bluuebunny/crossref_metadata_2025 huggingface dataset:
Consolidation (1958-1961)
Authors: Fay Laurel E
Published: November 2023

n March 1957, the news that Shostakovich was at work on his first operetta, Moscow, Cheryomushki, dealing “with the life of young builders in Moscow” spread around the globe. From the composer’s standpoint, the announcement was probably premature. He had not yet completed his Eleventh Symphony. But the keen anticipation at the prospect of Russia’s preeminent composer of “serious” music crossing over into the popular theater could not be denied. It was a source of special pride for the Moscow Theater of Operetta, which recruited the composer with the help of chief conductor Grigoriy Stolyarov, whose association with Shostakovich stretched back a quarter century to the Moscow premiere of Katerina Izmailova. Another veteran of that Nemirovich-Danchenko Theater production, Vladimir Kandelaki (he created the role of Boris Timofeyevich), was also now associated with the Moscow Theater of Operetta. He undertook the direction of Shostakovich’s operetta.
The Cathedral and the Shrine
Authors: Kendrick Robert L
Published: November 2023

Most documentation and compositions of city musicians stem from figures working at a variety of ecclesiastical institutions. Four churches with citywide audiences maintained large permanent ensembles, and some twelve others, largely belonging to religious orders, had some kind of musical life, employing at least an organist and some singers. In addition, the governor’s court supported both instrumentalists and vocalists for the ducal palace and its chapel, San Gottardo in Palazzo.
Theory, Aesthetics, Devotion
Authors: Kendrick Robert L
Published: November 2023

To city dwellers, the concept of musica held variable meaning, ranging from the practice of reading, performing, and composing music, through the desirable qualities of such sound, to the more rarefied speculations of the philosophically oriented. This intellectual basis of the art was, at first glance, the element least specific to a given place, undergirded as it was by widespread strains of thought variable in their mixture of medieval and modem philosophy. The immediately theoretical works consisted of treatises on musica practica, while issues of musica speculativa arose in writings of Puteanus and in Federigo Borromeo’s own notes. A generation later, Teodoro Osio’s arithmetical speculations appeared as two published works, and several related manuscripts, on number, meter, and music.
Child Health and the Environment
Authors: Wigle Donald T
Published: November 2023

This is the first textbook to focus on environmental threats to child health. It will interest professionals and graduate students in public health, paediatrics, environmental health, epidemiology, and toxicology. The first three chapters provide overviews of key children’s environmental health issues as well as the role of environmental epidemiology and risk assessment in child health protection. Overarching themes are the susceptibility of the rapidly developing fetus and infant to environmental toxicants, the importance of modifying factors (e.g. poverty, genetic traits, nutrition), the role of health outcome and exposure monitoring, uncertainties surrounding environmental exposure limits, and the importance of timely intervention. Later chapters address the health effects of metals, PCBs, dioxins, pesticides, hormonally active agents, radiation, indoor and outdoor air pollution, and water contaminants. In analyzing potential environmental hazards, the book addresses both biologic and epidemiologic evidence, including the likelihood of causal relationships. Among the health outcomes he discusses are developmental, reproductive, and neurobehavioral effects, respiratory disease, cancer, and waterborne infectious diseases. These discussions cover environmental exposure sources/indicators, interventions, and standards, and conclude with a summary of calls for an improved science base to guide public health decisions and protect child health.
The Piano Compositions) 1834-39
Authors: Jensen Eric Frederick
Published: November 2023

To a pure mind, especially, the carnival appears like the return of man to primitive innocence and joy, like the realization of the loveliest legends from the time of the minnesingers and troubadours, or even like a new Paradise, vouchsafed to us for one week in every year. Then are laid aside all strict social forms, because the evil they are meant to restrain seems to have been banished from the earth.
The Years m Dresden
Authors: Jensen Eric Frederick
Published: November 2023

A poet, as he is to others of the highest wisdom, pleasure, virtue, and glory, so he ought personally to be the happiest, the best, the wisest, and the most illustrious of men ... the greatest poets have been of the most spotless virtue, of the most consummate prudence, and, if we could look into the interior of their lives, the most fortunate of men.
The Compositions, 1845-54
Authors: Jensen Eric Frederick
Published: November 2023

The difference, so far then, between sleeping and waking seems to be, that in the latter we have a greater range of conscious recollections, a larger discourse of reason, and associate ideas in longer trains and more as they are connected one with another in the order of nature; whereas in the former, any two impressions, that meet or are alike, join company, and then are parted again, without notice, like the froth from the wave. So in madness, there is, I should apprehend, the same tyranny of the imagination over the judgment; that is, the mind has slipped its cable, and single images meet, and jostle, and unite suddenly together, without any power to arrange or compare them with others with which they are connected in the world of reality. There is a continual phantasmagoria: whatever shapes and colours come together are by the heat and violence of the brain referred to external nature, without regard to the order of time, place, or circumstance.
The Future of the Past: The Restoration Struggle against the Enlightenment,
Authors: McMahon Darrin M
Published: November 2023

