bluuebunny/crossref_metadata_2025 huggingface dataset:
Beginners
Authors: Debost Michel
Published: November 2023

Common sense at an early stage will bear flute fruit in the long term. Semiadvanced flutists and their teachers lose many hours correcting bad habits that early care could have avoided. Past the first six months of playing, my principles are not dogmatic: efficiency, comfort, pleasure, and beauty. If it works, do it and teach it. Do what you preach, and preach what you do. Those first six months, however, are crucial. Teacher and beginner should not be afraid of proceeding very slowly at first. Impatience, as well as family pressure, wants to jump ahead and hear results. But the future can be jeopardized by haste. Look how slowly and carefully young violinists start out. The method chosen should reflect this concern. My preference goes to the most progressive, not to the fastest.
Breathing1: Generalities
Authors: Debost Michel
Published: November 2023

Breathing is such an obsession with wind players that it is seen as a mechanism distinct from instrumental playing and as an entity that you could practice outside of a musical context. We have a psychological hang-up about breathing. We are afraid of silence. Upon taking a breath, we leave the last note almost with regret, as if the sound of the flute should always be heard without interruption. It is true that we have a handicap compared to reed players, who often have too much air. I have trouble believing that one can buy machines to improve breathing. It is as if exercise machines advertised with beautiful models were the secret of eternal health. Breathe as you would without a flute on your lips. Go back to simplicity. When you read a bulletin board, do you lift your shoulders? Do you stand at attention? Breathe as you would when you wait for the bus.
Diaphragm
Authors: Debost Michel
Published: November 2023

The diaphragm is a reflex muscle. It does not respond to willpower, try as we may. Its cycles, like those of most of the vital organs that operate when we sleep, dream, or play the flute, are beyond our control. Basically, it goes down upon breathing (inhaling) and up while blowing (exhaling). Should it do otherwise, flute playing and all other activities would just stop: death would ensue in short order. Since there is no sensory perception of the movements or position of the diaphragm, at any time, there is no way that we can control them. I remember very well feeling dumb and insensitive, as a student almost as much as now, when I could neither feel nor respond to professors’ commands regarding my friend the diaphragm. Only when studying medicine, a project quickly aborted by my acceptance to the Paris Conservatory, did I understand that the playing concept of diaphragmatic technique was scientifically incorrect. It was a well-meaning approach to the phenomena of breathing and blowing. Involuntary, the movements of the diaphragm are conditioned, freed, or hindered by all the muscles, lower or upper, surrounding it. Inhalation on a tuckedin tummy has the abdominal muscles compressing the viscera. They will prevent the diaphragm from its full normal downward movement. Efficient breathing should actually imply the release of all tension in the abdomen. A purely thoracic inhalation will result in high shoulders and constricted throat and airway. An overly extended rib cage will tend to collapse under its own gravity and elasticity. The act of yawning gives a good feeling for correct breathing procedure: wide-open throat, abdominal relaxation, fullness of air, and a perception of pleasure.
Finger Phrasing
Authors: Debost Michel
Published: November 2023

All too often we tend to identify phrasing with sound and technique with fingers, articulation being somewhere in between. Our practice to emphasize sound as an entity to itself, relevant to the domain of musicality, whereas fingers are the attributes of virtuosity, an unavoidable and cumbersome necessity. Yet many difficult passages are lost to poor control of the tone, because we are preoccupied only with the rapid succession of notes. On the other hand, faulty phrasing of slow lines can often be attributed to uncoordinated fingerings. Even in a succession of descending intervals, as in the first movement, Adagio ma non tanto, of the Bach Sonata in E Minor, BWV 1034, we should be careful not to let the sheer weight of the falling fingers reinforce the second note. Finally, when an interval needs to be smoothed out, before trying to lip it, we should visualize a seamless track of air going from one note to the next. A perfect slur is one where the sound wave between the two notes is not interrupted. This is achieved not by slamming fingers, but by smoothly synchronizing the connection between lifting and lowering fingers.
Intonation, Intonations
Authors: Debost Michel
Published: November 2023

It is an inexhaustible subject. Many people have certitudes about it; they are dangerous, be they flutists, conductors, or instrument makers. Tom Nyfenger, with his sardonic humor, used the term “outonation.”11 Concern for intonation is the first of civilities toward partners with whom music is performed. Tonal beauty, of course! Bright tone, clear tone, dark tone, ethereal tone, bravo! But often, the flutist, in his rapture about tone, gives it priority over intonation. One gets used to everything, including playing out of tune. Intonation concerns act as a negative: it seems natural and beyond comment that an instrumentalist or a group play in tune. The listener does not even think of it. But if the intonation is defective, it is the first thing that is noticed, even by nonmusicians. A feeling of aural discomfort negates any perception of an expressive nature. Listen to the greatest pianist playing on an out-of-tune piano: the first thing you hear is the honky-tonk sound. I have always regretted not having perfect pitch, and I succeed (hopefully) at playing somewhat in tune by referring to other pitches. Yet I am always ready to modify my playing to match other musicians, to the constantly changing harmonic environment, or to playing modes incompatible with our modern concepts. Thus, when we say: “ The modern flute is more perfect than the pre-Boehm traverso,” we commit the sin of arrogance as well as a mistake, which often go hand in hand. Our modern criterion is equality in all ranges and on all the degrees of the chromatic scale. It is also what I try to teach in order to achieve instrumental playing as reliable as possible. However, for the flute players of yesteryear, it was not the main concern. “Intonation is a bourgeois luxury.” Colors changing with the keys, uneven timbre, even defects in intonation were elements of instrumental playing. They contributed to expression and to the character of their music. Boehm was criticized more for the “insensitivity” of his flute than for the imperfection of its mechanism. The lover’s eyes change into virtues the beloved’s defects.
Keys
Authors: Debost Michel
Published: November 2023

