bluuebunny/crossref_metadata_2025 huggingface dataset:
Ghosts and Other Helpers
Authors: Steven Suskin
Published: November 2023

Before we move on to biographical sketches of other music personnel, a few words on the practice of bringing in additional orchestrators is in order. A quick perusal of the show listings will point to a surprising and somewhat uncomfortable fact: a considerable amount of what we hear in a Broadway musical—including virtually all of Broadway’s classic musicals—is not orchestrated by the orchestrator of record. In the course of my research, partiturs and other documentary evidence of authorship have been located for approximately 550 musicals. The number that were conclusively written in one hand—and one hand only—is 14. That statement bears repetition. I have found only 14 Broadway musicals that can be proven to have been completely orchestrated by one person: Gigi (Kostal), The Grand Tour (Lang), Johnny Johnson (Weill), Music in the Air (Bennett), One Night Stand (Lang), Pleasures and Palaces (Lang), Rex (Kostal), Roberta (Bennett), 1776 (Sauter), 70, Girls, 70 (Walker), The Sound of Music (Bennett), Sugar (Lang), Tenderloin (Kostal), and Two by Two (Sauter). Of these, only two—The Sound of Music and Tenderloin—were produced between the golden years of Oklahoma! (1943) and Fiddler on the Roof (1964). Less help was needed from the mid-sixties on due to
About the Listings
Authors: Steven Suskin
Published: November 2023

For as far back as we can determine, the completed partiturs were the property of the songwriters. (Paid for by the producers, yes, although in some cases Chappell advanced all or some of the cost as an inducement for the publishing rights.) At some point in time, this was written into the standard minimum basic agreement of the Dramatists Guild. Correspondingly, a provision was made that allowed the producers to deduct a minimal amount from the weekly royalties as reimbursement for as much as half of the orchestration cost. (Given the size of the weekly reimbursement, the producer recovered this amount only on the most successful, long-running hits. In 1975, when orchestrations might cost between $10,000 and $15,000, the Dramatists Guild charge was $100 per week.)
“The Peninsula All Over Again”
Authors: Symonds Craig L
Published: November 2023

Siege. Lincoln’s experience with George McClellan during 1862 had made the word an imprecation. After the failed Peninsular Campaign, the president associated sieges with delay, expense, and a lack of will; almost any tactic was preferable to a siege. Moreover, despite Lincoln’s involvement with combined operations on the Tennessee and Cumberland Rivers as well as in Hampton Roads, McClellan’s insistence that any and all reinforcements to him must come by sea led Lincoln to make a mental association between “combined operations” and “siege warfare.”
Dreams of Africa in Alabama
Authors: Diouf Sylviane A
Published: November 2023

This riveting books tells the fascinating story of the Clotilda, the last ship to bring African slaves to America, the shameful antecedents to the incident and the unusual and inspiring aftermath. Published to coincide with the 200th anniversary of the abolition of the transatlantic slave trade, the book brings to light a little-known yet vitally important element to this troubled aspect of US history.
Un giorno di regno
Authors: Parker Roger
Published: November 2023

Melodramma giocoso in two acts set to a libretto by Felice Romani (probably revised by Temistocle Solera) after Alexandre Vincent Pineu-Duval’s play Le Faux Stanislas; first performed in Milan, Teatro alla Scala, on 5 September 1840. The cast at the premiere included Antonietta Ranieri Marini (Marchesa), Luigia Abbadia (Giulietta), Lorenzo Salvi (Edoardo), and Raffaele Fer lotti (Belfiore). Verdi’s second opera, his only outright comic work until the end of his long career, was written at great speed.
Ernani
Authors: Parker Roger
Published: November 2023

Dramma lirico in four acts set to a libretto by Francesco Maria Piave after Victor Hugo’s play Hernani; first performed in Venice, Teatro La Fenice, on 9 March 1844. Rebel mountaineers and bandits, knights and members of Silva’s house hold, Elvira’s maids-in-waiting, the King’s knights, members of the Lega, Spanish and German nobles, Spanish and German ladies Walk-on parts: Mountaineers and bandits, electors and nobles of the imperial court, pages of the imperial court, German soldiers, ladies, and male and female followers Setting The Pyrenees, at Aix-la-Chapelle and at Saragossa, in 1519
Macbeth
Authors: Parker Roger
Published: November 2023

Opera in four acts set to a libretto by Francesco Maria Piave (with additional material by Andrea Maffei) after William Shakespeare’s play; first performed in Florence, Teatro della Pergola, on 14 March 1847. The re vised version, with a libretto translated by Charles-Louis-Etienne Nuitter and Alexandre Beaumont, was first performed in Paris, Theatre Lyrique, on 21 April 1865. The cast at the 1847 premiere included Felice Varesi (Macbeth) and Marianna Barbieri-Nini (Lady Macbeth). For the 1865 revised version the cast included Jean Vital Ismael (Macbeth) and Inez Rey-Balla (Lady Macbeth).
I Masnadieri
Authors: Parker Roger
Published: November 2023

