bluuebunny/crossref_metadata_2025 huggingface dataset:
Geological history of ophiolites in the Lesser Caucasus and correlation with the Izmir-Ankara-Erzincan suture zone: insights from radiolarian biochronology
Authors: Danelian Taniel , Asatryan Gayané , Galoyan Ghazar , Sosson Marc , Sahakyan Lilit , Caridroit Martial , Avagyan Ara
Published: September 2012

Three distinct radiolarian assemblages were obtained in this study; two of them were extracted from large blocks of radiolarites included in a mélange NW of Lake Sevan (Dzknaget). The latest Tithonian-Late Valanginian assemblage comes from a coherent sequence of 6–7 m-thick radiolarites with intercalations of lavas and rounded blocks of shallow-water limestones. The Late Barremian-Early Aptian assemblage found in the second block allows correlation with radiolarites dated recently in Karabagh. A third radiolarian assemblage comes from Vedi and establishes that radiolarian ooze was accumulated in the Tethyan realm of the Lesser Caucasus until at least the middle Albian. A synthesis of all available micropaleontological (radiolarian) and geochronological ages for the ophiolites present in Armenia and Karabagh points to the following scenario for their geological evolution: the initial phase of oceanic floor spreading was under way during the Late Triassic (Carnian) or even slightly before; the bulk of oceanic lithosphere preserved today in the Lesser Caucasus was formed during the Jurassic; evidence for subaerial volcanic activity is recorded in tuffite intercalations in the Middle-Upper Jurassic radiolarian cherts; an oceanic volcanic plateau was formed during the Late Barremian-Aptian (or possibly even before) while the obduction of ophiolites took place during the Coniacian-Santonian.

The geological history of ophiolites in the Lesser Caucasus shares a number of similarities with the Izmir-Ankara-Erzincan suture zone (i.e. initiation of ocean spreading during the Carnian, obduction after the Cenomanian), but there are also some differences especially with respect to the timing of the oceanic plateau emplacement.
Bajocian to Tithonian age of radiolarian cherts in the Tolmin basin (NW Slovenia)
Authors: Goričan Špela , Pavšič Jernej , Rošič Boštjan
Published: September 2012

The Tolmin basin is a typical example of a deep-water Mesozoic basin that developed on the rifted south Tethyan continental margin. Remnants of this basin are preserved at the intersection of the Dinarides and the southern Alps in northwestern Slovenia. The Jurassic successions consist of carbonate gravity-flow deposits, radiolarian cherts and shales, and are overlain by pelagic Biancone limestone. A distinctive chert-dominated interval (the upper member of the Tolmin Formation) was dated with radiolarians. The base of this interval was assigned to the late Bajocian in the distal part of the basin and to the middle Callovian-early Oxfordian in the more proximal part of the basin. The topmost radiolarian cherts are early Tithonian in age. The mid-Tithonian transition from chert to the Biancone limestone was also determined with nannoplankton. The beginning of highly siliceous sedimentation in the Bajocian correlates well over the entire western Tethys and was linked to two factors: an increase in water depth due to regional subsidence and an increase in plankton productivity. The pronounced silica enrichment coincided with the opening of the Alpine Tethys and with the intraoceanic subduction that occurred in the Meliata-Maliac-Vardar Ocean. Reorganization of the plate boundaries may have induced substantial changes in the circulation of water masses that, in turn, had a long-term effect on surface productivity. On the basin scale, radiolarian dating revealed considerable lateral and vertical variations in the thickness of chert successions. This distributional pattern implies that, in narrow continental-margin basins, sedimentation rates were primarily determined by the redeposition of pelagic sediments. Important stratigraphic gaps occur even in the distal basinal setting.
Synthesis and biological evaluation of novel urea and thiourea derivatives of valacyclovir
Authors: Katla Ramana , Syed Rasheed , Golla Madhava , Shaik Adam , Chamarthi Raju
Published: September 2012

A series of novel urea and thiourea derivatives of valacyclovir were efficiently synthesized in high yields
and evaluated their antiviral activity. 2-((6-Amino-4-oxo-4,5-dihydro-1H-imidazo[4,5-c]pyridin-1-yl)methoxy)ethyl-2-amino-3-ethylbutanoate (valacyclovir)
1 is reacted with various aromatic isocyanates/thiocyanates 2 in the presence of N, N- dimethyl piperazine as a base in THF: pyridine (4:1)
to obtain valacyclovir urea/thiourea derivatives 3(a-j). The structures of the title compounds 3(a-j) were confirmed by IR, NMR (1H, 13C),
mass spectral and elemental analysis. The newly synthesized compounds were screened for their antiviral activity
against Tobacco mosaic virus (TMV) and antioxidant activity was evaluated by DPPH, SOD and GST methods.
The title compounds exhibited potent antiviral and good antioxidant activities.
Something to Talk about: Modernism, Discourse, Style
Authors: Goldhagen Sarah Williams
Published: September 2012