I rarely mention the word technique. I am not naturally inclined to technical things, and I am afraid, if not resentful, of machines. We are expected to blindly respect CDs, edited to so-called perfection, tape recorders that sound either too awful or too good, breathing contraptions that simulate life, tuners to have perfect ears, metronomes to have perfect rhythm. It’s all for sale. Having said this, I must admit that I am writing on a word processor. The ASPCA no longer tolerates plucking geese to make quills, and my fountain pen is reserved for checks and love letters. Instrumental playing includes all the aspects of our dear flute: tone, fingers, articulation, slurring, pitch, vibrato, breath. One may feel weaker in one area or another, but working on one without thinking about the others leads nowhere. Not even interpretation is instinctual. It involves thought and practical solutions. There is a technique of phrasing just as there is a musical approach to instrumental problems. Even when the tone is beautiful in one area, shifts in range or articulation, clumsy attacks, and faulty slurs can ruin a perfectly good musical intention. Let us use as an example the first part, the andantino, of the Fauré Fantaisie. There are many more illustrations, but this piece is well known to flutists of all levels. Besides, it is one of those things that look deceptively simple. The allegro is scary, with its runs and rapid tonguing. But after two lines of the andantino, everyone has a good idea of how you play, and this innocent-looking phrase is not as easy as you thought.
Muscle Groups
Authors: Debost Michel
Published: November 2023

The human hand is an amazing machine. There are an incredible number of muscles of all shapes and sizes, interwoven, working at times in the same direction, sometimes in contrary or antagonistic motion. The muscles that activate the fingers involved in playing the flute are mostly in the forearm. Without intending to be exhaustive or competing with the medical experts, we can have a direct perspective of these muscles’ action. Wear a short-sleeved shirt or a T-shirt so that you can glance at your left forearm while playing. Pick up your flute and play a simple pattern:
Notes
Authors: Debost Michel
Published: November 2023

One of our obsessions is playing the notes, or rather not missing too many of them. It even seems to be the only concern among some teachers and orchestra personnel managers. It is hard to disagree, of course. Yet it would be interesting if all the parameters of flute playing had the same importance. Sound comes in conjunction with notes. The notes are not an entity in themselves; rather, the musical content is spoken through the notes. We should practice instrumental playing as a whole. Style, phrasing, articulation, intonation, and notes must all be seen as a total experience. Germanic musicians use the alphabetical system to name notes, with the peculiarity that B is sometimes called H. English musicians and those of the British sphere (e.g., Australia and New Zealand) use the “pure” alphabetical system. Americans, due to the variety of their musical influences, use both systems, mostly the alphabetical system, but also solfège in areas where musical institutions were influenced by the Italian, French, and Spanish cultures.
Resonance
Authors: Debost Michel
Published: November 2023

Sound is a vibration of the medium, but it is not vibrato. Sound cannot be produced in a vacuum. It needs a medium— in most cases air, but it can be lighter than air (such as helium), making the pitch sharper, or heavier (such as carbon dioxide), turning the pitch flatter. You can experiment with this phenomenon if you play right after having a carbonated drink. Should an accidental return of the gas occur, your tone suddenly goes very flat, for a second, then comes back up to pitch. The greater density of carbon dioxide (CO2 ) is the reason. The temperature inside the flute also influences resonance. Cold air is denser than hot; therefore, it resonates at a lower frequency. There can be no sound in a vacuum. Correlatively, any air particle in contact with the sound source enters into vibration with it. The volume of air where you are playing resonates, but so do all the cavities inside your body: chest, mouth, throat, sinuses, even bones. They contribute to give each of us a distinctive sound. A cold is unpleasant because the head cavities do not resonate. Our tone of voice is a direct result of the component resonance of our facial spaces. It is the constant emphasis of good voice teachers, and it is mine, for I think the voice is the best example of tone production for flutists.
Rubato
Authors: Debost Michel
Published: November 2023

Rubato means what it says: stolen. But in music, it implies stolen . . . and returned. Tempo remains steady within a given measure so that the musical delivery may be more or less early or late with respect to the basic pulse. One steals time from time. This creates a certain tension comparable to the inflections of a spoken phrase, whose release is never completely regular, unlike those in so many soporific speeches. The metronome cannot discipline rubato, except in that it symbolizes the pulse of the fatal clock, whose bondage we, poor humans, try to defeat by stretching and compressing musical space. This conflict between tension and release is the essence of rubato, of phrasing, and of musical expression in general. Thanks to freedom and rubato, music can become ageless. Minutes seem eternal, time suspends its flight, the moment is almost sacred: “Du holde Kunst, ich danke dir” (Thou tender Art, I thank thee; Schober, set to music by Schubert). In fact, if you use the metronome systematically, you should consider yourself its equal, not its slave. Practice with the metronome, by all means; but most of all play against the metronome.
Stress
Authors: Debost Michel
Published: November 2023