Melodramma in four acts set to a libretto by Andrea Maffei after Friedrich von Schiller’s play Die Rauher; first performed in London, Her Majesty’s Theatre, on 22 July 1847. The lucrative contract to compose an opera for Her Majesty’s Theatre in London was an important sign of Verdi’s burgeoning international reputation and allowed him to write for some of the most famous singers of the age. More than that, the librettist was his friend Andrea Maffei, a distinguished man of letters with a reputation far above that of Piave or Solera, who had between them supplied most of Verdi’s earlier librettos. All this notwithstanding, I masnadieri had a troublesome birth: Maffei’s lack of experience in theatrical matters was a considerable trial; Verdi quarrelled with the publisher of the opera, Francesco Lucca (with whom he never had the generally cordial relations he enjoyed with his usual publisher, Ricordi); and when he arrived in London to supervise the production, he seems to have been oppressed beyond all reason by the detested English weather. The premiere was a magnificent gala occasion-Queen Victoria headed the guests of honour-and a triumphant success, aided by the fame of the singers, especially Lind and Lablache, the latter one of the great names of the previous generation of Italian singers. But the enthusiastic reception was short-lived, and the opera fared rather badly in Italy. Modern revivals are not uncommon but they remain special occasions: it seems unlikely that the work will find a permanent place in the international repertory.
Iɭ corsaro
Authors: Parker Roger
Published: November 2023

Opera in three acts set to a libretto by Francesco Maria Piave after Byron’s poem The Corsair; first performed in Trieste, Teatro Grande, on 25 October 1848. The cast at the premiere included Gaetano Fraschini (Corrado), Achille De Bassini (Seid), Carolina Rapazzini (Medora), and Marianna Barbieri Nini (Gulnara). Verdi had toyed with setting Byron’s poem as early as 1844 and kept the subject in mind during the years immediately following. In 1845 he considered using it to fulfil a commission from Her Majesty’s Theatre in London: Piave wrote the libretto, but the London trip was postponed. A year later Verdi showed his continuing enthusiasm for the topic by asking Piave not to give the libretto to any other composer. Eventually, he wrote the opera to honour the final part of a long-standing contract with Giovanni Ricordi’s rival publisher Francesco Lucca, a man with whom Verdi had had unfortunate dealings ever since Lucca and Ricordi had come to legal blows over the rights to Nabucco in 1842. Anxious above all to be rid of his obligation, Verdi set Piave ‘s libretto in the winter of 1847-48, giving the opera to Lucca without any idea of where or when it would first be performed. For a composer who in all previous operas had taken an enormous, often fanatical interest in the details of his creations’ first staging, such indiff erence is suspicious: many have seen it as an indication that Verdi had little faith in his new creation. Lucca eventually placed the opera at the Teatro Grande in Trieste, but Verdi did not even trouble to attend the first performances. The premiere was poorly received and managed only a few revivals before it disappeared from the repertory. The opera has rarely been revived in modern times.
Iɭ trovatore
Authors: Parker Roger
Published: November 2023

Dramma in four acts set to a libretto by Salvadore Cammarano (with additions by Leone Emanuele Bardare) after Antonio Garcia Gutierrez’s play El trovador; first performed at Rome, Teatro Apollo, on 19 January 1853. The revised version, Le Trouvere, was first performed at the Paris Opera on 12 January 1857. The cast at the premiere included Giovanni Guicciardi (Count), Rosina Penco (Leonora), Emilia Goggi (Azucena), and Carlo Baucarde (Manrico). Verdi was still in Venice enjoying the success of Rigoletto (in March 1851) when he wrote to Cammarano suggesting Garcia Gutierrez’s play (first per- formed in 1836) as a subject for his next opera. It is clear from his early letters that he saw the drama as a sequel to Rigoletto, this time with an unconventional female character, the gypsy Azucena, at the centre of the action. Azucena, like Rigoletto, was to be fired by two opposing passions: filial love and a desire for vengeance. More than this, it is clear that Verdi wished to develop further the experiments, formal and otherwise, he had tried out in parts of Rigoletto. In an early letter to Cammarano he urged: ‘As for the distribution of the pieces, let me tell you that when I’m presented with poetry to be set to music, any form, any distribution is good, and I’m all the happier if they are new and bizarre. If in operas there were no more cavatinas, duets, trios, choruses, finales, etc., etc., and if the entire opera were, let’s say, a single piece, I would find it more reasonable and just.’ But, as so often with Verdi, these revolutionary sentiments in his writings were considerably toned down when it came to practical matters. Cammarano’s draft libretto turned out to be fashioned along conventional lines, and Verdi made little objection.
Les Vêpres siciliennes
Authors: Parker Roger
Published: November 2023

Opéra in five acts set to a libretto by Eugene Scribe and Charles Duveyrier after their libretto Le Due d’A!be; first performed in Paris, Opera, on 13 June 1855. After the performances of Jerusalem at the Opera in 1847 Verdi had in tended to produce an entirely new opera for Paris’s leading theatre, but the revolutions of 1848 caused the plan to be shelved. He renewed negotiations with the Opera, however, in 1852, and a contract was drawn up for a full-scale French grand opera in five acts, with a libretto by Eugene Scribe, the acknowledged poetic master of the genre. After various subjects had been proposed, poet and composer eventually agreed to use a revised version of an existing libretto, Le Due d’Alhe, written by Scribe and Charles Duveyrier for Halevy (who did not use it) and partly set to music by Donizetti in 1839.
Aida
Authors: Parker Roger
Published: November 2023