This article explores how a subterranean paradigm of style shapes a wide range of scholarly inquiry in twentieth-century architectural history and theory, despite long-standing recognition that modernism can in no way be reduced to style. It proposes that historians and theorists of twentieth-century architecture might do well to retain the notion of modernism in architecture as a coherent phenomenon, but to conceptualize it neither as a stock if variable constellation of formal tropes nor as any of the other instructive but partial alternatives that scholars have proposed. Instead, it should be conceptualized as a discourse. The concept of discourse, and the conceptualization of modernism in architecture as a discourse, resolves many analytical problems and handles the broad range of anomalous cases that have emerged in the framework of the style-based paradigm. Conceived as discourse rather than style, modernist architecture becomes both more coherent-a structured field containing a variety of equivalent strains-and more pluralistic-a heterologous array of formal practices and individual positions. The fundamental premise of the discourse of modernism is that architecture must instantiate an ethically grounded material practice that grapples with, rather than categorically rejects or ignores, the phenomenon of modernity itself.
François Blondel and the "Résolution des quatre principaux problèmes d'architecture" (1673)
Authors: Gerbino Anthony
Published: September 2012

Few of the figures active in both architecture and early modern science have left us accounts intended to elucidate the relationship between these two fields. As a result, we still lack an actor's understanding of the categories involved. François Blondel's 1673 treatise Résolution des quatre principaux problèmes d'architecture provides just such a description. The book deals with concrete problems of the kind encountered regularly in architectural practice and seeks to solve them in light both of the history of mathematics and of contemporary research in that field. Most importantly, it suggests a social context for the way in which architects actually saw "scientists" and vice versa.
Echoes from Konrad Wallenrod in Almayer's Folly and a Personal Record
Authors: Szczypien Jean M.
Published: September 2012

That Konrad Korzeniowski became a literary lion known as Joseph Conrad has been quite fully acknowledged, but the extent to which he was an artistic fox masterfully incorporating images from Polish literature into his work has not been adequately discerned. Korzeniowski buried nuggets from Adam Mickiewicz's Konrad Wallenrod (1828) in Almayer's Folly (1895), his first novel, and in one of his autobiographies, A Personal Record (1912) (when discussing the ending of his sea career and the beginning of his writing life). By secreting part of his Polish cultural heritage in these pages Conrad was majestically serving his fatherland although writing in English. A discussion of intertextual theory and of some of the doubleness that is Polish in Almayer's Folly and A Personal Record provides a "sense" of what Michael Riffaterre describes as an "unlocking" or "uncovering... equivalent to a pattern of truth." Questions posed about aspects of Almayer's Folly by such eminent Conradian scholars as Ian Watt and Yves Hervouet are answered. The conclusion reached is that if one is to understand Conrad and to obtain the most that is to be had from his writings, one must have an understanding and an appreciation of Polish literature and culture.
The Male Romantic Poet as Gothic Subject: Keats's Hyperion and The Fall of Hyperion: A Dream
Authors: Brinks Ellen
Published: September 2012

A previously overlooked Gothic subtext in John Keats's Hyperion and The Fall of Hyperion, his 1818 and 1819 fragmentary works on poetic election, calls his epic project of Bildung into question. Whether it is Saturn, Apollo, or himself that the narrator witnesses, his returns to scenes where an effeminized male body is subjected to pain and domination become a way to explore questions of legitimation and empowerment when those can no longer be presupposed by the writing subject. While recent readings of these poems have tended to align their fragmentation with Keats's refusal of mastery, this essay claims that Keats identifies male masochism and effeminacy as a perverse condition of, rather than an impediment to, the attainment of symbolic power. Apollo's eroticized submission in Hyperion and the poet's self-castigating rituals in The Fall of Hyperion (as well as his return to the Titans) stage the very experience that they supposedly stand in the way of-legitimation. Not only does bodily dispossession directly measure symbolic possession, but also, through his doubles, Keats recognizes himself in this negative loss of power.
"The Case with My Dear Native Land": Nathaniel Hawthorne's Vision of America in The Marble Faun
Authors: Tellefsen Blythe Ann
Published: September 2012

Although many critics have read The Marble Faun (1850) as a dull European travelogue that conveniently and inappropriately ignores the issues facing pre-Civil War America, in fact, this novel does engage the questions about national identity posed by the antebellum era. The central argument of The Marble Faun is whether or not African Americans and Catholic immigrants can become full-fledged Americans. That most troublesome of characters, the either admirable or hypocritical Hilda, is so troublesome precisely because she is a nexus where American tensions over the formation of national identity during the antebellum period coalesce. She demonstrates the vulnerability of white, Protestant-American identity to the influence of other ethnic, religious, and racial identities, and her response to those various potential influences indicates how such threats or possibilities will be managed in the new nation. The novel decides that African Americans cannot be reconciled to society and included in the nation's future. American identity can resist the not entirely pernicious influence of Catholicism, but it cannot risk further contact with Africanist Others. However, The Marble Faun argues not that the shifting, complex, open American identity should be fixed, established, and rendered impenetrable to at least some outside forces; instead, it suggests that such a fixed identity, once achieved, will inevitably crumble under the weight of these excluded outside forces.
The Creative Potential of Dialect Writing in Later-Nineteenth-Century America
Authors: Kersten Holger
Published: September 2012