“Be patient with everyone, but above all with yourself.” We must resign ourselves: stress is inherent to performing. The essence of music is conflict between tension and release, between emotion and peace, between time and space, and between joy and sorrow. The few following thoughts are not intended as a cure for stress; that is a lure. Stress is unavoidable for an artist. It is even necessary, a source of moral achievement and beauty.
Unusual Trill Fingerings
Authors: Debost Michel
Published: November 2023

All trills are assumed to be slurred. Only fingered keys are shown. The first note is the basic fingering. Arrows show the trilling finger(s). There are many theories. Extensive measurements show that the diaphragm has no role in vibrato. Since you cannot produce vibrato with your lips or your chin, its mechanism must initiate somewhere in the throat area. This does not mean that it needs to be of the nanny goat variety, very fast and very narrow. In fact, it is safe to say that vibrato is a modulation in the pitch of the flute tone, making it rise and fall in a more or less controlled fashion. String players do the same thing more visibly. But it confirms the fact that vibrato is not spontaneous. String players show us it is a oscillation of the finger tips on the fingerboard.
Concerning the Table and Classification of Italian, French, and English Compositions Now in Use in Germany
Authors: Praetorius Michael
Published: November 2023

For the instruction of the many simple people who have often wished to know what the names of the various Italian and French compositions mean, I have attempted here to compile such a list, collated from the writings of many eminent authors, with the sincere request that it be well received and understood with comfort and confidence.
Concerning the Dances Arranged According to Certain Paces and Steps, Such as the Paduana, Passamezzo, and Galliard
Authors: Praetorius Michael
Published: November 2023

The paduana, Italian padoana, is supposed to get its name from the city of Padua in Italy, where, according to some, the art of music was first invented. The French and English call it pavana. It is a kind of steady, solemn music, and when played in a consort on a variety of sweet-sounding instruments produces a particularly pleasant and at the same time splendid sound [Harmoniam]. It is principally designed for formal dances. In England it is always used for dancing, and it generally has three repeated sections of eight, twelve, or sixteen beats [tact] each; no fewer are allowed due to the four steps or paces that must be observed. There is nothing particularly fugal [Fugen] about them, but they may begin with imitation [Fug] now and then, which quickly grows less and then ends. The dance called La pavane and also La pavam de Espaigné originally comes from Spain and must therefore be executed with especially slow, graceful steps and Spanish solemnity.
Concerning the Numbers Found Next to or Under the Rests
Authors: Praetorius Michael
Published: November 2023

A performer does not always carefully notice the abundance of rests that frequently occurs in the various choirs of concertos for multiple choirs [Concerten per Choros], due in part either to forgetfulness or error, but also at times on account of the plethora of rests, the confusion of rest types, and also because he is studiously listening to and enjoying the other parts. Therefore I have devised this solution, which appears highly appropriate, of putting the number of rests over or under the notes, especially when duple ( , ) and triple ( , ) mensurations are frequently mixed up and alternated. For example, where one and the same rest in duple meter counts for four beats, there are only two beats in Tripla. As everyone has found out for himself — and I have learned from experience, not without distress — this can easily result in confusion; nevertheless, such dilemmas can be avoided to some extent by this means.
Concerning the Variation of Beat or Measurement [Mensura] in Songs, Both in Their Progression and Ending [Acceleration / Retardation]
Authors: Praetorius Michael
Published: November 2023

A performance must not be rushed, for confusion will be created in the entire ensemble—even the most enjoyable ones. However, when it is performed to a slower beat, the harmony is made more gracious and is better perceived. Also, the equality of the measurement [of the notes] must be observed, lest the harmony be marred or disturbed. For to sing without law and measure is to offend God himself, who arranged all things according to number, weight, and measure, as Plato says.  But nevertheless, when using by turns now a slower, now a quicker beat, according to the meaning of the text, the song has a singular majesty and grace and is marvelously adorned.
Concerning the Transposition of Compositions How and to What Extent Various Compositions Must Be Transposed When Set Down
Authors: Praetorius Michael
Published: November 2023

Each composition written in high clefs, that is, when the bass is written in a C-clef on the second or third line from the top [C-: tenor or C-: alto clef ] or in an F-clef on the third line [F-1: baritone clef ], must naturally be transposed into tablature or score by organists, lutenists, and all others who will be using a fundamental instrument. If it is in a transposed mode [b mol], it must be taken down a fourth, and B [durum] applied; if, however, it is untransposed [ dur], it must be taken down a fifth, and B [mol] used. Several modes, such as Mixolydian, A Eolian, and Hypoionian, generate a drab and languid sound [harmonia] because of the lower tessitura [sonos] when transposed down a fifth. It is far better and gives the work a much fresher and more delightful sound [zuhören] if the mode is transposed up a fourth, using F instead of B .
Concerning the Writing of the Parts or Voices of a Composition Concerning a Suitable Designation of the Parts with Numbers Instead of Cantus, Altus, Tenor, Bassus, Quintus, etc. and the Distinction between Them, So That the Arrangement of a Concerto and the Distribution of the Parts Can Be Improved and Made Easier
Authors: Praetorius Michael
Published: November 2023

