bluuebunny/crossref_metadata_2025 huggingface dataset:
Population Connectivity and Phylogeography of Crustaceans
Authors: Ewers-Saucedo Christine , Wares John P.
Published: January 2021

Crustacea display diverse life histories and occur in all marine habitats. This makes them particularly useful when thinking about how we can predict geographical distribution from life history and ecology. As would be expected from such diversity, crustaceans exhibit various population connectivity patterns, from panmictic, well-connected populations to small and isolated populations. Here we ask first what can be learned from exploring crustacean phylogeography and connectivity around well-understood vicariance events with known ages. We find that vicariance events are generally useful in calibrating molecular rates of evolution, but that there is substantial variation between taxa. This variation can be linked, on the one hand, to habitat differences (which determine when gene flow between populations actually ceased) and, on the other hand, to population size differences (which determine how fast genetic differences accumulate). In a few instances, populations must have diverged much earlier or later than the hypothesized vicariance event, providing evidence of earlier or later dispersal or more ancient separation. Second, we ask when comparative studies of multiple taxa show consistent results, predictable from their similar life history, and when not. For example, species that disperse little, such as brooding peracarids, have smaller, more isolated populations than species with planktonic larvae, such as decapods. Less consistent are the patterns across biogeographic breaks. While gene flow is clearly limited across such breaks in some species, other species do not seem to perceive them. This to-date-unexplained variation challenges our understanding of marine phylogeography.
Outlook: Crustaceans in the Anthropocene
Authors: Bącela-Spychalska Karolina , Poore Gary C. B. , Grabowski Michał
Published: January 2021

Since the mid-20th century we have been living in a new geological epoch, Anthropocene, characterized by an overwhelming impact of human activity on the Earth’s ecosystems, leading to mass species extinction by habitat destruction, pollution, global climate warming, and homogenization of biota by intra- and intercontinental transfer of species. Crustaceans are among the most diverse and species-rich animal groups inhabiting predominantly aquatic ecosystems, listed as among the most threatened ecosystems. Global threats include ocean and freshwater acidification, eutrophication, pesticide, hormone and antibiotic load, coastline modification, habitat destruction, overharvesting, and the introduction of invasive species. Many crustaceans are threatened by human-induced modifications of habitats, while others are themselves threats—crustaceans are among the most common invasive species. Those non-indigenous species, when established and integrated, become important components of existing communities, strongly influencing other components directly and indirectly, including by species replacement. They are a threat mostly to species with similar ecological niches, most often to other crustaceans. It is hard to be optimistic about the future of crustacean biodiversity. We may rather expect that growing human pressure will variously further accelerate the non-natural dispersal and extinction rate.
Hot Contention, Cool Abstention
Authors: Dornschneider Stephanie
Published: January 2021

Why did people mobilize for the Arab Spring? While existing research has focused on the roles of authoritarian regimes, oppositional structures, and social grievances in the movement, these explanations fail to address differences in the behavior of individuals, overlooking the fact that even when millions mobilized for the Arab Spring, the majority of the population stayed at home. To investigate this puzzle, this book traces the reasoning processes by which individuals decided to join the uprisings or to refrain from doing so. Drawing from original ethnographic interviews with protestors and non-protestors in Egypt and Morocco, Dornschneider utilizes qualitative methods and computational modeling to identify the main components of reasoning processes: beliefs, inferences (directed connections between beliefs), and decisions. Bridging the psychology literature on reasoning and the political science literature on protest, this book systematically traces how decisions about participating in the Arab Spring were made. It shows that decisions to join the uprisings were “hot,” meaning they were based on positive emotions, while decisions to stay at home were “cool,” meaning they were based on safety considerations. Hot Contention, Cool Abstention adds to the extensive literature on political uprisings, offering insights on how and why movements start, stall, and evolve.
An Extraordinary Experience
Authors: Dornschneider Stephanie
Published: January 2021

This chapter introduces the main research puzzle and the analytical framework of the book. To determine what motivated people to mobilize for the Arab Spring, the analysis applies belief systems and traces the reasoning processes of protesters and non-protesters. The chapter discusses what this application adds to the psychology literature on reasoning as well as the political science literature on contentious politics. The chapter outlines the main argument presented by the analysis—that mobilization for the uprisings was hot, meaning people decided to join the Arab Spring based on reasoning processes including emotions, whereas non-participation was cool, meaning people decided to refrain from joining the protests based on reasoning processes not including emotions.
Similar States, Opposite Outcomes
Authors: Dornschneider Stephanie
Published: January 2021

This chapter describes the research design—a double-paired comparison of protestors and non-protestors from Egypt and Morocco—and discusses how this design serves the investigation of mobilization for the Arab Spring. The chapter introduces the two case studies, Egypt and Morocco, and the research sample of 121 individuals, which was obtained from ethnographic interviews during field research in the Middle East, and a textual analysis of Facebook posts (in Arabic and French). The author observes that although Egypt and Morocco have similar features, they experienced opposite outcomes of the Arab Spring. Both were authoritarian, elaborated mobilization structures, and were suffering from economic hardship. Yet only Egypt experienced protests leading to the fall of its head of state.
Tracing Reasoning Processes
Authors: Dornschneider Stephanie
Published: January 2021