Opera in four acts set to a libretto by Antonio Ghislanzoni after a scenario by Auguste Mariette; first performed in Cairo, Opera House, on 24 December I 871. The cast at the premiere included Eleonora Grossi (Amneris), Antoni etta Pozzoni-Anastasi (Aida), Pietro Mangini (Radames), and Francesco Steller (Amonasro). During the late 1860s the search for suitable librettos began to cause Verdi increasing problems. One of his most active helpers was the French librettist and impresario Camille Du Lode, with whom Verdi had collaborated in the making of Don Carlos. Du Lode sent Verdi a stream of possible sub jects covering a wide variety of genres: from comic plots that might have continued the manner of Un hallo in maschera to large-scale dramas suitable for conversion into grand opera. But Verdi became more and more difficult to please, finding the comic subjects structurally or temperamentally unsuitable, while often complaining of the ‘patchwork’ quality of grand opera and its inherent lack of coherence. The breakthrough came in the early months of 1870, when Du Lode sent Verdi a scenario by the archaeologist and Egyptologist Auguste Mariette, based on an invented story set in Egyptian antiquity. Verdi had the previous year declined to supply an inaugural hymn as part of the celebrations to open the Suez Canal; but he accepted this new Egyptian idea-which was to open the new Cairo Opera House-almost immediately, appointing as librettist Antonio Ghislanzoni, his collaborator in the revised La forz_a de! destino. Work on the opera, whose scenario was adapted and enlarged by both Du Lode and Verdi, proceeded through 1870, Verdi as usual taking a considerable hand in the libretto’s formation, even in minor details of line length and wording. The stage sets for the Cairo premiere were, as was often the case in an increasingly international operatic world, constructed in Paris.
Music in the Galant Style
Authors: Gjerdingen Robert O
Published: November 2023

Music in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the "galant style.
Translational Researchin Genetics and Genomics
Authors: Smith Moyra
Published: November 2023

In this new book, noted geneticist and veteran OUP author, Moyra Smith, will present a comprehensive critical review of the translation of genetic and genomic research into health care. Dr. Smith’s motivation for writing is driven by the gap that exists between the rather amazing discoveries in medical genetics and genomics at basic science levels and the translation of these advances into evidence-based clinical practice. She will examine experimental and observational research and translation to disease management in single gene disorders, specific genetic syndromes, and complex genetic diseases. She will also examine information technology in genetic medicine, sociocultural factors that impact provision of medical care, and medical education issues with regard to translational genetics in order to help prepare a work force that is better able to utilize evidence-based medicine and to accommodate the rapid changes in genetic and genomic health care.
Isolation Of Disease Genes Through Genomics
Authors: Smith Moyra
Published: November 2023

Advances in chromosome mapping and DNA sequencing have greatly increased our ability to locate and characterize genes responsible for specific diseases. Physical maps of genes on chromosomes provide information on the position of a gene or marker on a chromosome relative to landmarks on that chromosome (e.g., p or q arm, chromosome band). Since completion of the human genome projects, the physical map location of a gene may also be based on defining the position of a gene or marker relative to the nucleotide sequence of the chromosome to which it maps.
From gene discovery in genetic syndromes to identification Of therapeutic agents
Authors: Smith Moyra
Published: November 2023

Elucidation of the molecular defects in a number of rare genetic syndromes characterized by abnormal cell proliferation and differentiation have led to the discovery of genes that were subsequently shown to play a major role in cell signaling and metabolism and also in the development of sporadic tumors not related to the genetic syndromes. Discussed in this chapter are the genes that play a role in tuberous sclerosis, polycystic kidney disease, neurofibromatosis, and Peutz-Jeghers syndrome and translational aspects of gene discovery.
An Elusive Grand Design
Authors: Hanhimäki Jussi M
Published: November 2023

In February 1969, Time magazine’s cover showed a picture of a man who would, in future years, become a central figure in American diplomacy. “Bonn, London, and Paris may disagree on a score of issues, but they are in happy unanimity in their respect for him; even Moscow is not displeased,” the article commented. It went on to describe how Richard Nixon’s new national security adviser, Henry Kissinger, “knows more foreign leaders than many State Department careerists.” The article ended presciently with a quote from the nineteenth-century Austrian statesman, Prince Metternich: “I was born to make history, not to write novels.”
Salesmanship and Substance: The Influence of Domestic Policy and Watergate
Authors: Sandbrook Dominic
Published: November 2023

Richard Nixon took office in January 1969 after one of the most turbulent years in recent American history, marked by assassinations, race riots, student protests, a crippling gold crisis and a bloody stalemate in South Vietnam. Many ordinary Americans had voted for Nixon because he stood for old- fashioned stability and respectability in bewildering, disorderly times. Yet as he contemplated the challenges of the 1970s, from campus unrest and drug use to rising crime and soaring inflation, Nixon could have been forgiven a shudder of trepidation. Deeply rooted in the changing social and cultural landscape of the postwar years, these problems were beyond the scope of any one man to solve.
Nixon, Kissinger, and the Opening to China
Authors: MacMillan Margaret
Published: November 2023