When Walt Whitman in An American Primer called his native language "a tongue that spurns all laws," he furnished a description that can serve as a perfect characterization for the mode of literary expression during the period spanning the final decades of the nineteenth and the beginning decades of the twentieth centuries. It was a phase in American literary history that was particularly rich in texts that, in order to achieve their literary effects, availed themselves of the expressive potential inherent in unconventional language use. Produced by writers such as Finley Peter Dunne, Charles Godfrey Leland, Thomas A. Daly, Paul Laurence Dunbar, Alexander Posey and others-names rarely listed in standard literary histories-these texts derived their appeal from the way they used language but also from the perspective their linguistic strategy created. While dialect texts enjoyed a tremendous popularity, the critical reception by literary scholars has mostly been one of indifference or even scorn. Encouraged by the more favorable evaluations of dialect writing that have appeared in recent times, in this essay I argue for a reappraisal of these neglected forms of literary activity in the United States. Their linguistic virtuosity, their potential value as documents of folklore and linguistic diversity, and their significance in the development toward alternative forms of literary expression make them an unusual treasure in America's literary heritage.
"Slipping into the Ha-Ha": Bawdy Humor and Body Politics in Jane Austen's Novels
Authors: Heydt-Stevenson Jill
Published: September 2012

The novels of Jane Austen are filled with instances of sexually risqué humor, but this aspect of her comedy has rarely been recognized or subjected to extended critical comment and analysis. This essay examines the way in which Austen integrates bawdy humor into three of her novels-Emma, Mansfield Park, and Persuasion-in order to demonstrate the surprising prevalence of this material and to show how Austen marshals bawdy humor both in the service of a critique of patriarchal culture, including the system of marriage and courtship, and as a way to affirm the vigorous reality of female sexuality. In Emma Austen uses the riddle "Kitty, a fair, but frozen maid" as the basis of a subversive portrait of the profound linkages between courtship and venereal disease; in Mansfield Park (the novel perhaps most replete with sexual material) she wittily but also poignantly dissects the fine line between the marriage market and prostitution; and in Persuasion Austen's bawdy joking becomes a way to affirm the strength and pleasure of the female sexual gaze. This essay offers a more comprehensive view of the uses to which Austen puts her bawdy humor; it not only helps to clarify her fictional art but also breaks down the image of her propriety that has so long limited our full understanding of Austen and has rendered her less-chaste comedy especially unintelligible and inaccessible.
"Depravity Dressed up in a Fascinating Garb": Sentimental Motifs and the Seduced Hero(ine) in The Scarlet Letter
Authors: Kreger Erika M.
Published: September 2012

When we place Nathaniel Hawthorne's The Scarlet Letter (1850) in the context of the literary debates of the 1840s and 1850s, it becomes apparent that the novel inhabits a conventional moral position that affiliates it with, rather than distinguishes it from, the best-selling domestic novels of the era. The Scarlet Letter shares a common moral framework and pattern of imagery with many works by nineteenth-century female novelists. Like these writers, Hawthorne uses his characters to emphasize the destructive consequences of allowing personal desire to overrule community law. The portrayals of Arthur Dimmesdale and Hester Prynne critique the traits of the eighteenth-century seduced heroine and privilege the qualities of the nineteenth-century protagonist of domestic fiction. Hawthorne's hapless minister is depicted in the physically drooping, ethically weak image of the eighteenth-century heroine; while his "fallen woman" possesses the strength, selflessness, and positive influence attributed to the nineteenth-century protagonist. This powerful iconography allows Hawthorne to reinforce the social values most often advocated in the public discourse about fiction, while still avoiding the explicit didactic remarks that critics condemned. The Scarlet Letter's "moral" closely links it to the conservative worldview of antebellum middle-class culture and popular fiction.
Lady Delacour's Library: Maria Edgeworth's Belinda and Fashionable Reading
Authors: MacFadyen Heather
Published: September 2012

During the late-eighteenth and early-nineteenth centuries novel reading was persistently associated with women, and trope of female reading was generated that asserted that women's reading is an act of the body, not the mind. Maria Edgeworth frequently draws on this trope, but in her best-known domestic novel, Belinda (1801), she constructs two tropes: a disruptive trope of fashionable reading that the associates with Lady Delacour and a corrective trope of domestic reading that the associates with Belinda Portman. Both fashionable reading and female reading present women's reading as a breach of domestic femininity. While the typical female reader is marked by her excessive emotional and sexual but essentially private responses to texts, the fashionable reader is marked by her excessive public display of textual knowledge. As a fashionable reader, Lady Delacour indulges in highly public demonstrations of her literary skill in order to ensure the publicity upon which her status within a system of fashionability rests. Her ability to quote and to allude to a wide variety of texts provides her with a series of literary costumes that enable the adoption of nondomestic identities. The transformation of Lady Delacour from a fashionable women into a domestic woman, metonymically expressed in the cure of her apparent breast cancer, is effected by a change in her reading practices. Instrumental in Lady Delacour's cure is Belinda Portman, who gradually draws her away from the literary self-display toward the domestic literary practices.
"Unchronicled Nations": Agrarian Purpose and Thoreau's Ecological Knowing
Authors: Robinson David M.
Published: September 2012