This chapter presents the computational model developed to analyze the data constructed by the textual analysis. The model formalizes belief systems as Boolean circuits to systematically trace reasoning processes that connect various types of beliefs to decisions about participating in the Arab Spring (belief → belief → . . . → decision). The model permits the systematic analysis of the data to identify key beliefs and inferences related to decisions. The author first discusses how this model contributes to existing studies of belief systems and then describes the model in detail. The chapter thus sets the stage for the next chapter, which presents the results.
Hot Contention, Cool Abstention
Authors: Dornschneider Stephanie
Published: January 2021

This chapter presents the findings of the computational analysis. Confirming the literature on hot cognition and emotions in general, it shows that decisions to mobilize for the Arab Spring were primarily motivated by beliefs about positive emotions (solidarity, courage, hope, national pride). On the contrary, decisions to stay at home were not motivated by beliefs about emotions but instead were triggered by beliefs about living in safety, improving living conditions, and state approval. The author organizes the results around the particular findings related to protestors and non-protesters and the key antecedents of their decision to protest or stay at home.
Gems of Exquisite Beauty
Authors: Mercer-Taylor Peter
Published: January 2021

In the decades leading up to the Civil War, many Americans first encountered European classical music through excerpts captured in the form of psalm and hymn tunes. Psalmody was the United States’ best-selling form of popular music through the early 19th century, sales of tune books reaching in some instances into the hundreds of thousands. Tunes lifted from Haydn, Mozart, and other major European composers first found a regular place in this market in the early 1820s, hundreds appearing by the early 1850s. This book explores the place of this repertoire in 19th-century American life, surveying its historical rise and fall. The tradition’s foremost pioneer was Arthur Clifton, an accomplished London musician who emigrated to Baltimore in 1817. Clifton’s 1819 Original Collection—which included 21 psalmodic adaptations of Gluck, Haydn, Mozart, and Beethoven’s work—was a commercial failure, but a pathbreaking harbinger of things to come. Lowell Mason’s 1822 Boston Handel and Haydn Society Collection—a runaway best-seller that launched Mason’s career as the era’s most influential American musician—also included 21 such adaptations, bringing the practice into broad public view. Only in the early 1840s, however, did the tradition catch fire, hundreds of such tunes appearing across a decade of feverish activity. This book’s final chapter steps back for a broad-ranging engagement with this repertoire in creative terms. Far beyond simple excerpts, the most ambitious of these adaptations represent inventive, resourcefully crafted conduits through which numerous dimensions of Europe’s musical practices were brought within reach of the American masses.
Antebellum Psalmody in Its Cultural Context
Authors: Mercer-Taylor Peter
Published: January 2021

Christian worship factored centrally in the American circulation of psalm and hymn tunes in the 19th century, but the repertoire traveled far and wide beyond actual church services. Musical societies, conventions, singing schools, social gatherings of a religious nature, and domestic settings all provided venues for the singing of psalmody. This chapter undertakes a broad exploration of the place of psalm and hymn tunes in pre–Civil War American culture. In its closing stretch, however, it pivots toward those vibrant registers of American sacred music-making that lay beyond the Europeanized psalmodic practices that form this book’s focus. Psalmodic adaptations of classical music would never have been encountered by most of the nation’s enslaved, nor by most Native Americans. They also had little impact on the lives of many in the country’s southern and western regions who preferred the markedly different psalmodic tradition associated with “shape notes.”
Institutional Certification
Authors: Mercer-Taylor Peter
Published: January 2021

The 1822 Boston Handel and Haydn Society Collection of Church Music contains 21 psalm and hymn tunes drawn from the work of Gluck, Haydn, Mozart, and Beethoven, all based closely on adaptations already circulating in London. The volume represented a novel conceptual convergence of the stylistically Europeanized sacred tune books of the earlier “Ancient Music” movement and the Handel and Haydn Society’s own existing compilations of (non-psalmodic) classical music abstracts. With sales reaching around 50,000, this astonishingly popular volume provided thousands of Americans their first exposure to such adaptations. It also launched the career of its compiler Lowell Mason, who would emerge as the era’s most influential American musical figure, active as compiler, teacher, administrator, and conductor. Central as psalmodic adaptations of classical music were to this landmark 1822 volume, however, such adaptations did not immediately catch on, making only sporadic appearances in American tune books over the following fifteen years.
Psalmodic Adaptation as Musical Translation
Authors: Mercer-Taylor Peter
Published: January 2021