At 11:00 P.M. on February 13, 1820, the Duke of Berry, only son of the Count of Artois, nephew of Louis XVIII, and second in line to the French throne, was struck down as he left his box at the Paris opera. The assassin, Louis-Pierre Louvel, a journeyman saddler and fanatical devotee of Napoleon, readily admitted that he had acted to extinguish the Bourbon line. In this aim, he would be foiled, for although Berry was at the time the sole member of the dynasty who was capable of producing an heir, his wife gave birth to a son seven months later—an event that devout royalists quickly attributed to the hand of God. Divine intervention, they asserted widely, had facilitated the “immaculate conception” of this “miracle child.”
Toxicology of PCBs and Related Compounds
Authors: Giesy John P , Kannan K , Blankenship Alan L , Jones Paul D , Newsted J L
Published: November 2023

Polychlorinated biphenyls (PCBs) are among the most studied environmental contaminants. PCBs have the potential to modulate the endocrine system through a number of mechanisms and have been designated as endocrine-disrupting com pounds (EDCs) by a number of researchers and government agencies (Kendall et al., 1998; Knobil et al., 1999). Effects can be either direct or indirect. Here we present evidence that PCBs are EDCs.
Effects of Alkylphenolic Compounds on Wildlife
Authors: Kloas Werner
Published: November 2023

During the past few decades emerging evidence has demonstrated that environmental pollutants can interfere with the endocrine systems of wildlife and humans (Col born and Clement, 1992). These compounds are called endocrine disruptors, defined at the Wey bridge workshop in 1996 (European Com mission, 1996) as “an exogenous substance that causes adverse health effects in an intact organism, or its progeny, consequent to changes in endocrine function.”
To Sing or to Mourn? A Reappraisal of Simonides 22 W2
Authors: Yatromanolakis Dimitrios
Published: November 2023

Simonides fr. eleg. 22 W2, admirably edited by Peter Parsons in 1992, 1 has recently kindled the interest of scholars as to the reconstruction of its content and context. No doubt, the new fragment “intrigues and tantalizes“;2 all the more since the text as it has come down to us is badly preserved, and only broadly comprehensible. An attempt to recover the song’s content is clearly desirable, but, as is the case with other aspects of archaic Greek literature and culture, we should be attentive to the polyvalence of its fragmentation. 3 I shall here address the issue from a different vantage point and propose a new view of how this fragment may be “read.“
Introduction
Authors: Richmond John W
Published: November 2023

This opening part of our research Handbook deals with issues of policy and philosophy in the music education professions. It is hard to imagine a more appropriate way to begin a volume of this sort. Music education-especially as practiced in educational institutions-is entrenched deeply in traditions of activity. The pace of professional life for the music educator in the classroom/rehearsal hall can be frenetic and the opportunities for “reflective practice” are simply much too rare. The fields of music education policy and philosophy then become twin acolytes for the music educator in the field, helping him or her to scrutinize trends in the profession and practices in the classroom in the critical light of careful, deliberate analysis. Indeed, policy and philosophy can be understood as complementary systems of examining and directing our complex, multifaceted work from prekindergarten to postdoctoral study in music. Both systems of inquiry ponder core values and their manifestations in professional practice. Both systems explore the contexts in which these core values then are carried out. And, recently, both systems reflect real debate and even rancor as competing ideologies strive to gain primacy in the value systems of our field. If ever they were boring in the past, recent writings in the policy and philosophy of our field are anything but dull today.
Improvisation and Curriculum Reform
Authors: Sarath Edward
Published: November 2023

Despite appeals by NASM, MENC, and UNESCO’s International Music Council for greater diversity in musical study, strategies for reform remain elusive for many college and university music departments. Conventional curricular models filled to the brim with requirements in interpretive performance and analysis of European repertory leave little room for experiences in improvisation, composition, technology, and multiethnic musicianship-to list some of the areas most commonly cited to be lacking. As a result, many students graduate with little or no training in skill domains that will be important to their professional careers. If substantive strides toward reform are to be made, change must take place at the core level, where the seeds of diverse musicianship are planted early on in students’ development. In this chapter, I propose that improvisation, particularly when studied from what I call a trans-stylistic perspective, is uniquely equipped to address these needs and therefore warrants a significant place in the core music curriculum. The creative, integrative, eclectic, and handson qualities of improvisational experience promote the development of both conventional and contemporary skills, foster in students an all-important self-sufficiency, and also open up pathways to emerging educational areas such as consciousness and contemplative studies. Moreover, as these inherent qualities in improvisation point to new types of educational models, they also illuminate new reform strategies through which these models may be achieved.
Music and Early Childhood Education
Authors: Jordan-Decarbo Joyce , Nelson Jo Ann
Published: November 2023