The opening of relations between the United States and the People’s Republic of China in 1972 was one of those startling changes that seem inevitable once they have occurred. True, the two countries had been divided by the Cold War and by actual fighting in Korea, but there were several good reasons why, at the very least, they should be in contact with each other. Both countries had a strong interest in stability in the Northeast Pacific and in Asia more generally, and both regarded the Soviet Union with suspicion and even fear. Although it was impossible to gauge public opinion in Mao’s China, it is clear that among the elites in the party, the military, and the government, there were those who would have welcomed an end to the long freeze in Sino-American relations, and did so when it finally came about.
Atlantic History And Global History
Authors: Canny Nicholas
Published: November 2023

There have been so many recent advocates for Atlantic history that David Armitage has declared us all to be Atlanticists now. While conceding Armitage’s point that the subject of Atlantic history has become fashionable, and while saluting his effort to define a British Atlantic, there is such limited agreement over what the subject entails that it might be said that there are as many varieties of Atlantic history as there are Atlanticists. This chapter seeks to bring clarity to the study of the subject in three ways. First, it provides a taxonomy of six prescriptions that have been advanced by various practitioners of Atlantic history so that the strengths and shortcomings of each can be considered; second, it discusses two books which, each in its own way, challenge the legitimacy or importance of Atlantic history; and third, it offers some counters to these challenges and justifies the continued study of Atlantic history once it has been clearly distinguished from global history.
Considering Mental Health Treatments
Authors: Stein Lisa Hunter Serene Olin Geraldine Burton Polly Gipson Adam
Published: November 2023

Once a child has been evaluated, a treatment is usually recommended. As a parent advisor, you should be familiar with common treatments for mental disorders. You will also find it hopeful to be knowledgeable about the different mental health service delivery options. This chapter presents basic information on the types of treatment available. It also provides tables summarizing many of the service delivery options.
Specific Disorders
Authors: Olin Serene , Romanelli Lisa Hunter
Published: November 2023

This chapter reviews some of the most common child mental disorders and their treatments. The specific disorders covered are disruptive behavior disorders (conduct disorder, oppositional defiant disorder, attention-deficit/ hyperactivity disorder), posttraumatic stress disorder and other anxiety disorders (separation anxiety disorder, specific phobias, social phobia, generalized anxiety disorder, panic disorder, obsessive-compulsive disorder), mood disorders (depression and bipolar disorder), and substance abuse.
Cartesian Passions and Cartesian Dualism
Authors: Hoffman Paul
Published: November 2023

Descartes’s most famous and important metaphysical thesis is mind-body dualism. Mind and body are distinct substances having different natures or essences. The essence of mind is the attribute thought, and the essence of body is the attribute extension. All the non-essential properties of a created substance, or at least those in virtue of which it is modiHed or affected, have a special relation to the essential attribute of that substance. They are modes of that attribute. For example, doubting that God exists, which is a non-essential property of a mind, is a mode or way of thinking. Similarly, being square, which is a non-essential property of a body such as a piece of wax, is a mode of extension or a way of being extended. Since mind and body are the only two kinds of created substances, all the properties that modify created substances are thus either ways of thinking or ways of being extended.
Passion and Motion in the New Mechanics
Authors: Hoffman Paul
Published: November 2023

Descartes’s most important contribution to physics is commonly thought to be his reconceptualization of motion. His Aristotelian predecessors viewed motion as a change or process, but Descartes held that motion is a state. This reconceptualization of motion is considered signiHcant because it paved the way for both Descartes’s and Newton’s laws of inertia. While a change requires a force or cause, a state does not.
Securing Baritone, Bass-Baritone, and Bass Voices
Authors: Miller Richard
Published: November 2023

Perhaps the most renowned writer in the field of vocal pedagogy, Richard Miller has delivered a new and outstanding contribution to the study of vocal technique in Securing Baritone, Bass-Baritone, and Bass Voices. The first thorough and comprehensive treatment of low male voices, this book draws on techniques and practical advice from Miller’s years of professional experience as a performer and pedagogue. With a unique focus on “securing” the technical stability of the male voice, the book offers practical advice to students, their teachers, and professional performers, through numerous practical exercises and repertoire suggestions appropriate to various stages of development. Miller synthesizes historic vocal pedagogy with the latest research on the singing voice, always emphasizing the special nature of the male voice and the proper physiological functioning for vocal proficiency. An indispensable guide to male low voices, this book is an essential text for performers, aspiring performers, and instructors alike.
contributing to performance effectiveness
Authors: Miller Richard
Published: November 2023