The psalmodic adaptation of classical music constitutes a distinctive creative act in instances in which we find adapters not simply importing excerpts essentially unchanged (a chiefly curatorial service), but making substantive musical decisions to bridge the gap dividing art music from psalmody. This chapter explores such “translational actions,” unfolding in four phases. The first concerns low-level decisions, involving rhythm, ornamentation, and texture. The second centers on syntactic challenges that arise in drawing brief excerpts from larger works (negotiating European passages that begin and end in different keys, for instance). The third focuses on “purposeful substitution”: the replacement of musical effects inappropriate to psalmody with wholly different effects calculated to achieve comparable goals. The fourth explores adaptations that challenge the very notion of a one-to-one correspondence between “excerpt” and “psalm tune”: tunes that draw on more than one European movement, say, or adjacent pairs of tunes drawn from a common source.
Introduction
Authors: Holtzman Benjamin
Published: January 2021

The Long Crisis explores the origins and implications of one of the most significant developments across the globe over the last fifty years: the diminished faith in government as capable of solving public problems. The origins of this transformation are found in city-dwellers’ efforts to preserve liberal commitments of the postwar period. New York faced an economic crisis beginning in the late 1960s that disrupted long-standing assumptions about the services city government could provide. In response, New Yorkers—organized within block associations, nonprofits, and professional organizations—embraced an ethos of private volunteerism and, eventually, of partnership with private business in order to save their communities from neglect. Local liberal and Democratic officials came over time to see such alliances not as stopgap measures but as legitimate and ultimately permanent features of modern governance. Local people and officials, this book argues, built neoliberalism from the ground up.
Low-Income Housing in Crisis
Authors: Holtzman Benjamin
Published: January 2021

During the late 1960s and 1970s, extensive disinvestment and an eviscerated real estate market led landlords of low-income housing to walk away from their real estate holdings, leaving thousands of buildings unoccupied and often city-owned due to nonpayment of taxes. In response, Latinx, African American, and some white residents protested the blight these buildings brought to their neighborhoods by directly occupying and seeking ownership of abandoned buildings through a process they called urban homesteading. Activists framed homesteading as a self-help initiative, often emphasizing their own ingenuity over state resources as the key to solving the problems of low-income urban neighborhoods. Such framing was understandable given the unstable economic terrain of the 1970s and won activists support not just from the political left, but also the right. But it also positioned homesteading as demonstrating the superiority of private-citizen and private sector–led revitalization in ways that left homesteading projects vulnerable as it became clear how necessary government resources would be to their success.
From Renters to Owners
Authors: Holtzman Benjamin
Published: January 2021

After numerous failed state-led initiatives to stem the exodus of middle-income residents in postwar New York, in the late 1960s landlords and major real estate associations proposed their own solution to increase homeownership and retain the middle class: converting rental housing into cooperatives. The middle-income tenants of this housing, however, initially widely rejected apartment ownership, preferring the security of rent-regulated housing. This set off a decade-long battle over the control and nature of moderate- and middle-income housing. This chapter traces how over the 1970s middle-income tenants came to embrace apartment ownership, a shift that pushed the housing stock toward market-rate condominiums and cooperatives and exacerbated the city’s mounting affordable housing crisis.
Patrolling City Streets
Authors: Holtzman Benjamin
Published: January 2021

In the late 1960s and 1970s, New York became engulfed in rising rates of crime and the belief among residents that navigating city streets was no longer safe. In reaction to the perceived inadequacies of governmental responses to crime, city-dwellers formed citizen patrols in which neighbors joined together to surveil their residential streets. Businesses and institutions also began to forge their own initiative to deter street crime by hiring private guards to patrol the streets of their districts. These efforts grew alongside one another and reinforced a similar logic about the need for private action against crime. Both helped to perpetuate and ultimately normalize the patrolling of public streets beyond the police. By the early 1980s, however, resident patrols slowly began to fade from the city, whereas the presence and role of private guards expanded, transforming the policing of city streets.
The Trouble with Development
Authors: Holtzman Benjamin
Published: January 2021

This chapter traces how, with limited federal and city funds at their disposal, Democratic and liberal officials in late 1960s and 1970s New York came to embrace generous tax and incentive policies to directly spur sagging development and rehabilitation. Though municipal officials had for decades used tax exemptions, these new incentives empowered the private sector to take the dominant role in economic development with little government oversight. As these policies began to face criticism for unnecessarily subsidizing development in gentrifying neighborhoods, officials turned to a new strategy: binding subsidies to developers’ commitments to make local improvements (such as street repairs). Doing so at once continued to diminish tax coffers and helped shift neighborhood improvement projects from the public to the private sector.
The Governance of Homelessness and Public Space
Authors: Holtzman Benjamin
Published: January 2021

In 1980s New York City, residents and officials grappled with the extraordinary growth of people experiencing homelessness residing in public spaces. Public homelessness emerged at a time of rising value of public spaces, which finally began to receive infusions of public and private capital after years of neglect—a development homeless bodies seemed to threaten. The city’s seeming inability to stem public homelessness led private sector actors and the quasi-public officials who oversaw the subways and major Manhattan transportation centers where the homeless resided in the greatest numbers to implement more punitive policies as a solution to public homelessness. Buttressed by new legal measures that expanded private sector governance over public space, these tactics ultimately influenced officials’ adoption of similarly aggressive measures toward public homelessness to protect the enhanced value of public space.
Conclusion
Authors: Holtzman Benjamin
Published: January 2021