This chapter is designed to provide current information regarding the philosophical and theoretical bases of the field of early childhood education that is most relevant to issues underpinning music education for children, from birth to age 8. In addition, it will summarize existing music research, as well as interdisciplinary research supporting the major issues in early childhood music education. The studies selected represent a body of research published in major journals and books from approximately the mid- to late 1980s to the present that provides the reader with some understanding of the emerging issues and questions about musical development in young children. Generally, efforts were made to focus only on the target ages, birth to 8. However, some studies incorporating a wider age span are cited if results related to the younger ages have been deemed important for inclusion. The organization of the chapter consists of four sections: research and theories on the development of young children, research on specific nonmusical and musical abilities, curricular practices in early childhood classrooms, and recommendations for research. The first section consists of research on development in early childhood education and music education, beginning with an overview of the conceptualizations of childhood in today’s society that have guided both researchers and practitioners in the field. Much emphasis is devoted in this section to cognitive development: the neurological findings resulting from brain research and their relevance to spatial ability and issues related to musical development are briefly highlighted. The second section includes research focused on musical abilities, including aural discrimination, vocal abilities and song acquisition, and movement and rhythmic skills. The third section includes a summary of various ideological positions governing current practice both in education and music education, as well as comparisons of specific models and approaches and the contributions they have made to the profession. The chapter concludes with directions for the future in terms of research and practice and recommendations for many of the unanswered questions that remain about how children learn, perform, and understand music.
Motivation and Achievement
Authors: Maehr Martin L , Pintrich Paul R , Linnenbrink Elizabeth A
Published: November 2023

What Is Motivation and Why Is It Important? Motivation has been and continues to be of interest to those who are concerned with teaching and learning. Although researchers and theorists differ dramatically in their views on how motivation emerges and is instantiated in academic settings, they tend to agree on certain types of “behavior” as signifiers of motivation. Thus, before reviewing and discussing personal and contextual factors that may influence “motivation,” it is necessary, first, to step back and consider the behavior that makes teachers, parents, and researchers conclude that individuals differ in “motivation.” Only then will the research, theory, and implications of this large body of literature be evident. Therefore, we begin this chapter by discussing a variety of actions, feelings, and thoughts that both teachers and researchers describe as indicators of “motivation.” In doing so, we hope to underline the importance of this topic for educators as well as researchers. A second purpose is to clarify what motivational researchers study when they study motivation, what they observe, how they measure, and ultimately what they are trying to predict and explain.
Introduction: Music Perception and Cognition
Authors: Lehmann Andreas C
Published: November 2023

Research in perception and cognition in music has seen tremendous growth over the last two decades (see Levitin, 1999). The reason for this expansion is not that music research has emerged only recently as a new discipline; instead, it appears that whoever had been interested in music years ago but did not dare to do music research can now freely admit to his or her “vice.” As a result, the field has become extremely diversified and includes psychologists, sociologists, and anthropologists as well as AI researchers, physiologists, and acousticians. Many of them are active musicians with varying degrees of firsthand experience, while other scientists simply think that music is a convenient domain for their purposes. Common to all is the desire to find out more about how our brain processes the auditory input we then experience as music. Unfortunately, the issues that entice researchers are not always identical to those that appeal to music educators, who, after successful mastery of the scientific jargon, are often disappointed to discover how difficult it is to apply the findings to the classroom. Admittedly, some research done today might only prove its usefulness many years from now.
Taking an Acquired Skills Perspective on Music Performance
Authors: Lehmann Andreas C , Davidson Jane W
Published: November 2023

Psychologists seem to agree that musical skills share many common features with skill-related phenomena in other areas outside of music, such as language, games, sports, science, and other domains. Music making entails perceptual skills (e.g., apprehending structural information as well as social information, including nonverbal cues exchanged between performer and audience), cognitive skills (e.g., memory, decision making, pattern recognition), and of course motor skills. These skills function, interact, and evolve in complex ways that we are slowly starting to understand. However, since each performer, be it the professional orchestra musician who earns his or her living playing an instrument or the amateur who plays solely for enjoyment, is a unique individual with his or her individual biography, there is no such thing as “the musical skill.” Instead, the ways in which the skill was developed as well as the final skill structure will necessarily differ from person to person as a result of individual learning histories. Each performer has artistic intentions, that is, a message to be conveyed. Some of these intentions are related to communicating information about the musical structure and expressive embellishments to it for aesthetically driven goals. For instance, slowing at a cadence point has become recognized generally in Western music as sounding “better” than not slowing. Other intentions are more emotionally directed, such as playing a piece “sorrowfully” or “happily.” Of course, music making does not happen in a vacuum; it most always involves other people, be they coperformers or members of the audience with whom the performer communicates. As a socially and culturally grounded skill, music making is one of the most important activities in all cultures. Attempting to understand musical skill is one way of paying tribute to the tremendous achievements of past and present musicians. At the same time, we may be able ultimately to derive suggestions for the improvement of music teaching and learning.
Social Psychology and Music Education
Authors: North Adrian C , Hargreaves David J , Tarrant Mark
Published: November 2023