Thoreau's experiment at Walden Pond reveals two potentially contradictory desires, one of which can be linked to agrarian reform, and the other to ecological knowledge. Thoreau conceived his Walden project in a cultural milieu in which agrarian reform was receiving incrasing attention, and the Walden experiments was, in important ways, an attempt at subsistence farming. But as Thoreau's persistent criticism of the farmers around Concord suggests, he also felt that the economic purpose of farming as it was usually practiced ran counter to his ecological orientation, which stressed the knowledge and preservation of nature, not its economic use. Thoreau's description of his work hoeing beans in "The Bean-Field" chapter of Walden helped to bridge that gap, particularly in its disclourse of the ashes of the "unchronicled nations" who had farmed the area before Thoreau. This act of discovery is one that transcends generational and cultural differences in that it binds Thoreau, through his labor, to a larger pattern of human history. His recognition of the larger historical context of his field work also sharpens his awareness of the natural setting in which the works. Thoreau here exemplifies the way agrarian labor that is not exploitative can function as a mode of spiritual cultivation.
Historicism Along and Against the Grain: The Case of Wordsworth's "Michael"
Authors: Ware Tracy
Published: September 2012

Geoffrey H. Hartman probably intended his brief discussion of Wordsworth's "Michael" less as a full reading than as a correction of received opinion. If so, he might be dismayed at his own success, for his discussion has now itself become received opinion, so influential that it is echoed even when it is not cited. Hartman's most compelling challege comes from Marjorie Levinson, who convincingly establishes a conflict between Wordsworth's social concerns and his poem's "aesthetic ideology." But Levinson conducts her argument with Hartman as if it were an argument with Wordsworth. Other interpretations of "Michael" are possible, including one that responds to Don H. Bialostosky's call for a "dialogic criticism" and that regards Michael as breaking his own covenant with the past. Because their attention is diverted to the induction, neither Hartman nor Levinson allows Michael any tragic complexity, and both emphasize the lyrical qualities of Wordsworth's narrative poem.
Blood, Bodies, and The Lifted Veil
Authors: Flint Kate
Published: September 2012

The Lifted Veil (1859) is a text concerned with the interplay between science and the imagination. It is informed by The Physiology of Common Life, the work that G. H. Lewes published in the same year, and in many ways is in a dialogue with this work, asking that if we could look into someone's mind with the same power that a physician can examine the body, would we choose to exercise this specular power? The essay shows how George Eliot employs some of the same language that Lewes uses in his scientific writing, especially in the context of the circulation of blood and the circulation of feeling. Blood is crucial to this novella, and its wider nineteenth-century implications are also raised. In particular, the blood transfusion scene in The Lifted Veil is shown not to be a piece of mere Gothic melodrama but to be rooted in contemporary debate about transfusion. Historical specificity is reinforced through showing that Meunier, the doctor, had an actual prototype in the figure of Brown-Séquard. Examining these aspects of the novella raises questions about gender and authority. It is argued that, despite the dialogue with Lewes's work that occurs in The Lifted Veil, George Eliot gives even greater priority than Lewes does to the role of the imagination and to the provocative nature of that which cannot be revealed by science.
"The Artist of the Beautiful": Crossing the Transcendent Divide in Hawthorne's Fiction
Authors: Newberry Frederick
Published: September 2012

To examine how the narrative structure of "The Artist of the Beautiful" leads up to the climactic moment of the butterfly's appearance is to recognize Hawthorne's endorsement not only of Owen Warland but also, more significantly, of the transcendent power of imagination over the empirical orientation of nineteenth-century America. When the tale is analyzed in relation to its contemporaneously composed counterpart, "Drowne's Wooden Image," it becomes clear that Hawthorne believes that imaginative art can make believers out of observers whose typically no-nonsense version of reality aligns them with Locke and the Scottish Common Sense philosopher. This belief extends to careful readers of Hawthorne, who can, with the help of Wolfgang Iser's work on the fictive and the imaginary, cast aside their dependence on mimesis and allow the momentous butterfly to work its magic.
The Shape of Despair: Structure and Vision in Keats's "Ode on a Grecian Urn"
Authors: Mauro Jason
Published: September 2012