I have discovered that in various partbooks, as they are commonly called, it is rarely taken into account the succession in which the parts in each choir might be reasonably arranged. For this reason organizing sundry concertos to be performed in quick succession is very laborious and tedious, since in one composition a part may belong to the first choir, but in the next piece it may be found to belong to the second or third choir. This is most annoying and confusing when one wants to arrange the first and second pieces on the spot, especially if the choirs are separated by a great distance, as one has to take a partbook from one and give it to another, running from one place to another carrying partbooks.
Capella, Chorus pro Capella, Palchetto
Authors: Praetorius Michael
Published: November 2023

In my opinion the only thing the Italians meant with this at first was the employment of a separate choir that was drawn from several different choirs consisting of various kinds of instruments and voices in the large Imperial, Austrian, and other Catholic chapels or music organizations. It is called a large choir [Chorus pro Capella] because the entire vocal choir performs in a completely separate location, entering almost always together with the other choirs and producing music full of splendor and magnificence, as when an organ joins in with the full organ.
[Name-Making], the Suitable Names of Instruments [Onomátopoíses, Instrumentorum Congrua Appellatio]
Authors: Praetorius Michael
Published: November 2023

Since the names of musical instruments cannot actually be determined with Latin terms as with Italian ones, I have generally used the Italian ones in my works and would like to indicate their meaning here [tables 3.6 and 3.7]. It is also to be noted here for further direction that in order to differentiate better the large instruments from the smaller ones in their language, the Italians employ two-syllable suffixes [table 3.8].
Across a Great Divide
Authors: Berry Stephen W
Published: November 2023

To readers familiar with negotiating personal spaces through public places, the Punch cartoon on page 84 must have provided a quick laugh. On careful examination, however, the image holds a fascinating key to understanding gender relations among the elite of the Victorian era. The man ‘s umbrella, his top hat, his beard, his girth, the dark and muted colors of his frock coat and peg-top trousers all suggest the stolid and mature man of means who by the 1850s had become the fashionable world ‘s male ideal.
A Fountain of Waters
Authors: Berry Stephen W
Published: November 2023

For most antebellum Americans, disunion was, to use one of their favorite metaphors, a dark cloud brooding endlessly on the horizon, a storm ever building, never breaking. To be sure, a few eyed it greedily, imagining its power to reorder lives and circumstances. But far more viewed it as a peripheral grimness. The cloud had been there every day of their national existence, and, while they did not like the look of it, they had had ample time to get used to it. When finally it crashed about their heads, they might have reacted with a weary fatalism.
The Regulation and Marketing of Sexual Pleasure
Authors: Abramson Paul R , Pinkerton Steven D
Published: November 2023

In William Blake’s famous poem The Marriage of Heaven and Hell, he challenges the sanctimony of libidinous restraint—particularly as evidenced in Milton’s Paradise Lost. Blake warns:

Those who restrain desire, do so because theirs is weak enough to be restrained; and the restrainer or reason usurps its place & governs the unwilling.

This poem provides a particularly fitting introduction to the regulation of sexual pleasure and the questions it evokes. Such as the most basic query: Why do we restrict and encumber this many splendored thing? And why do we consider ourselves so noble when we do? Blake’s poem reaffirms the vitality of passion and desire, and the creative acts they inspire. Desire provides a counterpoint to oppression, the virus of regulation and restraint.
The Mechanisms Of Atmospheric Oxidation Of Aromatic Hydrocarbons
Authors: Calvert Jack G , Atkinson Roger , Becker Karl H , Kamens Richard M , Seinfeld John H , Wallington Timothy J , Yarwood Greg
Published: November 2023

This text reviews many of the aspects of the chemistry of the aromatic hydrocarbons and a consensus evaluation of the data by seven of the leading atmospheric scientists. The book covers topics ranging from the relative importance of the compounds in ozone and haze development to methods of estimating elemantary rate coefficients based on structural features of the compounds to mechanisms of aerosol generation and atmostpheric reaction of the polycyclic compounds to photochemical processes. It identifies features of the aromatic hydrocarbons requiring further study and appendicies give the structural formulas and nomenclature of the compounds reviewed in the book.
Atmospheric Chemistry Of Polycyclic Aromatic Hydrocarbons Sorbed On Particles
Authors: Calvert Jack G , Atkinson Roger , Becker Karl H , Kamens Richard M , Seinfeld John H , Wallington Timothy J , Yarwood Greg
Published: November 2023