Music is an inherently social phenomenon: the patterns and regularities that exist in physical sounds only take on musical meaning when they are interpreted as such by groups of people. This is not a particularly surprising or radical view, of course: Many authors have pointed out that music and other artistic stimuli do not exist in a “social vacuum” (e.g., Arnheim, 1952; Konecni, 1982; Munro, 1963) and that this social and cultural context must be addressed by research. Indeed, Farnsworth’s (1969) textbook attempted to explicitly address social and cultural influences on musical behavior. The research literature in music psychology and music education has nevertheless continued to neglect the social dimension to a surprising degree, and this encouraged us to explore the contemporary implications of this view in The Social Psychology of Music (Hargreaves & North, 1997). Individuals’ musical development and learning is a central part of this, of course, so that its explanation must inevitably involve a detailed account of the “musical environment.” This environment varies considerably in different countries around the world, each of which has its own historical background, cultural traditions, educational systems, and curricula. We have explored the ways these influences shape the nature of pupils’ musical development and learning in our book Musical Development and Learning: The International Perspective (Hargreaves and North, 2001a), which brings together expert authorities from all around the world.
Community Music Toward an International Overview
Authors: Olsson Kari Veblen Bengt
Published: November 2023

Music teaching and learning takes place in many different contexts, from formal to informal. There often is affiliation, reciprocity, overlap, or cross-fertilization between more structured and less structured settings. This chapter examines various facets of music in the community, as distinct from music education in K-12, or higher education frameworks. Because of its inclusive nature, this subject naturally overlaps with chapters 10, 11, and 16 (early childhood and adult education, technology); chapters 44 and 45 {teaching in urban and rural environments, in community settings); and chapter 47 (initiatives of community music and cultural organizations with schools). We focus on the contexts of community music in an international perspective and seek to provide complementary research to these other, more specific treatments.
Policy Issues in Connecting Music Education with Arts Education
Authors: Myers David E , Brooks Arthur C
Published: November 2023

In 1976 Charles Fowler wrote in the College Music Symposium of several national trends in arts education. Indicative of what Fowler called a new arts education, the trends included increased cooperation among arts disciplines, infusion of the arts into academic subjects, and broader representation of all the arts in the curriculum. His thesis was that changes in the field of arts education properly challenged music educators to “broaden our bases, to burst our narrow specialties, to seek a multi-dimensional focus.” In support, he identified two specific programs funded by the National Endowment for the Arts (NEA) and the United States Office of Education (USOE): the Artists-in-Schools (AIS) Program, and Interdisciplinary Model Programs in the Arts for Children and Teachers (IMPACT). Characterizing these efforts as a “developing phenomenon,” Fowler suggested that the policy direction they represented would require of music educators “a new process of transaction-with the other arts, with artists, ... and with the entire community” (p. 24). The purpose of this chapter is to review arts education policy developments over the past 35 years, including the trends Fowler identified, and to consider issues that have affected the relationship between music education and the larger policy arena of arts education. Arts and Humanities Program of the U.S. Office of Education (1965-1974) Federal support for arts education found its first home in the Cultural Affairs Branch of the Division of Library Services and Continuing Education of the USOE. The Cultural Affairs Branch, established in 1962, was later renamed the Arts and Humanities Branch. In 1965 it became the Arts and Humanities Program (AHP). Until its demise in 1974, AHP served as the primary administrative venue for federal support of arts education. Kathryn Bloom, AHP’s director until 1968, also functioned as special adviser on the arts and humanities for the commissioner of education, Francis Keppel.
The Evaluation of Arts Partnerships and Learning in and Through the Arts
Authors: Abeles Hal , Hafeli Mary , Horowitz Robert , Burton Judith
Published: November 2023

Arts Partnerships This chapter focuses on arts partnerships, that is, ways in which community-based arts organizations such as orchestras, museums, and other arts groups become involved with schools. Some arts partnerships provide enrichment opportunities that offer students a onetime experience with a community-based group, such as a trip to a museum or string quartet performance in the school auditorium. Our focus, however, is on comprehensive partnerships that may include a written curriculum, teacher development workshops, periodic visits to the school by “presenters” from the organization, resource materials provided to each teacher (e.g., compact discs, world instruments, photographs), and culminating activities such as attending a performance of an orchestra at the symphony hall. Specifically, this chapter focuses on partnerships in which arts instruction provided by a community-based arts group is used as a means to promote learning in the arts as well as in subject areas outside of the arts. This chapter addresses four areas. First, it provides a background for arts partnerships that focus on learning through the arts. Second, the theoretical literature on transfer is presented, along with research on links between arts learning and learning in other subject areas. In this section, issues of establishing causal relationships and building confidence in the findings of research and evaluations are addressed. The third section of the chapter discusses these research design issues as they apply to examining student learning outcomes in the evaluation of arts partnership programs. The fourth section of the chapter presents practical issues related to evaluating these partnerships.
The Southwest
Authors: Pritzker Barry M
Published: November 2023