This conclusion highlights the major arguments and contributions of The Long Crisis. It describes how New Yorkers helped transform their broke and troubled city between the late 1960s and 1980s by taking the responsibilities of city governance into the private sector and market. In doing so, local people and liberal and Democratic officials built neoliberalism from the ground up. The changes accompanying this new system exacerbated old racial and economic inequalities and produced new ones that continue to shape metropolitan areas through to today, raising fundamental questions about how and for whom cities have been remade over the preceding decades.
An Athenian Interlude
Authors: Wink Paul
Published: January 2021

This chapter, “An Athenian Interlude,” analyzes a major turning point in Callas’s life associated with her move, at age thirteen, from New York City to Athens. In Athens, she experienced poverty, personal humiliation, and, during the World War II years, threats to her life. But her singing benefited from the strong mentorship she received from Elvira de Hidalgo, which helped launch her operatic career. Callas’s success as a singer with the Greek National Opera fueled resentment among her older and more established colleagues who envied her talent and resented being dethroned by a mere teenager who spoke Greek with an American accent. Poverty and conflicted relations at home with her mother and sister failed to compensate Callas for hostility at work. A significant gain in weight further undermined her self-confidence. Her experiences during the seven years spent in Athens exacerbated the split between Callas, the self-assured artist, and Maria, the vulnerable young woman.
A Marriage of Mutual Convenience
Authors: Wink Paul
Published: January 2021

This chapter, “A Marriage of Mutual Convenience,” traces Callas’s marriage to Battista Meneghini, an affluent industrialist whom she met after arriving in Verona in 1947 to sing at the Arena amphitheater. During the twelve years they spent together, the couple became inseparable, with Battista fulfilling Maria’s dependency needs and Callas providing Meneghini, who became her manager, with a highly lucrative source of income and power. Throughout their marriage, Maria was grateful to Battista for launching her singing career. She found him a source of comfort and care. While projecting an image of a dutiful wife, Callas expected Meneghini to obey her wishes and desires, treating him as an extension of herself. Signs of disobedience were met with outbursts of anger and rage. Callas’s vocal problems disturbed the marital equilibrium. Meneghini’s insistence that she continued her career revived in Maria feelings that she was loved for her voice rather than for herself.
A Serious Student
Authors: Heyman Barbara B.
Published: January 2021

When the Curtis Institute of Music opened in 1924, Barber was one of its first students. Due to founder Mary Curtis Bok’s vast cultural background and contacts, the faculty at the school was highly regarded. Early in his studies at the institute, Barber was the first to have a triple major: studying piano with Isabelle Vengerova, voice with Emilio de Gogorza, and composition with Rosario Scalero. He focused intensely on his studies, choosing only a few friends and living a lonely life. It was at Curtis that he met some of the artists who would eventually launch his career, as even his fellow students admired and respected his talent. During this time, Sidney Homer’s unwavering mentoring persisted, and Homer continued to press for excellence and high standards in Barber’s work through their exchange of letters. While Barber worked at Rogers Rock, Lake George, during the summer of 1927, he produced eight songs on texts by James Stephens, many of which are published by G. Schirmer.
Discoveries
Authors: Heyman Barbara B.
Published: January 2021

This chapter describes Barber’s first few trips to Europe, with a fellow student, cellist David Freed, where his romance for European culture began and greatly influenced his work. He sought the most brilliant European artists, musicians, and music professors during that time, immersing himself in their works and teachings. These trips left him with a greater passion for composition as he returned to the Curtis Institute, where he proceeded to write with an utmost intensity. But his writing at this time was not without the usual peaks and troughs, as is the case with any artist. There were compositions wherein Barber doubted his talent. However, his perseverance and determination earned him his first prize in music—the Joseph Bearns Prize for a violin sonata that was lost for many years. It was also at this time that the Serenade of 1928 was born, one of the earliest orchestra pieces that launched Barber’s career. The promotion of his work by Mary Curtis Bok, the founder of the Curtis Institute of Music, was substantial.
Uncertainties
Authors: Heyman Barbara B.
Published: January 2021

At the Curtis Institute of Music, Barber pursued further studies in foreign language and literature, mostly of a European background. He aimed for perfection of his craft and was inspired by English, Irish, and German literature, poetry, and music. He continued to travel in Europe together with his closest friend from the Curtis Institute, Gian Carlo Menotti, and subsequently spent a year at the American Academy in Rome. At the same time, his orchestra pieces started to be performed regularly in New York; Dover Beach, for voice and string quartet, especially, earned good critical reviews. The Overture to The School for Scandal won him a second Bearns Prize. He also pursued a career as a singer as a means of earning extra income, his first recording being Dover Beach. The “Angel Mary” Bok continued to foster his career. Following their graduation from Curtis, Barber and Menotti moved into an apartment in New York.
Middle Years
Authors: Heyman Barbara B.
Published: January 2021