Polycyclic aromatic hydrocarbons (PAHs) arise in the environment primarily as direct atmospheric emissions or as combustion wastes that are either buried in, or applied to, the surface of dump sites (Muller et al., 1989; Luthy et al., 1994; Finlayson-Pitts and Pitts, 1999). As a class of compounds, PAHs contain two or more fused benzene rings. This class also includes aromatics with fused aliphatic and olefinic rings, as well as aliphatic substituent groups on the aromatic rings. In 1962, Badger proposed a simple flame mechanism in which acetylene radicals combine as building blocks to form PAHs (Badger, 1962; Badger et al., 1965). Current mechanisms involve hydrogen abstraction and acetylene addition to the growing PAH structure (Wang and Frenklach, 1997). Recent work suggests that gas-phase collisions may lead to PAH dimers, and trimers, and so on, which ultimately lead to a soot seed particle. It is also possible that growth to soot particles can take place via the formation of aromatic-aliphatic-linked hydrocarbons (Minutolo et al., 1988; Ciajolo et al., 1994; D’Anna et al., 1994; Dobbins and Subramaniasiavam, 1994; Hepp et al., 1995). At room temperature, PAHs are solids and they have melting points that range from ˜ 80°C to 400°C, and boiling points that range from ˜ 200°C to 570°C, and they have subcooled liquid vapor pressures that range from 10-4 to 10-11 atm.
Important Areas For Further Laboratory Studies
Authors: Calvert Jack G , Atkinson Roger , Becker Karl H , Kamens Richard M , Seinfeld John H , Wallington Timothy J , Yarwood Greg
Published: November 2023

Although a great deal of quantitative information related to the atmospheric oxidation of the aromatic hydrocarbons has been obtained in recent years, there is a large uncertainty related to many aspects of our knowledge. In this chapter we attempt to identify some of these critical areas to provide direction for new and definitive laboratory and theoretical work. The discussion in the first two sections is separated into work related to (a) measurement of rate coefficients for the reactions of the important oxidizing species in the atmosphere (section XI-A); and (b) the products and mechanisms of the reactions (section XI-B). The areas of knowledge that require further study are considered in the order they first appear in this book. In section XI-C, the needed studies of the photochemistry of the products of the aromatic hydrocarbon oxidation are discussed. In sections XI-D, suggested further studies are described related to aerosol generation in the oxidation of the aromatic hydrocarbons; and in section XI-E, studies of reactions of PAHs sorbed on aerosols are considered. In section XI-F, an attempt is made to prioritize the areas of needed study.
“ An Outpost of the Empire Welcomes You”
Authors: Williams Carol J
Published: November 2023

Beginning with the Spanish explorations of the eighteenth century, incoming visitors exhibited an insatiable, encyclopedic appetite for images of the Northwest Coast. The prime vehicle for the collection of this visual data was geographical and geological surveys, which substantiated the topography, flora, and fauna of the landscape as well as the location and availability of fish, mineral, and timber resources.1 Prior to the mid–nineteenth century, watercolor artists commonly accompanied exploratory surveys in order to produce detailed topographical sketches of colonial lands.2 Swiss-born draftsman John Webber, for instance, accompanied British Captain James Cook on his 1776 exploration of Nootka Sound on the HMS Resolution, resulting in detailed drawings of the Nuu-chah-nulth tribe of Vancouver Island’s west coast. And in 1864, artist Frederick Whymper accompanied botanist Robert Brown and his crew on a geographical survey conducted by the Vancouver Island Exploring Expedition.
HIV/AIDS in Historical Profile
Authors: Valdiserri Ronald O
Published: November 2023

That epidemics of infectious disease leave behind their footprints in history is not a novel observation. Some of humanity’s most intriguing episodes document the unexpected effects of human-microbial interaction. A significant consequence of the Black Death among European bourgeoisie, it has been argued, was a new conception of time, a pronounced sense of urgency that was manifest in longer working days, night work, and the increasing popularity of clocks and time-keeping bell chimes (1). Cortez’s victory over the Aztecs was almost certainly facilitated by smallpox carried to the New World by the conquistadors who, unlike the hapless Aztecs, were largely immune (2). And after an aggressive 1,250 square mile advance, which brought German artillery within striking range of Paris, the offensive was halted in July 1918, when thousands of German soldiers succumbed to influenza, giving Allied forces the opportunity to replenish their troops and lead a counteroffensive that eventually ended the war (3)
HIV and AIDS Surveillance: Public Health Lessons Learned
Authors: Buehler James W
Published: November 2023

To prevent and control specific diseases, public health has an ongoing need to monitor trends in the occurrence and characteristics of particular health problems. This process is called “public health surveillance,” and the structures and procedures used to conduct this monitoring are called “surveillance systems.” Typically, surveillance efforts grow from ad hoc systems developed in response to the recognition of new problems to more elaborate systems that evolve as prevention and control programs are established (1). This is indeed the case with surveillance systems aimed at monitoring the epidemic of human immunodeficiency virus (HIV) and acquired immunodeficiency syndrome (AIDS). HIV/ AIDS surveillance has included not only monitoring the various stages of HIV infection and associated diseases, including AIDS, but also monitoring the behaviors that place individuals at risk for infection, as well as the use of preventive or treatment services by those at risk for, or already infected with, HIV.
HIV/AIDS’ Contribution to Community Mobilization and Health Planning Efforts
Authors: Valdiserri Ronald O
Published: November 2023