The southwestern United States, site of the continent’s longest continuous human habitation outside of Mesoamerica, is also its most environmentally diverse region. Roughly including the states of Arizona and New Mexico, extreme southwest Colorado, extreme southern Utah and Nevada, and extreme southeast California, the region contains three major river basins: the Rio Grande, Colorado, and San Juan. It features colorful canyons, mesas, buttes, deserts, bluffs, rock formations, caves, plateaus, forests, and some of the highest mountains in the United States. Although some parts receive regular rainfall, the Southwest as a whole is distinguished by its aridity.
The Subarctic
Authors: Pritzker Barry M
Published: November 2023

The vast Subarctic region stretches from the Atlantic Ocean in the east to the Rocky Mountains and the Alaska coast in the west and from the northern Great Lakes region and Great Plains to the tundra. Over two million square miles in area, the Subarctic is commonly divided into different geological zones, such as Canadian Shield (Hudson Bay and Mackenzie River lowlands), Cordillera (northern Rocky Mountain region), Alaska Plateau (central interior Alaska, including major river drainages), and Alaska Coast (primarily Cook Inlet and Copper River).
East’s Last Years, His Legacy, And The Two Music Patents Of The Early Stuart Era (1603-16n)
Authors: Smith Jeremy L
Published: November 2023

The accession of James VI of Scotland to the throne of England in 1603 brought with it new prospects for East’s firm. It is well known that one of the greatest achievements of the early reign of James I was the abolition of many of the most abhorred monopolies established by his predecessors. For East, however, what was more significant were the opportunities opened to him not by the abolition of monopolies but by shifts in power in the music patents that controlled his trade. The Stationers’ Company established a publishing corporation called the English Stock that assumed the ownership of the patent for the psalter with music and significantly altered the publishing conditions for that class of books. At nearly the same time, there were new developments in the general music monopoly after the death of Morley in 1602 that turned out to have a lasting effect on the relative strength of this grant.
Psychology as Engineering
Authors: Hardy Leahey Thomas
Published: November 2023

In treating the history of mind as a scientific object in chapter 2, I mentioned various objections to the idea that psychology can and/or should aspire to be a science. In this chapter, I consider some of the objections more fully as philosophical arguments and find them persuasive, if not decisive.1 I then discuss an alternative conception of psychology as a form of engineering, a view recently advanced by Daniel Dennett (1995) and Steven Pinker (1997) and put into practice by the new field of evolutionary psychology (e.g., Barkow, Cosmides, and Tooby, 1992). I try to correct misunderstandings about engineering and try to show that thinking of psychology as engineering allows us to retain the rigor and empirical quality of science while forcefully and sympathetically addressing the concerns of critics who claim that psychology cannot be a science.
Ignace Meyerson and Cultural Psychology
Authors: Bruner Jerome
Published: November 2023

Mainstream psychology is just at the close of its first century of scientific “respectability. “ Respectability, even scientific respectability, always comes at a price, and so it is with psychology’s new academic respectability. To qualify, the new discipline was to conduct itself with all the decorum and the caution befitting a nineteenth-century positivist science. It was to be factual and objective, and it was to eschew the subjective and insubstantial. How people interpreted the world, how they made sense of it, and how they constructed meanings were not fit topics for the new science unless they could be reduced to manageable centimeters, grams, seconds, and probabilities.
Introduction
Authors: Erneling Christina E
Published: November 2023

Although the authors in this part focus on different aspects of rationality (beliefs, the development of reason in children, the law of contradiction, and scientific rationality), they all stress the complexity and diversity of what people commonly refer to as a paradigmatic case of individual mental activity. In particular, they argue that the social and normative aspects of rationality are crucial, and that this implies that understanding rationality involves more than understanding how individual brains and cognitive processes work. The authors all go beyond the atomistic or individualistic assumptions of the Cartesian framework as discussed in the introductions to parts IV and V.
Pal Joey: Drawing “Sweet Water from a Foul Well”
Authors: Block Geoffrey
Published: November 2023