I have maintained that posture and stance are crucial to fine singing. But in attempting to maintain an axial position, a singer may become rigidly fixated so that involuntary tensions are introduced. Several long-accepted practices to reduce tension are variations of the earlier encountered silent Farinelli maneuver, which is now joined to singing (see chapter 3). The singer lies on his back, as in the Farinelli maneuver. It is best that a pillow or two be positioned under the head to ensure that the larynx is not elevated. Breathe normally, feeling as relaxed as possible. Place one hand on the front of the abdominal wall, the other at the side of the lower ribs. Notice the expansion that occurs at inhalation. Next, lengthen this inhalatory gesture, retaining it for as long as is comfortable.
Viva V.E.R.D.I.
Authors: Budden Julian
Published: November 2023

by the third week in october 1853 verdi and giuseppina were installed in the Rue de Richter 4, Paris. The opera for which Verdi had been contracted in 1852 was not due for production for at least a year; but the schedule had fallen behind. Eugène Scribe—and Verdi would not settle for a less distinguished collaborator—had not supplied the libretto by the date stipulated (July 1853) for the good reason that the subject had not yet been agreed between them. From the start Verdi had demanded ‘something grandiose, original and full of passion; an imposing and overwhelming mise-en-scene’. Scribe proposed Les Circassiens; Verdi turned it down, as he did Wlaska ou les Amazones de Bohème, (‘those female soldiers strike me as odd’). Then Il trovatore and La traviata claimed his attention and so time went by until it became clear that only a personal meeting would resolve the problem. At this point Scribe, according to his own account, proposed adapting Le Duc d’Albe, a libretto intended for Donizetti, only a part of which the composer had set. Verdi at first demurred at this offer of second-hand goods but finally agreed if the setting were changed from the Low Countries to
The Dark Decade
Authors: Budden Julian
Published: November 2023

no sooner was the premiÈre of the revised forza del destino over than Verdi was beset with suggestions for new operas by Perrin, Du Locle, Giulio Ricordi and others. He was loth to try his luck in Paris again for reasons which he explained to Du Locle:
Indian Summer
Authors: Budden Julian
Published: November 2023

the spring of 1879 saw the devastation by flood of many Italian provinces. Active as always in charitable causes, Verdi agreed to direct a performance in Milan of his Requiem for the benefit of the victims. Teresa Stolz and Maria Waldmann came out of retirement to give their services. The proceeds were gratifyingly large; and the composer himself was feted by the Milanese quite beyond his expectations. The following evening he and his wife dined privately with the Ricordis and Faccio. ‘Quite by chance’, the publisher recalled, ‘I steered the conversation on to Shakespeare and Boito. At the mention of Othello I saw Verdi look at me with suspicion but with interest. He had certainly understood and had certainly reacted …’ Next day Faccio brought Boito to see Verdi with a libretto of Otello already sketched. Verdi was impressed but would not commit himself. ‘Now write the poetry’, he said; ‘it will always do for me or for you or for someone else.’ Indeed there were many difficulties to be surmounted before the ‘chocolate project’, as it came to be called, could be realised. To begin with Verdi took offence at an extract from the sculptor Dupré’s memoirs which had
Miscellaneous Operatic Compositions
Authors: Budden Julian
Published: November 2023

the practice of writing extra numbers for insertion into one’s own and other people’s scores has a history that goes back into the eighteenth century. Unprotected by copyright, operas once performed passed out of their composers’ hands to be at the mercy of anyone who chose to perform them. The leading parts would be adapted to the means of the new singers partly by transposition, partly by ‘puntatura’—i.e. by raising or lowering the pitch of the line without disturbing the harmony. But it would also happen that a singer might decide that this or that aria did not do justice to his or her qualities and would insist on substituting one that did. Many singers carried about with them a collection of ‘arie di baule’ (suitcase arias) each suitable to a different stock situation which they would insert at will into any opera in which they took part. The more intelligent would apply to the original composer for something new; or, if he were unavailable, to another of high repute. Many of Mozart’s so-called concert arias were written at the request of individual singers for insertion into the operas of his contemporaries. For the revival of his own Figaro in
The Imaginary Museum Of Musical Works
Authors: Goehr Lydia
Published: November 2023

What is involved in the composition, performance, and reception of classical music? What are we doing when we listen to this music seriously? Why when playing a Beethoven sonata do performers begin with the first note indicated in the score; why don't they feel free to improvise around the sonata's central theme? Why, finally, does it go against tradition for an audience at a concert of classical music to tap its feet? Bound up in these questions is the overriding question of what it means philosophically, musically, and historically for musicians to speak about music in terms of "works". In this book, Lydia Goehr describes how the concept of a musical work fully crystallized around 1800, and subsequently defined the norms, expectations, and behavioral patterns that have come to characterize classical musical practice. The description is set in the context of a more general philosophical account of the rise and fall of concepts and ideals, and of their normative functions; at the same time, debates amongst conductors, early-music performers, and avant-gardists are addressed. The Imaginary Museum of Musical Works is a seminal work of scholarship, and has appeared in an astonishing variety of contexts and disciplines from musicological and philosophical since its initial publication. This second edition features a new Introductory Essay by the author, discussing the genesis of her groundbreaking thesis, how her subsequent work has followed and developed similar themes, and how criticisms along the way have informed not only her own work but the "Imaginary Museum" concept more generally as it spread across disciplinary lines. A provocative foreword by Richard Taruskin contextualizes Goehr's argument and points to its continuing centrality to the field.
After 1800: The Beethoven Paradigm
Authors: Goehr Lydia
Published: November 2023