Public health can be described as an “organized community effort to address the public interest in health by applying scientific and technical knowledge to prevent disease and promote health” (1). The U.S. Constitution makes clear that government assumes the responsibility for protecting community health (2). At the federal level, the ability to tax, spend, and regulate interstate commerce is the most important power that government has at its disposal to prevent injury and disease and to promote the public’s health (3). But it is state and local governments that have the predominant role in population-based health services, based on the “inherent authority of the state to enact laws and promulgate regulations to protect, preserve, and promote the health, safety . . . and general welfare of the people” (3).
Contributions of HIV Prevention Evaluation to Public Health Program Evaluation
Authors: Leviton Laura C , Guinan Mary E
Published: November 2023

In this chapter we describe the evaluation of HIV prevention efforts and suggest ways in which it has contributed to evaluation in public health generally. Although important questions about evaluation also arise in the context of HIV treatment and care programs, they will not be the focus of this chapter. In the first section we describe the context of the contributions. In the middle section, we appraise the contributions made by research demonstrations and their evaluation in HIV prevention. In the final section, we discuss the shift over time to established, large-scale programs for HIV prevention and describe how the increase in program dollars has led to increased evaluation capacity at national, regional, state and local levels.
The Evolving Impact of HIV/AIDS on Global Health
Authors: Lamptey Peter , Ruckstuhl Kristen , Cates Willard
Published: November 2023

For much of its history to date, HIV/AIDS has been viewed primarily as a public health issue. With the increasing realization of its vast impact on social, economic, and political systems, however, the disease is emerging as a major factor in global development strategies. As a result, HIV/AIDS is commanding much more attention from world leaders.
Creating, Organizing, and Transforming the Holidays
Authors: Aveni Anthony F
Published: November 2023

The Schedule of rituals that we call our calendar emanates from the vast differences among the seasons that we all experience. Traditionally, we think of the seasons as four in number—summer, fall, winter, and spring. But this taxonomy turns out to be largely a nineteenth-century reinvention of the ancient habit of pivoting the year about the pendulum like northerly and southerly migration points of the sun (the solstices) and their midpoints (the equinoxes). (Most Indo-European languages have root words for winter, spring, and summer only, which may mean that there once were only three seasons.) In stark contrast, the ancient Celtic calendar set four seasonal marking posts at dates that lie at approximately the middle of our four seasons. Halloween, Groundhog Day, May Day, and the now defunct Lammas, or the First of the Harvest Festival (August 1), once signaled the changing of the fourfold seasonal guard.
Spring Equinox: Watching the Serpent Descend
Authors: Aveni Anthony F
Published: November 2023

Four o’clock in the afternoon, March 20, 2001—the first equinox of a new millennium. Modern astronomers and timekeepers recognize it as a seasonal dividing line, the date when night and day are equivalent, when cosmic symmetry causes sunrise and sunset to transect the north-south line precisely.
Labor Day: Remembering the Great Time Wars
Authors: Aveni Anthony F
Published: November 2023

Nobody appreciates a support staff more than I—especially on Labor Day, the most vivid annual reminder to me of just how much my job depends on my fellow workers. Labor Day is usually the first week, sometimes the first day of classes at Colgate University, where I teach; but because it is a national holiday, the support staff (though, for reasons that make sense only in the world of academia, not faculty and students) are given the day off. Year after year I dutifully show up on Labor Day morn to a pile of unsorted mail, unerased blackboards, unswept floors, and a men’s room devoid of basic necessities, to teach my two Monday classes. Oh, how I miss my secretary and all those unheralded, underpaid keepers of old Lathrop Hall in whose company I pass most of my daylight hours! Labor Day’s message to me is this: nobody makes it in the workaday world on his or her own. We all live in a society where we depend on one another perhaps more than we would like to admit. Our accomplishments are the result of a team effort. I learn this lesson by living it.
Thanksgiving: Transcending Pilgrims’ Progress
Authors: Aveni Anthony F
Published: November 2023

writes Thoreau of his relationship with the mile-long pole-bean rows he comforted in solitude throughout the New England summer of 1846. Too little sun, too much rain, invading crows, pesky groundhogs, an early frost, a prolonged drought—over the long summer we gardeners deflect the missiles of misfortune nature hurls at our adopted children from the botanical kingdom as we count the days until we can savor that initial batch of early cherry tomato, savory squash flower, or crisp Bibb lettuce—our first fruits.
Christmas: From Resurrection to Rudolph
Authors: Aveni Anthony F
Published: November 2023

For the Inuit who live in the Canadian Arctic, what happens on the winter solstice (December 21) is far more dramatic than any comparable cosmic phenomenon those of us who live in temperate and tropical latitudes witness. Christmas time there doesn’t just bring lengthier noontime shadows and longer nights. It is a time of total darkness— both day and night.
“What Goes Around”
Authors: Aveni Anthony F
Published: November 2023

This IS the Story of our love affair with time—as I characterized it in an earlier work. Those red-letter days that mark the resting points, the reflective moments in our journey around the annual wheel of time, follow this temporal rondo. We have celebrated the year’s ebbing and flowing, key notes in its musical strain, its moments of tension followed by relaxation, the returning themes of life and death, germination, and harvest that guide us through the seasons in various guises.
Introduction
Authors: Else James G , Pokras Mark A
Published: November 2023