From The Girl Friend (1926) to Pal Joey (1940} drama critic Brooks Atkinson (1894-1984} was the man who introduced New York Times readers to the originality and pleasures of Rodgers and Hart shows. Atkinson consistently gave these shows high marks. Even when “in one of their workmanlike moods” (Atkinson’s characterization of Higher and Higher), a Rodgers and Hart musical gave their New York Times critic enough to encourage theatergoers to attend. One rare exception was Chee-Chee, which Atkinson indicted as “their most pretentious production and the least entertaining:’ Due to his service as a war correspondent from 1941 to 1946, Atkinson missed the premiere of By Jupiter, the revival of A Connecticut Yankee, and the debuts of Oklahoma! and Carousel, but between his return as a drama critic and his retirement in 1960 he reviewed Rodgers and Hammerstein’s final seven shows and a return engagement of Oklahomaf’s national touring company. In reviewing Pal Joey Atkinson praises the production as “well-staged” and “expertly done,” lauds Gene Kelly’s “triumphant” debut performance as an actor and a dancer in a musical, and singles out “Bewitched” as “one of Richard Rodgers’s most haunting tunes” in a score filled with “wit and skill:’ But for a reviewer who the previous year found the good-natured Too Many Girls “humorous, fresh and exhilarating,” the “high class” Pal Joey is undermined by its “ugly” topic, a “joyless” book, and depraved characters, and “offers everything but a good time.”
“The American Musical”
Authors: Block Geoffrey
Published: November 2023

Not everyone approved of the Rodgers and Hammerstein model of a modern major musical. One eminent drama critic and theorist, Eric Bentley (1916-), emphatically rejected the lofty ambitions of musical and dramatic integration. For Bentley, “the last scene of Carousel is an impertinence” and in The King and I it was the king’s “duty to stay alive and amuse us.” In contrast to Brooks Atkinson’s born-again impatience with old-fashioned musicals prior to Pal Joey, Bentley laments the loss of the “cocky, souls. I regard such a gaffe simply as an opportunity to get out of the theatre before the crowd. I deplore the death of the king in The King and I; it was definitely his duty to stay alive and amuse us. But On Your Toes is true musical comedy, ending in a bracing “Slaughter on Tenth Avenue” in which no one is really slaughtered. The new show is not beyond reproach. There are some quite loathsome fruityspangly costumes by Irene Sharaff; and the delicate Vera Zorina is badly miscast as a sort of Tallulah of the dance. But George Abbott cannot only get along without stars; he can get along with stars who don’t quite fit. On Your Toes is not a setting for a leading lady, it is an ensemble show in which the two great motive-forces are Abbott and Balanchine. I sometimes think the classic choreographers do better work for Broadway than for City Center or the Metropolitan. Jerome Robbins, for example, is a much freer spirit when he is frivolous than when he is trying to interpret W. H. Auden. And I intend no slur on Balanchine’s past when I say that his presence on Broadway is no anticlimax. How the “serious” theater would come alive if anything ever happened there like that lovely moving pattern of limbs and umbrellas in fading light which is the dance in the rain from On Your Toes!
Anatomy of a Flop: Pipe Dream, Do I Hear a Waltz?, Rex, and I Remember Mama
Authors: Block Geoffrey
Published: November 2023

Although today mainly remembered for their rich song legacies rather than as integral dramatic works, remarkably few among Rodgers’s twenty-nine staged shows with Hart were unsuccessful in their day. True, not even Irving Berlin’s interpolated hit, “Blue Skies,” could extend Betsy (1926), Florenz Ziegfeld’s star vehicle for Belle Baker, beyond thirty-nine performances, and the “castration” musical Chee-Chee quickly closed after thirty-one performances in 1928 (see the readings on Chee-Chee in Part 1). After Jumbo (1935), however, which lost money for Billy Rose and Jock Whitney, only one of Rodgers and Hart’s final ten shows, Higher and Higher, was less than a critical and financial winner. Even taking into account relatively disappointing runs for their “original” musicals, Allegro and Me and Juliet, Rodgers and Hammerstein musicals had an even higher batting average. In fact, only one show with Hammerstein, Pipe Dream, an adaptation of John Steinbeck’s Sweet Thursday, lost money and is usually regarded, including by the composer, as a lesser effort artistically. After Hammerstein’s death Rodgers would enjoy one hit with himself as lyricist, No Strings, before enduring a “missed opportunity” with Stephen Sondheim, Do I Hear a Waltz?, and a modest commercial success aided by the star power of Danny Kaye, Two By Two. Sadly, Rodgers closed his long and brilliant career with two commercial and critical failures, Rex and/ Remember Mama. Ken Mandelbaum offers a thoughtful assessment of the reasons behind Rodgers’s uncharacteristic flops from Pipe Dream to / Remember Mama. In each case he asks the telling questions that address fundamental problems such as, RE: Rex, “How does one make sympathetic a man like Henry VIII who kills his wives because they give birth to daughters rather than sons?” In contrast to many theater historians and critics who dismiss much of Rodgers’s work after No Strings, including Do I Hear a Waltz?, in only once instance, I Remember Mama, does Mandelbaum blame the music for the failure of a Rodgers show. In fact, he characterizes the score of Pipe Dream as “generally fascinating,” Rex as “very attractive;’ and Do I Hear a Waltz? as “excellent, with Rodgers in generally fine form and Sondheim in altogether superb form:’
“How to Write Music in No Easy Lessons: A Self Interview” [1939]
Authors: Block Geoffrey
Published: November 2023