According to Karl Kroeber and Stuart M. Sperry, Keats languished in the gap between the "audience" he had achieved as a poet and the "community" he longed for. This, claims Kroeber, is the fate of all Western artists, who are doomed merely to report "dream material" to an audience of witnesses rather than to transfer a "vision" to a community that can enact it and derive social cohesion and "energy" from it. As I examine the structural underpinnings of Keats's ode, however, I find that it both enables and provides a location for a ritual transformation of the reader as an active participant. As readers of the ode, we are escorted through a rite of passage that has the shape of what anthropologist Victor Turner has called a "liminal" transition. According to Turner such "liminal" transitions, passages in which individuals suffer both disintegration and reintegration, are the means by which people are synthesized into a community. The "Ode on a Grecian Urn," then, stands apart from Kroeber's lament that western art can only serve to draw "energy" from an audience. The ode transfers visionary energy to a community of readers.
John Marr and Other Sailors: Poetry as Private Utterance
Authors: Dryden Edgar A.
Published: September 2012

John Marr and Other Sailors (1888) movingly figures Melville's sense of his own situation as an aging poet alienated from his social, political, and literary milieu. By may of a close reading of the individual poems, I show that poetry for Melville is a private, self-directed, and ironic art, one whose primary activity is an ironic elicitation of subversive latent meanings. In the face of the "vague reserve of heaven" and the "apathy of nature," and working with a deep distrust of public performance and the printed page, Melville as poet at once exposes and stubbornly, if privately and obscurely, celebrates the nature of the literary as such.
Thoreau's Critique of the American Pastoral in A Week
Authors: Yu Ning
Published: September 2012

This essay questions a critical consensus about Thoreau's first book, A Week on the Concord an Merrimack Rivers, as a pastoral elegy for his brother and best friend, John. Reading A Week from a geographical perspective, this essay argues that Thoreau anticipated professional geographers by eighty years in conducting a dynamic analysis of the transformation of New England's landscape. Thoreau re-creates through description and narration the appearance and disappearance of the pastoral, the Native-American, and the industrailized landscape along the two rivers. Presenting these ladnscapes in dynamic interrelation with one another against the backdrop of New England's still wild nature, Thoreau historicizes New England's changing topography and thereby criticizes the American pastoral myth about a timeless "golden age" of the "New English Canaan." This reading encourages us to regard Thoreau not only as a private literary artist but also as a scientist and social satirist. This essay also reveals Thoreau's geographic imagination, an important aspect of his mind that has been overlooked so far by Thoreau critics and the general reading public alike.
Mars in Petticoats: Longfellow and Sentimental Masculinity
Authors: Haralson Eric L.
Published: September 2012

From "A Psalm of Life" and "The Village Blacksmith" to Evangeline and The Song of Hiawatha, Longfellow provided middle-class Americans with models of self-comportment and means for coping with the anxieties and stresses of a commercial society on the move. Mixing tones of melancholy and patient resolution, the poetry served to attenuate polarized gender roles and, especially, to authorize a sentimental or domestic style of masculinity in opposition to more aggresive, competitive, business-oriented modes of "manliness." Though this body of verse employs martial imagery and masculinist terms in order to evoke the tenor of mind and will required by an increasingly complex socioeconomic environment, Longfellow converts these images and terms to elaborate a "feminized" ideal of personal and social behavior: sublimative, spiritualized, quietly persistent. The figure of Evangeline crosses gender lines to instruct both men and women how to bear up under the burden of American "modernity," while that of Hiawatha blends gender traits to embody a soft-but-still-manly masculinity, with implications for both heterosexual and homosocial relations. The efficacy and the very premises of Longfellow's cultural service, which secured his enormous popularity in the antebellum period, were called into question with the advent of realist antisentimentalism, and the poet's work suffered permanent devaluation under the canons of the modernist taste.
"Who's Afraid of Arthur Schopenhauer?": A New Context for Conrad's Heart of Darkness
Authors: Knowles Owen
Published: September 2012

Conrad's relationship to Schopenhauer and the nineteenth-century traditions of pessimism sponsored by the German philosopher has long been a contentious critical issue. This paper discovers a new shaping context for Kurtz, the Promethean outlaw-philosopher and ubiquitous "voice" of Heart of Darkness, not in Schopenhauer's own writings but in the secondary myths, legends, and icons that endowed the great philosopher with a potent cultural afterlife during the period from 1870 to 1900. The numerous consonances between this body of later Schopenhauriana and Heart of Darkness point to ways in which powerful fin du globe anxieties and dark ancestral obsessions covertly inform both the tale's construction of Kurtz and its narrative practices-notably, its fashioning of a mythical narrative drawing upon established parallels between Schopenhauer and a monistic heart of darkness, its preoccupation with the problems of hearing and transmitting a ubiquitous legacy, and its climactic issue in the experiences of a disciple haunted by the spectral ghost of a dead ancestor. When placed against three varied examples from the period's Schopenhaueriana-Maupassant's short story "Beside a Dead Man" (1883), William Wallace's biography of the philosopher (1890), and Nietzsche's celebratory "Schopenhauer as Educator" from his Thoughts Out of Season (1874)-Heart of Darkness emerges as a work embroiled in an anxiety of influence whose invasive voices are both welcomed and resisted: its welcome most evident in cryptographic play with elements of the Schopenhauer legend, its resistance most marked in the skeptical rewriting of the celebratory mode employed by Nietzsche to welcome the heroic educator. A final coda views the tale's rhetorical excesses in the light of these contextual influences and suggests ways in which the substantially "Schopenhauerian world" of the story bears upon its concerns as a historically situated colonial fiction.
Flirtations in Early James
Authors: Southward David
Published: September 2012