A primary goal of conservation medicine is the pursuit of ecological health or, by extension, the health of ecosystems and their inhabitants. Ecological health is, and will remain, in a continuous state of flux. As our environment continues to change, so will the disease patterns and their effects on the health of human and animal populations.
Assessing Stress and Population Genetics Through Noninvasive Means
Authors: Wasser Samuel K , Hunt Kathleen E , Clarke Christine M
Published: November 2023

Monitoring changes in animal abundance, the presence of pathogens, and physiological well-being of wildlife is critical for effective management of wildlife diseases. Monitoring animal abundance enables one to recognize when a potential die-off is occurring. Pathogen monitoring enables one to examine potential causes of the mortality. Monitoring physiological stress alerts investigators to conditions that could increase susceptibility to disease. Monitoring reproductive function can do this as well, in addition to alerting investigators to other problems such as endocrine disruption resulting from exposure to pollutants. These latter measures may also rule out alternative diseases that may present clinical signs similar to those of emergent diseases.
Linking Human and Ecosystem Health on the Amazon Frontier
Authors: Murray Tamsyn P , Kay James J , Waltner-Toews David , Ráez-Luna Ernesto F
Published: November 2023

Our ability to enhance the health of ecosystems is predicated on an understanding of the interactions among ecosystem dynamics, natural resource use, and human health. Since 1996, a team of Canadian and Peruvian researchers has been developing an adaptive ecosystem approach to human health. In keeping with the standard definition of methodology used in the systems literature (Checkland and Scholes 1990), the ecosystem approach provides an interdisciplinary, holistic guide to how to investigate complex socioecological problems, drawing on and bringing together a wide variety of methods, actors, and scales of investigation.
Ecotourism: Unforeseen Effects on Health
Authors: Wilson Mary E
Published: November 2023

The desire to find regions untouched by human development leads travelers to explore increasingly remote areas and brings them in contact with relatively isolated human and animal populations. Current materials, equipment, and methods of travel allow individuals to rapidly penetrate physical and vegetation barriers that would have stopped, or markedly slowed, even intrepid explorers in the past. The time to reach remote areas is often short, and travelers may sample remote areas for a brief time, sometimes a few days or less.
Introduction
Authors: Jost Timothy Stoltzfus
Published: November 2023

On September 11, 2001, the United States experienced an event unprecedented in the living memory of the American people—a devastating attack on two major population centers, resulting in the loss of 3,056 lives and in untold economic damage. America’s political leaders responded dramatically and forcefully: within days, Congress appropriated $40 billion for homeland defense and for rebuilding. President George W. Bush announced a worldwide war on terrorism, and shortly thereafter, American troops were engaged overseas. The American people also responded resolutely and generously, donating over $2.3 billion to private charities for rescue and rebuilding efforts. A great sense of purpose and determination bound us together as a nation, both to sustain those who had suffered directly from the attack and to restore the security that we had previously enjoyed.
The Historical Foundations of American Health-Care Entitlements
Authors: Jost Timothy Stoltzfus
Published: November 2023

The two primary public health insurance entitlement programs of the United States, Medicare and Medicaid, were created by the Social Security Amendments of 1965 and became effective on July 1, 1966. Although these programs were the product of a vigorous, decades-long debate to which many contributed, they were most immediately the creation of Wilbur Mills, the then-powerful chairman of the powerful House Ways and Means Committee. Mills combined three proposals—President Lyndon B. Johnson’s administration’s Medicare proposal then before Congress as the King–Anderson bill; the American Medical Association’s “Eldercare” proposal; and a Republican alternative sponsored by Representative John W. Byrnes, sometimes referred to as “Bettercare”—to form the “three-layer cake,” that became Medicare and Medicaid. The Johnson administration’s Medicare proposal, a traditional social insurance program, became the Part A hospital insurance program; the AMA’s Eldercare, a limited, means-tested approach to insuring the elderly, became Medicaid; and Byrnes’s proposal for subsidizing private insurance became Part B of Medicare.
Health Insurance for the Poor: Disentitlement through Devolution
Authors: Jost Timothy Stoltzfus
Published: November 2023

From its beginning, the Medicaid program has been operated jointly by the federal and state governments. Its roots as a federal/state cooperative program run deep, emerging most immediately from the Kerr–Mills program that began in 1960, running back through the vestigial medical vendor payment program that first supplemented the federal/state cash-assistance programs in 1950, and originating in the Old Age Assistance and Aid to Dependent Children programs of the original Social Security Act. All of these programs (as well as the Sheppard–Towner Act, which came even earlier), were attempts to provide federal funds to undergird what was traditionally a state—indeed, a local—function: taking care of the medical needs of the poor. This history was told in Chapter 4 and is not repeated here.
Communism and the Cultural Front
Authors: Crist Elizabeth B
Published: November 2023