In Rodgers’s “Self Interview; the “alleged” composer responds to frequently posed questions, including the inevitable “Which comes first-the words or the music?” As he would for nearly the next forty years, Rodgers emphasizes that he is inspired only by specific dramatic situations and that his usual compositional procedure with Hart was to create the tune or title first. He also explains why he leaves the orchestration of his “complicated” scores to someone else, espouses the importance of making sure that each song in a show “bear[s] a family resemblance to the other material;’ and praises critics for their eminent fairness and appreciation of novelty, despite their lack of musical knowledge. It is also in this early “self interview” that Rodgers, after briefly describing his historic first meeting, at the age of sixteen, with Hart, then twenty-three, first quipped that he “left Hart’s house having acquired in one afternoon a career, a partner, a best friend, and a source of permanent irritation:’ After this selection appeared in Theatre Arts, Rodgers may have felt he had answered enough questions for a while. In any event, readers would not hear much from Rodgers either as a writer or interviewee for more than a decade. As an alleged composer I am asked certain questions with regularity. It appears that the average person considers musical composition either one of the darkest of the black arts or the result of heaven-sent compulsion. There is never any between ground. Resorting to analogy for answers doesn’t help much, but I try it. I say: “Look, you have to write a letter to your Aunt Tessie, a rich old gal who will eventually die. You’d like the letter to be a good one. You have certain equipment at your disposal, such as pen, ink, paper and, most important of all, your knowledge of the language. You’re on your own, and the quality of your letter will depend largely on how well you are able to use your equipment. My problem is the same, only related into terms of music. Aunt Tessie is the public or, frequently, my own satisfaction. My equipment consists of paper, pencil, piano, the ability to hum, whistle or sing (horribly) and a knowledge of musical language acquired in the theatres, on the streets and in serious study.” I lean back with a glow of self-admiration, having
“Opera and Broadway”
Authors: Block Geoffrey
Published: November 2023

In this article, targeted to opera-loving Opera News readers, Rodgers anticipates Lehman Engel’s thesis (see “The Art of Adaptation” in Part 11) when he writes that “musical comedies of our Broadway theater might be called, without apology or self-consciousness, American opera.” Without disparaging European traditions or the mature song-writing craftsmanship of earlier musicals, Rodgers’s view of history favors the evolution toward “perfectly integrated;’ “unmistakably American;’ and innovative musicals like Oklahoma! in which “songs and dances flowed naturally out of the story while remaining natural to the personalities of our characters.” In advocating a musical theater that rejects “pat formula” and welcomes “new subjects and ideas;’ Rodgers demonstrates an awareness of “serious” composers who have explored American themes (e.g., Marc Blitzstein’s Regina, Carlisle Floyd’s Susannah, Douglas Moore’s The Ballad of Baby Doe, and Aaron Copland’s The Tender Land, an opera that Rodgers himself generously funded). According to Rodgers, these works, though “operatic in concept” are “completely American in their working out” and “would be as much at home in the theater as in the opera house, as would many of our Broadway musicals:’
America in Black and Green
Authors: Steinberg Ted
Published: November 2023

Compared to Henry Ford, Thomas Edison, and the other heroes of American consumerism, the name Thomas Midgley rings few, if any, bells. And yet despite his relative obscurity, Midgley, a research chemist born in 1889 who died, according to one obituary, by accidentally strangling himself with “a self-devised harness for getting in and out of bed,” played a fundamental role in some of the consumer age’s most celebrated products.
Parasitic Disease
Authors: Fossel Michael B
Published: November 2023

Save cancer, most diseases discussed in this text are those in which senescing cells result in human age-related pathology. Parasitic disease, however, results from cells that maintain telomeres and avoid senescence. Here, alone among all others discussed, the cells involved are not human, but invaders. The parallel with cancer remains valid, the more so in sharing a potential intervention: telomerase inhibition.
Endocrine Systems
Authors: Fossel Michael B
Published: November 2023

The endocrine system is, in most ways, a conceptual conglomeration of several physiologically unrelated and anatomically disparate systems. Nonetheless, the striking parallels in organization, function, and intent of such systems, to say nothing of their subtle interactions, make this notional melting pot an appropriate one, albeit with some caveats.
Kidneys
Authors: Fossel Michael B
Published: November 2023

The primary function of the kidney is, simplistically, filtration of blood and maintenance of serum electrolyte homeostasis (sodium, potassium, chloride, magnesium, etc). An accurate but insufficient appraisal, the kidneys are also instrumental in modulating blood pressure (via renin secretion and its effects on the renin-angiotensin system), signaling the marrow to increase erythrocyte production (via erythropoetin secretion), activating vitamin D (with consequent effects on calcium and phosphorus metabolism), and filtration of molecules other than the standard electrolytes, such as creatinine, metabolic wastes, endogenous and exogenous toxins, and excess serum glucose.
Gastrointestinal System
Authors: Fossel Michael B
Published: November 2023