After his discharge from the Army, Barber continued work with the Office of War Information but was able to work at home. He received a commission from John Nicholas Brown for a Cello Concerto for the Boston Symphony Orchestra, conducted by Serge Koussevitzky. Written to include the strengths and predilections of cellist Raya Garbousova, the concerto is considered one of the most challenging contemporary works of the genre and won Barber the Fifth Annual Award of the Music Critics Circle of New York. Reputedly one of the most promising American composers of his time, Barber also composed music for Martha Graham’s ballet about Medea, Cave of the Heart. In 1947, under the shadow of his father’s deteriorating health and Louise Homer’s impending death, Barber composed his most “American work,” Knoxville: Summer of 1915, for voice and orchestra. It is set to a nostalgic prose-poem by James Agee and was premiered by the Boston Symphony with Eleanor Steber as soloist. Following this, Barber composed a piano sonata for Vladimir Horowitz, a work that had the most stunning impact on the American musical world.
Searches
Authors: Heyman Barbara B.
Published: January 2021

In Rome, Barber attended a Gregorian Mass sung by Benedictine monks at St. Anselmo church and was inspired to write a grand-scaled religious work, Prayers of Kierkegaard, for orchestra, mixed chorus, a soprano solo written with Leontyne Price’s voice in mind, and incidental contralto and tenor solos. It was premiered by the Boston Symphony Orchestra under the baton of Charles Munch, with Price as soloist. Barber wrote about the music to his beloved mentor and uncle, Sidney Homer, who at the time was coming toward the end of his life. Homer’s guidance was unwavering, and he encouraged Barber to listen to his inner voice and follow his instincts. As a result, his Roman-inspired pieces were performed throughout Europe. In America, a commission from the Detroit Chamber Music Society led to Barber’s composing the woodwind quintet Summer Music, a collaboration with the New York Woodwind Quintet.
Vanessa
Authors: Heyman Barbara B.
Published: January 2021

When it was performed in 1958, Barber’s opera Vanessa was the first new American work produced by the Metropolitan Opera since 1947 and only the twentieth since the opening of the opera house in 1883. It took Barber two decades to find a libretto, and his search finally culminated in his own backyard, as it were, when his partner Gian Carlo Menotti offered to write the libretto. This chapter narrates how Vanessa evolved, from the creation of the plot to the actors and sets. Set in an unnamed “northern country about 1905,” the story unfolds about two women: Vanessa, a lady of great beauty, who for twenty years of winter after snowy winter has awaited the return of her only love, Anatol; and her beautiful young niece, Erika. The concluding quintet is considered one of the most brilliant climaxes in the twentieth-century repertoire. The opera’s critical success led to the production of Vanessa at the Salzburg Festival, the first American opera performed there. There have been numerous productions in the United States and abroad since then, including a brilliant one at the Glyndebourne Festival in 2018.
Interlude 1958–1960
Authors: Heyman Barbara B.
Published: January 2021

This chapter focuses on more works of Barber that are dedicated to significant people, places, or events. Wondrous Love was written for the inauguration of the new organ at the Christ Episcopal Church in Grosse Pointe, Michigan. A piano piece, Nocturne, “an homage to John Field,” was premiered by John Browning; infused with elements of Chopin and Debussy, the piece more aptly displays Barber’s own melodic penchants. The chapter also describes Barber’s collaboration with his close friend and former lover Menotti, founder of the Festival dei due Mondi in Spoleto, Italy, for which the couple produced the short opera A Hand of Bridge. The gift of an organ to the Philadelphia Orchestra from Mary Curtis Bok Zimbalist led Barber to create Toccata Festiva, premiered by Paul Callaway. And finally, Die Natali, for a full orchestra, dedicated to Serge and Natalie Koussevitzky, using Christmas carols as thematic material for an ingenious fabric of harmonically colored contrapuntal variations, was performed by the Boston Symphony under Charles Munch and later by the Philadelphia Orchestra conducted by Eugene Ormandy, representing some reconciliation of what had been an uneasy relationship.
The Last Years, 1967–1981
Authors: Heyman Barbara B.
Published: January 2021

During the last fifteen years of his life, Barber struggled with depression, alcoholism, and creative blocks. His publisher believed this was due to the reception of Antony and Cleopatra, but Barber’s annual pilgrimages to Europe had begun much earlier, and it was more likely that the forced sale of Capricorn, the home he and Menotti had shared for three decades, contributed to his low morale. The upheaval was equivalent to the dissolution of a marriage. Money from the Metropolitan Opera commission enabled him to build a chalet in Santa Cristina, where he spent most of his time. He did not withdraw from composing but turned to what had been most gratifying: writing vocal music in short forms, choosing biographically pointed texts reflecting a preoccupation with dark and quasi-religious themes. He produced the song cycle Despite and Still, two choral works, and Mutations from Bach for brass. He wrote Chorale for Ascension Day for the Washington National Cathedral and an elaborate work for chorus, vocal solos, and the Philadelphia Orchestra, The Lovers. A commission for the new Alcoa Hall in Pittsburgh resulted in Fadograph of a Yestern Scene, an orchestral piece inspired by a passage in James Joyce’s Finnegans Wake. Barber composed Three Songs, op. 45, and in 1974 wrote a piano piece, Ballade. That commission allowed him to purchase an apartment overlooking Central Park in New York. In the summer of 1978, he began a concerto for oboe and orchestra, but as his health worsened, he realized he would not be able to complete it and titled the single movement Canzonetta for Oboe and String Orchestra. He was diagnosed with multiple myeloma, and in spite of chemotherapy, Barber died on January 23, 1981.
Postlude
Authors: Heyman Barbara B.
Published: January 2021