Franz Liszt thought he had found the perfect way to treat the temporal art of music as a truly fine art. He declared in 1835: In the name of all musicians, of art, and of social progress, we require: … the foundation of an assembly to be held every five years for religious, dramatic, and symphonic music, by which all the works that are considered best in these three categories shall be ceremonially performed every day for a whole month in the Louvre, being afterwards purchased by the government, and published at their expense.
5. New Music as Confrontation The Musical Sources of Cocteau’s Identity
Authors: Pasler Jann
Published: November 2023

Jean Cocteau knew he was different. Not a very good student, drawn to men more than women, admired for his ‘‘feminine soul,’’ his physical beauty, and his incisive wit. He was the fruit of his upbringing—privileged, wealthy bourgeois suburbanites—yet not entirely so. By age twenty-nine, in writing Le Coq et l’Arlequin, he had figured out: ‘‘what the public reproaches in you, cultivate it, that’s who you are.’’ To arrive at this clarity—a self- definition essentially based on a confronted relationship with the public—took most of his twenties, a period during which he gradually learned to distinguish himself from yet still define himself in terms of the conventional social circles in which he and his family moved. I suggest that Cocteau achieved this distinction through a conscious change in his musical tastes, and that it was indeed what he found in and extracted from new music that allowed him to construct much of the identity we think of as Cocteau.
Concert Programs and Their Narratives as Emblems of Ideology
Authors: Pasler Jann
Published: November 2023

How did the French at the end of the nineteenth century understand their music? What did it represent for them? What did they do to construct and manipulate its meaning? Concert programs from the period give some fascinating answers to these questions. French critics commonly referred to concerts as consummation musicale, a form of musical consumption. Along with the other food metaphors they used, this image refers not so much to the public’s participation in the emerging market for music as to their concern that music nourish the population. Many composers, patrons, and even state officials, too, believed that ‘‘concerts have a mission to accomplish . . . they are educators and it is they who have the honor of forming musical taste.’’ ‘‘Music is not only an art, it is a means of education . . . a discipline, a way to cultivate feeling, in any case healthy recreation when physical play is impossible.’’
Knowing Fieldwork
Authors: Titon Jeff Todd
Published: November 2023

Epistemology is that field of inquiry whose subject is the origins, nature, and limits of human knowing (see Rorty 1979:140). An epistemology for ethnomusicology is therefore concerned with the origins, nature, and limits of human knowledge concerning music in human life. An epistemology for ethnomusicology attempts to answer two basic questions: What can we know about music, and how can we know it?
Phenomenology and the Ethnography of Popular Music
Authors: Berger Harris M
Published: November 2023

The categorization of expressive culture is an inherently vexed task, and doubly vexed are the lives of scholars whose methods and techniques of research are based on such categories. Despite the obvious problems that they entail and the criticisms that they have inspired, the art music/folk music/popular music trichotomy and the Western music/non-Western music dichotomy are still alive in the popular imagination and serve as the centers of gravity for music disciplines in the academy. Even as musicians, journalists, and scholars critique these categories, they continue to shape the hierarchies of prestige that attach to music styles and the people associated with them, the form and content of those musics, and the networks through which they travel. My musical life has been shaped by these categories as much as anyone else’s. In this chapter, I will explore the complex ways in which these categories have affected ethnomusicology. In so doing, I will suggest how ideas from phenomenology and practice theory can mediate the tensions between ethnomusicology and the non-ethnographic strains of cultural studies and offer approaches to ethnomusicological ethnography that are applicable, not only to popular music but to music in general. In both the first and second editions of Shadows in the Field, contributors use their experiences as ethnographers and music makers to shed light on the issues of methodology that they raise, and in this chapter I continue this tradition.
Confronting the Field(note) In and Out of the FieldMusic, Voices, Texts, and Experiences in Dialogue
Authors: Barz Gregory F
Published: November 2023

Field research is performed. The performance of field research is one of the most meaningful processes engaged by ethnomusicologists to define themselves. And writing about field research—ethnography, field diaries, fieldnotes—is often part of the process of re-performing field research. In this period of post-postmodernism the social sciences can no longer claim that the fieldworker escapes significant participation in the total cultural performance of field research. Performance is, after all, according to Johannes Fabian, “not what they do and we observe; we are both engaged in it” (1990:xv, emphasis added). In recent literature on field research and representation, ethnographers assign greater importance to writing in the field; experiences are transformed into texts, and fieldworkers, informants, friends, and teachers emerge as actors in a social drama.
Returning to the Ethnomusicological Past
Authors: Bohlman Philip V
Published: November 2023

Young Jewish guys from sixteen to twenty study the Talmud in a scene of total chaos, their monotonous sing-song penetrated from time to time by the grating shrill of the button-box accordion played by the innkeeper across the street.
Recovering Beckett’s Bergsonism
Authors: Gontarski S E
Published: November 2023