The gastrointestinal tract comprises a long tube with associated organs, including the liver and pancreas. Although the tract commonly achieves more interest, the bulk of this chapter will slight the gastrointestinal tract and concern itself with the liver. The gastrointestinal tract will, however, be considered, largely because there is a growing body of research focusing on cell senescence in the esophagus and intestines.
Towards Therapy
Authors: Fossel Michael B
Published: November 2023

No model of disease has value beyond its ability to improve lives. Despite strident claims, there are no currently effective clinical interventions for human aging. There are interventions that affect a number of biomarkers (e.g., free radicals), superficial cosmetic changes (e.g., retinoic acid), physiological correlates (e.g., hormones), mean lifespan (seatbelts), and age-associated disease mortality (e.g., medications lowering cardiovascular mortality). None of these are clinically effective in altering aging (Butler et al., 2002).
Univariate Analysis and Scale Construction
Authors: Valente Thomas w.
Published: November 2023

Chapters 7 and 8 discussed the sleeps and techniques for selecting a sample, constructing a survey, and collecting and managing data. The data are now ready for statistical analysis to test the theoretical model for the evaluation. Before con ducting those tests, however, the data need to be described statistically and col lapsed into scales to construct valid and reliable measures.
Dissemination of Evaluation Findings
Authors: Valente Thomas w.
Published: November 2023

The evaluation framework presented in Chapter 1 (Fig. 1-1) indicated that dissemination is the last step in the evaluation process. Dissemination (sometimes referred to as feedback or feed forwarding) is neglected in many evaluation bud gets because before the findings are known, there is little thought as to how best to disseminate them and to whom they should be disseminated. In fact, dissemination is one of the most controversial aspects of the evaluation process; the first section of this chapter discusses why. In the second section, dissemination of findings is explained, including estimates on how long it takes. In the third section, a model of the policy process j5 presented and the ways in which dissemination affects policy are discussed. The chapter then turns to some ancillary material not yet mentioned but crucial to research-ethics and budgeting. The chapter closes with a summary of the book and an assessment of the future of health pro motion program evaluation.
The Formative Years
Authors: Bartle Jean Ashworth
Published: November 2023

Although this chapter deals with teaching singing to six-and seven-year-olds and is based on a first-grade curriculum, I recommend it to music teachers of all levels. Many of the ideas, strategies, and routines outlined here could, and perhaps should, be applied in all stages of music education.

First grade is the most important year in a child’s school life. During this school year, the growth of a child physically, mentally, socially, and emotionally is greater than in any other school year. Children in the first grade have no inhibitions about singing alone.
Spectrum Inversion
Authors: Thau Michael
Published: November 2023

There is a well-known philosophical problem concerning spectrum inversion. One way to put the problem is roughly as follows. Suppose, as is probably the case, that you and I generally apply the same color terms to the same sorts of things: we both agree that grass is appropriately called green, the sky is appropriately called blue, etc. But suppose further that our apparent agreement about the application of color terms masks the fact that I am spectrally inverted with respect to you: red things look to you the way green things look to me and vice versa, yellow things look to you the way blue things look to me and vice versa, etc.
Frege’s Puzzle
Authors: Thau Michael
Published: November 2023

In the last chapter we saw that many Fregeans and Millians are triadists about beliefs: they account for the apparent difference between, for example, the belief that Superman flies and the belief that Clark Kent flies by claiming that there is always more to the belief relation than believers and what their beliefs represent. According to non-descriptive Fregeans, the apparent difference is genuine; how a particular belief represents what it does is part of the belief itself, and the two beliefs differ because they contain distinct non-descriptive modes of presentation of their object.
Patient Advocacy And The Changing Research Environment
Authors: Dresser Rebecca
Published: November 2023

Today, more than ever, biomedical research is a public affair. Stamps, marches, credit card purchases, designer T-shirts, and Mark McGwire home run balls are vehicles for raising research funds. Celebrities struck by disease start their own foundations to promote the search for a cure. Presidential candidates and congressional leaders pledge to double federal spending for biomedical research. Patient advocacy organizations that once let scientists determine the research agenda now decide for themselves what leads are most promising and award funds to researchers willing to pursue those leads.
Advocates On The Research Team shaping And Assessing Science
Authors: Dresser Rebecca
Published: November 2023

Advocates want a say in the way biomedical research is conducted. In the United States, HIV/AIDS and breast cancer advocates were the first to make this demand. In Britain, Canada, and some developing countries, it arose with the participatory research movement, which promotes community involvement in health research. By the late 1990s, advocates representing a multitude of patient and community groups wanted research to reflect their judgments on which conditions should be studied and which study methods adopted. They wanted a role in interpreting, publicizing, and applying study results. And they wanted to help decide which research proposals merited government funding.