Barber was a brilliant internationally recognized American composer, whose early indoctrination in European intellectual and musical tradition was compatible with his lifelong creative motivations. The frequency with which his works were performed during and after his lifetime is testimony to the vitality with which he imbued tonal language and the enduring viability of melody itself. Such elements of modernist language as dissonance, chromaticism, tonal ambiguity, and limited serialism were incorporated into his music after 1940 insofar as they allowed him to continue to pursue lyrical and emotional expression. For more than twenty-five years, Barber’s uncle Sidney Homer was his nephew’s mentor. Homer espoused the value of sincerity, clarity of expression, reverence for the proven masters, and choice of serious, vital subjects with international appeal. Above all, he urged his nephew to listen to the “inner voice that is working with you.” A striking feature of Barber’s compositional process from his earliest years was his collaborative relationship with the artists who would perform his works so that the resulting composition would reflect their strengths and predilections. . A documentary study of Barber’s career also becomes a study of patronage in the United States over fifty years—the shift from the individual philanthropist to broader-based financial sources. Communication to his audience was critical to Barber’s work; he worked slowly and laboriously to perfect his craft. His influence on younger composers continues, perhaps because of the coexistence in his music of post-Straussian chromaticism and a typically American directness and simplicity.
Labyrinths as Figures
Authors: Marrone Gaetana
Published: January 2021

Rosi’s groundbreaking trilogy Salvatore Giuliano, Il caso Mattei, and Lucky Luciano addresses the profound cultural and political transformations of postwar Italy. In Salvatore Giuliano (1962), which concerns the enigmatic death of the legendary folk hero, Rosi offers a complex portrait of Sicilian society violently ruled by the Mafia in collusion with the police and the state. Il caso Mattei (The Mattei Affair, 1972) investigates the suspicious death of one of the most influential figures in the postwar economic boom. Lucky Luciano (1973), the treacherous figure of organized crime, is at the center of Rosi’s inquiry into the Mafia’s labyrinthine web of political alliances. Deploying his own metodo dell'inchiesta (“method of inquiry”), Rosi digs beneath the surface of official accounts of these public scandals, unearthing an underlying pattern of corrupt and lethal connections. His open endings attest to his belief in the director’s ethical responsibility to create an actively engaged spectatorship.
“The Red Sea of War”
Authors: Byrd James P.
Published: January 2021

This chapter examines how Americans read the Bible in response to the battle at Fort Sumter and the beginning of the Civil War. In the North, Henry Ward Beecher set the tone in his sermon, “The Battle Set in Array,” which called on the Exodus story to rouse northerners to war. As Beecher preached it, the Exodus was a war story, a story of God’s deliverance of his people in battle, but it was also a story that warned people that they could not just rely on God – they would have to join the fight. Many northerners shared Beecher’s zeal, including Catholics, some of whom saw wartime service as a way to earn the respect of others in a predominately anti-Catholic nation. Overall northerners embraced the war, viewing it as a noble enterprise that would improve the moral resolve of a nation that had become materialistic, immoral, and weak.
“This Second War I Consider Equally as Holy as the First”
Authors: Byrd James P.
Published: January 2021

Americans rarely saw flags until 1861. Few people put up flags outside their homes, and churches did not normally fly them either. With the onset of the war, however, flags appeared everywhere—in churches, homes, businesses, and elsewhere. The flag northerners flew honored the nation of the beloved founders—a flag descended from the flag of the American Revolution—and as northerners honored the flag, they compared their war with the Revolutionary War. Not to be outdone, southerners insisted that they, not the northern aggressors, were carrying on the Revolutionary legacy. Which side was more faithful to the American Revolution? Americans debated this question throughout the war, and never more fervently than at the war’s beginning. As each side claimed to be most faithful to the patriots of 1776, they employed the Bible to support their arguments and to recruit soldiers for the fight.
“These Dead Have Not Died in Vain”
Authors: Byrd James P.
Published: January 2021