Many of the plot structures and stylistic concerns we associate with Henry James's later fiction can be found in his first published tales of thwarted courtship in postbellum America. In courtship and its arts of verbal flirtation James discovered a model for his own elusive rhetorical manner. The speech habits of women in particular fascinated young James: alert to subtle shifts of tone, responsive to things left unsaid, and discreet in their replies, the women in such stories as "A Most Extraordinary Case," "Poor Richard," and "A Day of Days" seem to have mastered the style James seeks. The vulnerability of this style to misinterpretation by the tonally illiterate is the hard lesson learned by these women, whose creator's faith in refinement had always been troubled. James's interest in women's tonal literacy links his "master phase" with his apprenticeship years, and it suggests that American social life has been undervalued as a factor in James's literary modernism. Modernist experiments in verbal ambiguity partly reflect the unstructured course of modern love, as first pursued in the era of Reconstruction.
Themes of Exile in Willaert's Musica nova
Authors: Fromson Michele
Published: September 2012

The present study proposes that Willaert's Musica nova was written to commemorate the city of Florence, homeland of two of the composer's most devoted patrons, Neri Capponi and Ruberto Strozzi. Supporting evidence for this new hypothesis is culled from extant documents relating to the composition, publication, performance, and reception history of this music; the texts Willaert set in his madrigals and motets; and perhaps most unexpectedly, the texts of numerous liturgical melodies whose opening phrases are quoted in his dense counterpoint. For Willaert's Florentine patrons, these melodic citations and the texts to which they allude constituted a powerful symbolic network that served to commemorate their native city, its fallen Republic, and the most prominent spokesman for that government, the religious reformer Girolamo Savonarola.
Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta
Authors: Brown A. Peter
Published: September 2012

Anne Hunter (1742-1821) seems to have appeared suddenly on the London scene when she provided Joseph Haydn with texts for his English songs published under the fashionable title of canzonettas. Yet long before Haydn arrived in London, she had already established herself as a writer of lyrics for the Scottish national song movement and of the famed "Death Song" of a Cherokee Indian set to "an original Indian air." Some believe that her poems provided a model for Robert Burns. Her lyrics were also set by Johann Peter Salomon and requested by the propagator and publisher of national song in the British Isles, George Thomson.
Perceptual Structures for Tonal Music
Authors: Krumhansl Carol L.
Published: September 2012

This article summarizes recent investigations into the psychological representation of pitch relations in tonal music. Evidence is found for the internalization of tonal structure at three levels of organization: musical tones, chords, and keys. Each level contains a well-articulated pattern of interelement associations, and strong interlevel dependencies are identified. A quantitative account of the hierarchy of stability that applies to the set of musical tones and chords is provided. Structure at these levels is found to depend on the context in which the musical elements are embedded. Thus, tones and chords are interpreted in terms of their functions in a system of musical keys, whose interrelations are represented by a regular spatial configuration derived from empirical data. The influence of this system of knowledge on the encoding, interpretation, and remembering of music is described. These results suggest that the listener relates the sounded elements to an abstract internal representation of the structural regularities underlying tonal music.
Pitch Salience of Various Complex Sounds
Authors: Houtsma Adrianus J. M.
Published: September 2012

Pitch salience of a variety of different complex sounds was measured through open-set melodic dictation tests using five musically experienced observers. The experimental task on each trial was to play back all notes of a four-note melody, randomly selected from an eight-note diatonic major scale, on an eight-note keyboard. Data were reduced to a correlation measure which addresses mostly the degree to which ordinal or contour information is preserved in the sequence of sensations, and also to a percent correct identification measure which tests preservation of ratio information. The two measures are in some cases very different, and it is proposed that those sounds that seem to convey mostly ordinal and little ratio information should not qualify as sounds that evoke true pitch sensations.
On Formal Intervals between Time-Spans
Authors: Lewin David
Published: September 2012