In his 1966 critique of Henri Bergson, which he calls Bergsonism (trans. 1988), Gilles Deleuze focuses on intuition as the method in Bergson’s overall philosophical project, a rethinking of metaphysics in terms of duration (durée), that is, time as opposed to space. “Intuition is neither a feeling, an inspiration, nor a disorderly sympathy, but a fully developed method,” notes Deleuze, “one of the most fully developed methods in philosophy.
“No Body Is at Rest”: The Legacy of Leibniz’s Force in Beckett’s Oeuvre
Authors: Mori Naoya
Published: November 2023

Samuel Beckett Portrays a ubiquitous force that drives things and beings into endless motion. Although critics have commented on the extensive interplay between the static and dynamic in his works, the relation of Beckett’s ubiquitous force to Leibniz’s monadic force has yet to be explored. Because these tensions are central to Beckett’s thought, I argue in this essay that Leibniz’s ideas on dynamics offer a useful pathway into the Beckett canon.
The Spear of Telephus in Krapp’s Last Tape
Authors: Degani-Raz Irit
Published: November 2023

The mythical figure Telephus, son of Heracles, was the king of the Mysians. When his kingdom was attacked by the Greeks mistakenly landing in Mysia on their way to the Trojan War, he was wounded by Achilles’ spear. When the wound would not heal, Telephus consulted an oracle and was told: “He that wounded shall heal”; and indeed the same spear that wounded became the instrument of his healing.
The Midcentury Godot: Beckett and Saroyan
Authors: Bryden Mary
Published: November 2023

The Writer William Saroyan is widely reported to have remarked that the impact made by Waiting for Godot would make it easier for him and for everyone else to write freely for the theater. The 2006 centenary of Samuel Beckett’s birth coincides with the fiftieth anniversary of the American and Broadway premieres of Godot, and it was in the context of the latter that Saroyan’s remark was made. By then, the young Ruby Cohn was already familiar with the play. She writes, “Having read nothing by Beckett, I fell in love with his En attendant Godot in 1953, when it was performed at the short-lived Théâtre de Babylone in Paris.
Beckett and Caryl Churchill along the Möbius Strip
Authors: Diamond Elin
Published: November 2023

“Where now? who now? When now?” So begins The Unnamable by the very namable Samuel Beckett whose centenary was celebrated in settings around the world. It is my task in this essay to imagine “who now?”—whose plays might be seen to be lurking in his distinctive precincts. Every serious dramatist since Waiting for Godot has had to contend with that play’s challenges, and while Harold Pinter always gets the nod as Beckett’s inheritor, I turn here to Caryl Churchill, a writer thirty-two years Beckett’s junior, yet whose career as a dramatist already spans almost a half century.
Tension-type Headache
Authors: Lenaerts Marc E , Newman Lawrence C
Published: November 2023

Tension-type headache (TTH) is a highly prevalent disorder. Overall, and especially compared to migraine, symptoms remain mild or moderate. Therefore episodic TTH (ETTH) is rarely seen in headache clinics or even primary care settings. In contrast, even if only slightly more severe, chronic TTH (CTTH) is, because of its frequency at least, a reason to seek medical attention and is more commonly seen in clinical practice. The clinical picture is vague mainly because its symptomatology is based on the absence of symptoms. Environmental factors appear to predominate genetic influence. Comorbidity affects a large proportion of patients and must be recognized and appropriately managed.
Trigeminal Autonomic Cephalalgias: Diagnosis and Management
Authors: Matharu Manjit S , Goadsby Peter J
Published: November 2023

The trigeminal autonomic cephalalgias (TACs) are a group of primary headache disorders characterized by unilateral head pain that occurs in association with often prominent ipsilateral cranial autonomic features (Goadsby and Lipton, 1997). The TACs include cluster headache (CH), paroxysmal hemicrania (PH), short-lasting unilateral neuralgiform headache attacks with conjunctival injection and tearing (SUNCT), and shortlasting unilateral neuralgiform headache attacks with cranial autonomic symptoms (SUNA). CH, PH, and SUNCT are currently grouped into section 3 of the revised International Classification of Headache Disorders (ICHD-II) (Headache Classification Committee of The International Headache Society, 2004) whereas SUNA is described in the appendix section. Hemicrania continua (HC) is currently not considered a TAC, being classified under Section 4, Other Primary Headaches, although one might argue for its inclusion here.
Nasal Disease and Sinus Headache
Authors: Silberstein Stephen D , Dodick, David , Willcox Thomas O
Published: November 2023

Since sinusitis is almost always accompanied by concurrent nasal airway inflammation and, in many cases, is preceded by rhinitis symptoms, we now refer to the disorder as rhinosinusitis. Rhinosinusitis consists of a group of disorders characterized by inflammation of the nasal mucosa and the paranasal sinuses. Rhinosinusitis is increasing in prevalence and incidence, and has been estimated to affect approximately 31 million patients in the United States each year (Moss and Parsons, 1986). It causes significant physical symptoms, negatively affects quality of life, and can substantially impair daily functioning. Rhinosinusitis is commonly divided into acute and chronic forms. Acute rhinosinusitis, a relatively uncommon cause of headache, is because of infection (viral, bacterial, or fungal) of one or more of the paranasal sinuses. In some cases it may have an allergic cause; other patients have idiopathic disease (International Rhinosinusitis Advisory Board, 1997).
Unfinished Music
Authors: Kramer Richard
Published: November 2023