Lincoln’s Gettysburg Address, delivered on November 19, 1863, included several biblical themes; it even sounded like the King James Bible. The opening—“Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty”—recalled texts from the Bible, including the book of Revelation (Revelation 12:5). The Gettysburg Address assessed a year of unprecedented sacrifice on the battlefield. This was also a year of conflicting viewpoints of the war’s moral purpose, especially as deaths multiplied and battles continued with no end in sight. Loss cries out for meaning, and Americans sensed that in 1863. When Americans saw loss on a scale like they did that year, they turned to the Bible to give meaning to the war, much as Lincoln did at Gettysburg.
Waldszenen and Abendbilder
Authors: Burnham Scott
Published: January 2021

Nikolaus Lenau (1802–1850) is often described as Germany’s greatest poet of Weltschmerz. In his poetry, Lenau steadily invoked Nature and, in particular, the figure of the forest (der Wald), as both a reflection and amplification of his prevailing poetic mood. Fanny Hensel found inspiration in Lenau’s poetry toward the end of her life, setting seven of his poems in the 1840s. This chapter offers close readings of six of those settings, grouped into those that deploy forest imagery in varying degrees (“Vorwurf,” “Kommen und Scheiden,” and “Traurige Wege”) and those that describe or address the evening (“Bitte” and “Abendbild”). Throughout, the emphasis will be on Hensel’s harmonic, melodic, rhythmic, and textural strategies for capturing and coloring Lenau’s merger of nature and melancholy.
“In this elusive language”
Authors: Youens Susan
Published: January 2021

That composers of vocal music respond to verbal sound and rhythm has become a matter of analysis both by literary and musical scholars. Perhaps influenced by Goethe’s admiration for the brief comet that was Byron, Fanny Hensel studied his poetry in order to improve her English; in early 1837, she set three of his poems to music in English. She could not, she told her brother in 1834, quite understand the sense of the poetry but was captivated by the sounds and rhythms. Here, I consider both Byron’s word-music and his treatment of rhythm in the first song, “There be none of Beauty’s daughters,” and Hensel’s musical responses to his subtleties. I also discuss other features of this song, including a possible reference to Mozart’s “Voi che sapete,” and speculate that she might have read Wilhelm Müller’s biography of Byron in her quest for further information about him.
“You too may change”
Authors: Osborne Tyler
Published: January 2021

By and large, discussions on tonal pairing have been limited to works of the late nineteenth century whose competing key centers are a third apart. Even when we find tonal pairing earlier in the nineteenth century, the tonic is still most frequently in conflict with the mediant or the submediant. This chapter addresses a tonal pairing strategy found in certain songs by Fanny Hensel where the tonic is paired not with a third-related key but instead with the subdominant. In these cases, Hensel effectively transforms the tonic into V of iv, such that the subdominant key competes with, and even sometimes usurps, the tonic key. Using “Vorwurf” and “Die Äolsharfe auf dem Schlosse zu Baden” as examples, the author explores the harmonic strategies by which Hensel turns the tonic into V of iv, and the expressive implications that arise as the tonic’s function transforms is transformed in this way.
Plagal Cadences in Fanny Hensel’s Songs
Authors: Rodgers Stephen
Published: January 2021

The past few years have seen an outpouring of research into the ways that Romantic composers distort the conventions of their Classical predecessors. One particular distortion involves the use of genuine plagal cadences that provide formal closure rather than follow a moment of formal closure; according to William Caplin, genuine plagal cadences are almost nonexistent in music written before 1850, and after that they are hardly commonplace. Fanny Hensel is an exception to this rule. Bona fide plagal cadences are common enough in her songs to emerge as a standard category of closure. This chapter examines three Hensel songs that close with plagal cadences—“Zu deines Lagers Füßen,” “Bitte,” and “Erwache Knab’ ”—arguing that they deserve to grouped among the most inventive songs of the early Romantic era, and that Hensel deserves to be seen as one of the era’s true tonal innovators.
Modulating Couplets in Fanny Hensel’s Songs
Authors: Malin Yonatan
Published: January 2021

This chapter examines Fanny Hensel’s responses to the flow of syntax, thought, and feeling across poetic couplets. Poetic analysis identifies instances of syntactic independence and dependence between couplets, as well as logical relations of interpretation, opposition, and continuation. Hensel’s settings are shown to respond with precisely calibrated tonal shifts, cadences, sequences, harmonic changes, declamatory rhythms, and textures. Comparisons of settings by Hensel and Robert Schumann highlight distinctive aspects of Hensel’s compositional practice. The chapter considers couplet settings first in song beginnings, and then in song continuations with particular song forms (strophic, varied strophic, and ternary) in mind. The chapter builds on prior work by Stephen Rodgers and R. Larry Todd, which draws attention to the tonal fluidity of Hensel’s music. Implications for performance and music-text relations are considered as well.
Fanny Hensel’s Lieder (ohne Worte) and the Boundaries of Song
Authors: Todd R. Larry
Published: January 2021