Asked By The Musicologist Vivian Perlis in 1979 about his political activities in the 1930s, Copland replied: “Well, I never joined anything. In that sense I wasn’t aligned, but I was very sympathetic for the more radical side of things. It was a kind of feeling of the period, one was going to carry it along.” While granting his interest in left-wing causes during the 1930s, Perlis maintains that “Copland was not by nature a political person” and describes the composer as a “fellow traveler” during the Depression era, someone associated with but not committed to the Communist Party and its activities. She details “several influences” that “nudged Copland toward the Left,” including Harold Clurman and the Group Theatre, Copland’s experiences in Mexico, his association with the Composers Collective, and the Marxist aesthetics of Marc Blitzstein and Hanns Eisler, as well as the Depression itself The composer’s most recent biographer, Howard Pollack, credits Copland with greater personal and political agency, arguing that the composer was truly “an engaged citizen.” Pollack carefully documents Copland’s involvement with socialism in the 1920s, affiliation with Communism in the 1930s, and estrangement from the New Left in the 196os.
“The Dancing of an Attitude”
Authors: Crist Elizabeth B
Published: November 2023

“Critical And Imaginative Works,” Kenneth Burke explains in his theory of literary form, “are answers to questions posed by the situation in which they arose.” More than that, “they are strategic answers, stylized answers.” Arguing that artistic creations reveal a personal and cultural perspective on social situations, Burke characterizes symbolic acts as “the dancing of an attitude.” The metaphor captures the ways in which aesthetic expression manifests the individual subjectivity of an artist, the influence of his material conditions, and a public as well as private response to social circumstances. “The dancing of an attitude” is but a figure of speech that relates the personal and political to the aesthetic, but the phrase might well be interpreted more literally in the case of Copland’s music for the ballets Billy the Kid (1938) and Rodeo (1942).
Innovations in the Legal System’s Response to Domestic Violence Thinking Outside the Box for the Silent Majority of Battered Women
Authors: Barasch Amy P , Lutz Victoria L
Published: November 2023

My dad’s heart attacks always seemed to occur between midnight and 5:00 A.M. And he had many. This was in the 1950s and 1960s, when doctors still made house calls. Dr. Lidle, our family physician, would arrive within minutes of my mother’s emergency call. I would look out my bedroom window and see Dr. Lidle’s old Chevy station wagon pull into our driveway and know that my dad would get the immediate help that he needed. I didn’t expect Dr. Lidle to cure my dad permanently, but each time that Dad received the help he needed at the time he needed it, I knew he would be better.
A National Study of the Integration of Domestic Violence Assessment Into State Child Welfare Practice
Authors: Mills Linda G , Petrucci Carrie J
Published: November 2023

The link between domestic violence and child abuse is now well established in the literature (American Humane Association, 1994; Bowker, Arbitell, & McFerron, 1988; Edleson, 1999; Hart, 1992; Hotaling & Sugarman, 1986; Lyon, 1999; McKay, 1994; Mills, 1998a; O’Keefe, 1995; Stark & Flitcraft, 1988; Straus & Gelles, 1986; Straus, Gelles, & Steinmetz, 1980; Zorza, 1995). Despite the overlap of these two abuses, and the obvious practice implications posed when child protective services (CPS) workers detect domestic violence in a family with which they are working, little research has been done to explore the extent to which child protective agencies have integrated domestic violence into their actual assessment practices. Research generally focuses on efforts to train CPS workers to be sensitive to issues related to domestic violence (Aron & Olson, 1997a, 1997b; Fleck-Hender-son & Krug, 1997; Magen, Conroy, Hess, Panciera, & Simon, 1995; Mills, 1998a; Mills et al., 2000).
Domestic Violence Among Lesbian Couples
Authors: Ricks Janice L , Vaughan Carol (Jan) , Dziegielewski Sophia F
Published: November 2023

Throughout history, lesbian women have been affected in every aspect of their lives by traditional male-centered beliefs and societal norms that provide the basis for heterosexual standards. These heterosexual norms and standards have given rise to myths about lesbian women, creating misrepresentations that are deceptive and destructive. Furthermore, these misperceptions can contribute to present-day expectations that lead to heterosexism and homophobia. According to Richards (1990), in the late 1800s a woman was suspected of being a lesbian if she had any of the following traits.
E
Authors: Emmons Shirlee , Lewis Wilbur Watkin
Published: November 2023

ECCLESIASTICUS: a small book, belonging to the category of Wisdom literature, included in the Greek version of the Jewish Scriptures. Wisdom literature, such as Ecclesiasticus or the Old Testament books of Proverbs and Ecclesiastes, is not concerned with philosophy. Rather, it seeks to tell people how to live in proper relation to God and to each other. As such, Ecclesiasticus is an important link with ancient Judaism and the later developments of rabbinical Judaism.
L
Authors: Emmons Shirlee , Lewis Wilbur Watkin
Published: November 2023

LABÉ, LOUISE (1524–1566): French poet. Although her father was a wealthy but illiterate ropemaker, Labé was given an education typically lavished only upon court ladies of the Italian Renaissance. Labé knew Latin and Italian, was an accomplished lute player and singer, and a fine horsewoman. After her much older husband died, she carried on a love affair with the poet Olivier de Magny, who was not only unfaithful but tactless. Because of his indiscreet talk, Labé was often considered to be a kind of cultivated courtesan.