slam-and-squeeze: fast movement upward, gentle landing downward. Here is a small catalog of antagonistic finger movements, in order of decreasing ease. Black keys and levers indicate finger down; white keys and levers indicate finger up; up arrows show “off ” motion; and down arrows show “on” motion.
Focus
Authors: Debost Michel
Published: November 2023

I remember my childhood days when I started the flute. I loved to blow into it and the sound it made, but, however much I tried, I was always short of breath. It still happens sometimes. Then, teaching young players, I realized that the problem was not so much taking air in as managing its focus while blowing. The purpose of inhaling is to produce sound. “Play well (blow well) and you will breathe well.” The other way around is not always true. What is the use of breathing if the air is not focused and managed efficiently? I have seen many articles, even books, about breathing and its mechanics, poor guys with electrodes on their chest, their throat, their abdomen. Very few words about air management or rapid breathing. Even less about music. We are preoccupied by the mechanics of breathing and by the opinion of our flute colleagues. But the audience at large and other instrumentalists only listen to the music. Have you noticed how string players are always working on new bowings? We don’t even notice whether a phrase is upbow or downbow. The same applies to our breaths. If it is well placed and executed, a breath actually contributes to the music. Don’t think that an audience listens to you the way other flutists do. Don’t think, while you play: “What will they say if I breathe here or there?” They are going to be critical, whatever you do.
Hands
Authors: Debost Michel
Published: November 2023

Flute stability is the prerequisite of healthy and efficient instrumental playing. Stability helps tone as well as virtuosity, legato as well as articulation, high range as well as low, dynamic control as well as intonation. Primitive or sophisticated flutes of all ages and of all ethnic origins have one thing in common: they rest on the same point of the left hand— the first joint of the left forefinger,1 halfway between the embouchure plate2 and the right thumb.3 From my instrumental playing perspective, total solidarity between the lip plate and the chin results from the isometric balance of forces between these fulcrums. These forces apply not to holding up the flute vertically, but rather on a horizontal plane, perpendicular to the flute. The first teacher should be extremely patient and meticulous. Changing a faulty hand position after the first six months is very frustrating for student and professor. One of the assets of the French system (open keys) is that it guides a beginner to a healthy hand position. A French-system flute, if it can be found, is the ideal starting instrument. Once a good position is established, the French system does not matter much anymore. It’s a kind of fetish. If the offset G is more comfortable, is should be the right choice.
Hierarchy of Beats
Authors: Debost Michel
Published: November 2023

In 4/4 time, the first beat (downbeat) is usually the strongest. Then, in order of emphasis, comes the third beat, which is weaker than the first. The intermediate weak beat is the fourth, which serves as upbeat to the next phrase. The weakest is the second beat: it serves as release for the often-accentuated downbeat. Letters in the hierarchy of beats examples represent the following: DB = downbeat; RB = release (weakest) beat; SB = secondary beat; uB = upbeat (weak); dDB = displaced downbeat. In 3/4 time, it is more stylistically natural to erase somewhat the second beat instead of reinforcing the first:
Intervals
Authors: Debost Michel
Published: November 2023

I do not understand why tone is practiced as a separate entity any more than technique or tonguing. Instrumental playing is the sum of it all: listen to your sound in rapid passages, mind your intonation during staccato, smooth out your finger movements during phrasing, do not slam-and-squeeze in an interval (or anywhere else), and so on. The tension on the first note of an interval is like the action on a trigger: progressive and imperceptible. If the squeezing is too brutal, the rifle moves and the target is missed. The effort needed for an interval does not come on the change, but just before it. The actual interval is like a release. In my way of playing, intervals should be practiced without lipping. If you should indulge in jawboning during a performance, fine. Music is the issue. But in a practice situation, you are trying to educate the basic tone production and control. Since you are not going to have time to work your chin on every note of an arpeggio in Peter and the Wolf or Mozart concertos, or any fast movement, you might as well keep your basic mouthpiece position and support. This is what you practice on intervals.
Lips
Authors: Debost Michel
Published: November 2023

Lips are too often considered the most important part of flute playing, because it is at their level that air becomes musical sound. The lips are not the only element to produce the tone. It is the air brought by the air column breaking upon the outer edge of the embouchure hole that creates a sound. Many players think about their lips (their “chops,” in musicians’ jargon) and only that: they are forever touching them, looking at them, trying new head joints and warming up with long tones. They are like drivers who consider the steering wheel the most important part of an automobile. Actually, it provides essential direction, but no effort. The air column produces the energy of playing; the lips provide control and direction, but not force. There is no ideal lip position. Teachers who constantly try to change their students’ lip formation are actually doing them a disfavor. Symmetry has nothing to do with it, since the flute is played in an asymmetric position. Each lip morphology is unique in shape, thickness, size, and firmness. More important is the way the lips are used, as a guide. Comfort is the issue, within reasonable proportions. If it works, do it! The character of anybody’s tone is in what they hear and how the air column resonates inside and out of the flute player. “You can only reproduce the tone that you hear inside of yourself. Embouchure technique comes from what you want to hear, not the other way around.”