Unfinished Music draws its inspiration from the riddling aphorism by Walter Benjamin that serves as its epigraph: “the work is the death mask of its conception.” The work in its finished, perfected state conceals the enlivening process engaged in its creation. An opening chapter of this book examines some explosive ideas from the mind of J. G. Hamann, eccentric figure of the anti-rationalist Enlightenment, on the place of language at the seat of thought. These ideas are pursued as an entry into the no less radical mind of Carl Philipp Emanuel Bach, whose bold idiosyncrasies, like Hamann’s, disrupted the discourse of Enlightenment aesthetics. Bach is a central player here, his late music the subject of fresh inquiry. In several chapters on the late music of Beethoven, Bach reappears, now something of a spiritual alter ego in the search for a new voice. The improvisatory as a mode of thought figures prominently here, and then inspires a new hearing of the envisioning of Chaos at the outset of Haydn’s Creation, aligned with Herder’s efforts to come to an understanding of logos at the origin of thought. The improvisatory is at the heart of a chapter on Beethoven’s brazen cadenzas for the Concerto in D minor by Mozart, another ghost in Beethoven’s machine. Music seductively unfinished is the topic of other chapters: on some unstudied late sketches, finally rejected, for a famous quartet movement by Beethoven; on the enigmas set loose in several remarkable Mozart fragments; and on the romanticizing of fragment and its bearing on two important sonatas that Schubert left incomplete. In a final coming to terms with the imponderables of musical intuition, the author returns to Benjamin’s epigraph, drawing together his foundational essay on Goethe’s Elective Affinities with Thomas Mann’s Death in Venice, and with a draft for a famous passage in the andantino of Schubert’s Sonata in A (1828). Unfinished Music explores with subtle insight the uneasy relationship between the finished work and the elusive, provocative traces of the profound labors buried in its past. The book will have broad appeal to the community of music scholars, theorists and performers, and to all those for whom music is integral to the history of ideas.
“Coming Out” as Patients: Disclosures of Illness
Authors: Klitzman Robert
Published: November 2023

“I felt we were living double lives,” Mathilde said, “as if we were prisoners twice”—because of both illness and secrecy. Through decisions on whether, what, when, and to whom to divulge their diagnosis, sick doctors could alter or maintain others’ views of them. Some ill physicians chose to lead double lives and live with secrets. Others went public. They illustrated the degree to which information about one shapes how one is viewed.
Double Lens: Contrasting Views and Uses of Medical Knowledge
Authors: Klitzman Robert
Published: November 2023

“I’m not a ‘pill wimp’ like some of my patients,” one physician said. “I’m more rational, because I know more.” Illness affected how these doctors not only acted, but also perceived the profession, patients, and risks and benefits of treatments. After acknowledging their initial diagnosis to the degree that they did, these physician had to weigh and assess different kinds of medical knowledge, approaching it in varying ways. In general, they assessed risks and benefits differently than did other patients, drawing on professional experiences and abilities in evaluating research findings. Overall, they found that medical knowledge helped immensely in many ways, but posed potential problems, proving to be a double-edged sword. Their views and communication of such risks and benefits are important since medicine increasingly involves complex sets of often conflicting data. Doctors regularly present this information to patients who grapple to understand, but may not interpret it correctly. These physicians revealed how medical knowledge can take on magical properties, but be limited, too.
Improving Education: Can Empathy Be Taught?
Authors: Klitzman Robert
Published: November 2023

Does a doctor have to get sick in order to become more sensitive? The physicians here posed critical questions of how to improve sensitivity in the profession: whether trainees and other providers can be taught to be more empathetic, and if so, how. Clearly, formidable internal and external obstacles exist to improve patient care, including implicit stigma: the fact that physicians often see patients as somehow “less than.” To bolster themselves and conquer disease, many doctors distanced themselves from, and identified less with, patients. Yet overall, these physicians changed their practices in ways ranging from small to large. Recently, questions of how to make doctors better have received attention (1). But the doctors here suggest additional ways, and their intimate stories offer insights that made even “good” physicians better. They came to reassess and alter their relationships with patients: approaches to tests and diagnoses, treatment problems, poor adherence, nonmedical aspects of care, and communication about end-of-life and other taboo topics. Though potentially, illness could merely embitter and frustrate a doctor, that was overall not the case here. Indeed, many now wanted to take on, as a mission or legacy, improving the training of future providers. Through their pain, these doctors hoped to enlighten and inspire others.
Conclusions: The Professional Self
Authors: Klitzman Robert
Published: November 2023

Perhaps more than almost any other profession, except possibly the priesthood, medicine compels its members to define themselves by their work. Novitiates endure a physically demanding and self-sacrificing apprenticeship, or process of “socialization,” that deeply ingrains the values and identity of the field into its members. Consequently, as we have seen, the threat of losing their job can challenge their deepest senses of meaning and self-definition.