A formal interval system (FIS) is an ordered triple (THINGS, IVLS, int), where THINGS is a set, IVLS is a mathematical group, and int is a function from THINGS × THINGS to IVLS satisfying three conditions: (1) from all r,s, and t in THINGS, int (r,t) = int (r,s)int(s,f) [group product in IVLS]; (2) for all s and t in THINGS, int(t,s) = int(s,t) [group inverse in IVLS]; (3) for every s in THINGS and every i in IVLS, there exists a unique t in THINGS satisfying the equation int(s,t) = i. The FIS is a useful general model for our intuitions about "intervals" between "things" in many specific musical contexts. A "time-span" is an ordered pair (a,x), where a is a real number and x is a positive real. This pair is meant to model a temporal event that begins a units of time after (or – a before) some referential moment and extends x units of time therefrom. A change of referential time-unit and a change of referential moment relabel the events (a, x) and (b, y) as events (au + m,xu) and (bu + m,yu). We seek a FIS with time-spans for its THINGS whose interval function is invariant under such transformations: int((au + m,xu), (bu + m,yu)) = int((a,x),(b,y)). There is in fact exactly one such FIS, up to isomorphism in the pertinent sense. This FIS is discussed and explored.
A Perceptual Substrate for Tonal Centering?
Authors: Erickson Robert
Published: September 2012

There is a need to search for universals in our tonal experience of music which arise as a consequence of our perceptual and cognitive processes and which do not require a specific tonal setting for demonstration. Certain findings in perceptual and cognitive psychology are considered in this light. These include the perceptual and cognitive advantages of melodic sequences that consist of small melodic intervals rather than large and the emphasis placed by the cognitive system on notes of long duration. These two phenomena form the basis of a proposed theory of melodic centering. It is argued that the present approach can form the basis for the building of specialized descriptions of tonality, appropriate to different musical styles and idioms.
Perceptual Similarities between Musical Motifs
Authors: Eiting Mindert H.
Published: September 2012

Same—different judgments concerning melodic stimuli prove to be ambiguous in their interpretation. I argue that such judgments are the result of a dual process. The subject's musical experience may determine whether he or she uses one of these processes or both. The first process may be adapted to the contour and the second to the scale of the melody. According to Dowling (1978), subjects use contour but do not use all aspects of scale in making same—different judgments. In the present experiment musically experienced subjects were required to judge the similarities between three-tone motifs that were heard in close succession. Directional contour proved to be the most important attribute, but all aspects of the scale were also utilized in making the judgments. If contour and scale are processed separately, experienced subjects use at least a dual mechanism in processing both attributes. Some further evidence shows that contour and scale are processed separately.
Perceived Structure of Triads
Authors: Roberts Linda A. , Shaw Marilyn L.
Published: September 2012

This study explored the perception of major, minor, diminished, and augmented triads in two experiments. In the first, subjects judged whether pairs of these triads were of the same or different chord type. In the second, subject rated the similarity of these pairs of triads. Subjects were grouped by degree of musical training. We looked for effects of several variables on the subjects' judgments: the "musical key" suggested by major and minor triads, whether a triad was presented in root position or in first inversion, and whether the notes of the triad were presented successively (i. e., arpeggiated) or simultaneously. Among the three groups of subjects, only the judgments of those who were highly trained appeared to be influenced by the above factors. For these subjects, judgments were influenced by relative position in the circle of fifths. In addition, judgments appeared to incorporate the perceived degree of consonance or dissonance, rather than relative interval sizes.
Pitch Classes Differ with Respect to Height
Authors: Deutsch Diana , Moore F. Richard , Dolson Mark
Published: September 2012

The pitch of a tone is considered to consist of two components: the rectilinear component of height and the circular component of chroma, or pitch class. In an experiment employing simultaneous sequences of Shepard tones, it is shown that tones in different positions on the chroma circle differ in height when generated under the same spectral amplitude envelope. Further, the directions of these differences remain constant when the envelope is centered at different positions along the spectrum, resulting in clear differences in the overall heights of the patterns.
Perception of Temporal Patterns
Authors: Povel Dirk-Jan , Essens Peter
Published: September 2012

To gain insight into the internal representation of temporal patterns, we studied the perception and reproduction of tone sequences in which only the tone-onset intervals were varied. A theory of the processing of such sequences, partly implemented as a computer program, is presented. A basic assumption of the theory is that perceivers try to generate an internal clock while listening to a temporal pattern. This internal clock is of a flexible nature that adapts itself to certain characteristics of the pattern under consideration. The distribution of accented events perceived in the sequence is supposed to determine whether a clock can (and which clock will) be generated internally. Further it is assumed that if a clock is induced in the perceiver, it will be used as a measuring device to specify the temporal structure of the pattern. The nature of this specification is formalized in a tentative coding model. Three experiments are reported that test different aspects of the model. In Experiment 1, subjects reproduced various temporal patterns that only differed structurally in order to test the hypothesis that patterns more readily inducing an internal clock will give rise to more accurate percepts. In Experiment 2, clock induction is manipulated experimentally to test the clock notion more directly. Experiment 3 tests the coding portion of the model by correlating theoretical complexity of temporal patterns based on the coding model with complexity judgments. The experiments yield data that support the theoretical ideas.
Perception of Melodic and Harmonic Intonation of Two-Part Musical Fragments
Authors: Rasch Rudolf A.
Published: September 2012