The subject of this chapter, Fanny Hensel’s Lied in D♭ major for piano solo, Op. 8, No. 3, might seem an anomalous choice for a volume devoted to the composer’s texted Lieder. But one could readily advance the argument that, like Schubert, Hensel was at her core a naturally gifted song composer who gave as free a rein to lyrical impulses in her purely instrumental music as she did in setting the verses of her favorite poets—Goethe, Tieck, Eichendorff, and Heine. Some of her piano pieces, which she typically titled Lieder or Klavierlieder, raise the question as to whether particular poetic sources lay behind their inspiration. Perhaps the most enigmatic of these examples is Op. 8, No. 3, which, when published posthumously in 1850, appeared with the title Lied, to which was added in parentheses “Lenau.” This chapter takes into account the sixteen Lenau settings composed by Hensel and her brother between 1839 and 1847, and considers whether Op. 8, No. 3 might be linked to specific verses of Lenau, or might offer, perhaps, a musical portrait of the poet, who suffered a mental collapse in 1844.
Overview of Child and Youth Development
Authors: Painter Kirstin , Scannapieco Maria
Published: January 2021

The chapter gives an overview of the development of youth in two periods: middle childhood (6–11 years of age) and adolescence (12–18 years of age). During these two stages, major changes occur within the youth’s physical, social, and cognitive dimensions, with each stage having its own primary developmental task. For middle childhood, the main task is to acquire new physical, social, and cognitive skills. On the other hand, adolescents are tasked with sexuality and identity exploration. Within each stage, developmental aspects are discussed and understood in combination with Piaget’s theory of cognitive development and psychodynamic theories such as Freud’s psychosexual stages of development and Erickson’s psychosocial stages. It is important for social workers to learn about brain research, to understand brain functions and what the child experiences biologically and how they might affect the child’s development and mental health problems. Recommendations are given for the best intervention orientation in working with youth: relationship-oriented, empowerment-oriented, and collaboration-oriented practices.
Childhood Trauma
Authors: Painter Kirstin , Scannapieco Maria
Published: January 2021

There are five main types of childhood trauma: physical abuse, sexual abuse, emotional abuse, physical neglect, and emotional neglect. Since childhood trauma can affect the child’s health and well-being even long after the trauma has occurred, it is essential for social workers to be able to categorize the trauma to develop better interventions that will help prevent long-term traumatic effects. However, it is also important to understand the three major manifestations a trauma can take form of in children. Childhood trauma can cause, influence, or exacerbate how people cope with mental illness. It can increase the risk of developing risky, addictive, or criminogenic behavior like substance abuse later in life. Trauma can also harmfully affect a child’s development, resulting in negative life outcomes. Social workers need to be able to implement trauma-informed care programs while also making use of the findings about the relationship between neuroscience and childhood trauma for further practice.
Treatment of Anxiety Disorders
Authors: Painter Kirstin , Scannapieco Maria
Published: January 2021

As with depressive disorders, the two most common treatments for anxiety are psychotropic medication and psychotherapy, either individually or in conjunction. Psychotherapy is often the preferred first line of treatment unless the youth is a danger to self or others or is significantly unable to function. This chapter provides an overview of the classes of antianxiety and antidepressant medications (i.e., selective serotonin reuptake inhibitors, serotonin norepinephrine reuptake inhibitors, benzodiazepines) used for treating different anxiety disorders along with brief information on their side effects. Descriptions are provided of the core components of curriculum and non-curriculum evidence-based and promising practices, including child–parent psychotherapy, trauma-focused cognitive-behavioral therapy, and two computerized therapies. The chapter ends by revisiting the case studies from Chapter 7, reviewing the actual outcomes of the cases and posing questions to prompt further discussion.
Oppositional Defiant Disorder and Conduct Disorder
Authors: Painter Kirstin , Scannapieco Maria
Published: January 2021

Oppositional defiant disorder (ODD) and conduct disorder (CD) are two of the most problematic mental health disorders due to their prevalence and the disruption that they cause, not only to children’s and adolescent’s lives, but also to the lives of those around them. This chapter presents a description of both disorders and the Diagnostic and Statistical Manual of Mental Disorders (DSM) criteria for making a diagnosis. The causes and correlates of ODD and CD are described, along with a discussion on neurocognitive deficits and comorbidity with other disorders. Youth in the child welfare system are at a higher risk than other children of having or developing CD or ODD due to the high correlation of these disorders with physical abuse, neglect, poverty, and family dysfunction. Because of the high correlation, implications for foster youth are presented. Chapter 11 concludes with real-life case studies followed by questions for class discussion.
Bipolar Disorder
Authors: Painter Kirstin , Scannapieco Maria
Published: January 2021

Bipolar disorder is a category of mood disorders that result in severe changes in a person’s mood and energy level. This chapter provides an overview of the most current research, causes, signs, symptoms, and diagnostic criteria of bipolar I and bipolar II disorder and cyclothymia. A discussion on the differences in the presentation of symptoms based on child or adolescents developmental level and on differential diagnosis is included. Disruptive mood dysregulation disorder (DMDD) is described in Chapter 5; however, it is revisited in this chapter because it was added as a new diagnosis beginning with the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders to capture youth who experience significant difficulties but do not have the classic symptoms of BD. The chapter ends with an overview of common assessment tools, real-life case studies, and questions for class discussion.