Short musical fragments consisting of a melody part and a synchronous bass part were mistuned in various ways and in various degrees. Mistuning was applied to the harmonic intervals between simultaneous tones in melody and bass (harmonic mistuning), which caused at the same time a mistuning of the melodic intervals between successive tones in the melody part (melodic mistuning of melody) and/or the bass part (melodic mistuning of bass part). The fragments were presented to musically trained subjects for judgments of the perceived quality of intonation. Results showed that the melodic mistuning of the melody parts had the largest disturbing effects on the perceived quality of intonation, followed closely by the harmonic mistuning. Melodic mistuning of the bass was less influential. It could be reasoned that the deviating interval size was probably of more importance in the perception of harmonic mistuning than the presence of beats.
The Use of Acoustic Measures of Dissonance to Characterize Pitch-Class Sets
Authors: Danner Gregory
Published: September 2012

Recent scholarship in acoustics has provided a mathematical model for the approximation of what has been termed "acoustic dissonance," or "roughness" in the interaction of two or more simultaneously sounded complex tones. Although these measures necessitate certain artificial considerations in their present form (i. e., spectrum, dynamics), their application should be of considerable interest to musical scholars interested in this aspect of musical style and structure. This article provides an overview of the acoustical theory, its application in profiling pitch-class sets, and a representative musical analysis.
Dichotic Listening to Melodic Patterns and Its Relationship to Hemispheric Specialization of Function
Authors: Deutsch Diana
Published: September 2012

Ear advantages in dichotic listening are generally held to reflect greater involvement of the hemisphere contralateral to the preferred ear. Rationales for this view rely on the assumption that, when information arriving at the two ears is treated as a single complex signal, an advantage to a component of this signal based on ear of input will not interact with an advantage based on some other attribute, such as frequency. This assumption is shown, for the case of dichotically presented melodies, to be unjustified. Dichotic tone pairs that are presented in a sequential context are more accurately perceived and localized when the higher tone is to the right and the lower to the left, than when the higher tone is to the left and the lower to the right. This anisotropy can, in principle, give rise to patterns of ear advantage which may tend in either direction, depending on factors such as type of material presented, level of difficulty, task requirement, and category of listener. Since its basis is unknown, ear advantages resulting from this anisotropy cannot be assumed to reflect greater involvement of either hemisphere in processing the information.
Representation of Phrase Structure in the Perception of Music
Authors: Stoffer Thomas H.
Published: September 2012

The degree of correspondence between the formal description of phrase structure in music and its cognitive representation as revealed by its effects on responses to clicks superimposed on melodies is explored in two experiments. In Experiment 1, using a click localization task, a high degree of correspondence was established, providing evidence for a hierarchical format of the cognitive representation of phrase structure. In Experiment 2, click detection time was measured for a binary and trinary phrase structure of the same length, using two groups of subjects differing in musical competence. The results support a schema-theoretic description of tacit knowledge of phrase structure in music.
Context Effects on Melody Recognition: Scale-Step versus Interval Representations
Authors: Dowling W. Jay
Published: September 2012

A basic question in cognitive psychology concerns ways in which sensory information is represented in memory. Listeners performed a long-term transposition recognition task in which brief melodies were presented with a chordal context that defined their scale-step interpretations. Context either remained constant or changed at test. In two experiments listeners with moderate amounts of musical experience performed well with constant context but at chance with shifting context. Inexperienced listeners (as well as professionals in one of the studies) performed equally well regardless of context. This result suggests that inexperienced listeners represented melodies as sequences of pitch intervals that remained invariant across context shifts. In contrast, moderately experienced listeners appear to have represented melodies as scale-step sequences that were affected by context. Professionals, while capable of scale-step representation, were able to use a flexible memory-retrieval system to avoid errors with changed context. A third experiment showed that moderately experienced listeners were able to base long-term recognition on either contour or scale-step information, depending on instructions. These results suggest that the scale-step representation used by moderately experienced listeners involved both contour and scale information.
The Tonal Chromatic Scale as a Model for Functional Chromaticism
Authors: Marra James
Published: September 2012

Some recent empirical studies concerning the perception of tonal melodies are based upon the theoretical assumption that it is adequate to distinguish "tonal" from "atonal" tunes with reference to diatonic and chromatic pitch collections, respectively. Such a principal of demarcation, however, fails to account for the intuitive sense that melodies may display relative degrees of "tonal-ness" and that chromaticism may function to establish and reinforce tonal centers. What appears necessary for the evaluation of results of such studies, as well as for the formulation of further experiments, is a tonal-functional theory of chromaticism that will allow the distinction between "tonal" and "atonal" to be appropriately clarified. This article presents an informal model for a functional theory of chromaticism based upon a "tonal chromatic" scale. Drawing upon a critique of a functional model formulated by Deutsch and Feroe, this study develops concepts central to the notion of chromatic function. These concepts are then employed in a critique of four proposed forms of chromatic scales, specifying weaknesses in each. Following this, the author proposes a "tonal chromatic" scale which overcomes difficulties inherent in previously proposed scale forms. Analytical examples are offered that illuminate the structural implications of the model.