bluuebunny/crossref_metadata_2025 huggingface dataset:
Between Two Worlds
Authors: A.Diouf Sylviane
Published: November 2023

As The Last Decade of the nineteenth century opened, King Glèlè died after a reign of more than forty years. Wherever they were, in Mobile, Havana, or Rio, the people he had sold away would have rejoiced had they known. Some of the deportees to Brazil had been freed only a year before in 1888. The men and women of African Town who had been taken from his barracoon in Ouidah were now in their forties and fifties, parents and grandparents of two generations who had never feared the king and the soldiers of Dahomey. To these young men and women, the most concrete expression of their parents’ ordeal was the face of an old white man down the road. After retiring from the river because the Negroes had become uppity, Timothy Meaher spent his time running the Bay City Lumber Company and the Mobile Steam Brick Works with his brothers and his sons, James and Augustine. They were still powerful and, as years went by, the family became even wealthier. But the brothers were getting old. Burns, the youngest, was the first to die, in 1880. James followed in February 1885. At seventy-four, he was hailed as one of the oldest steamboat men in the state. One of his pallbearers was none other than William Foster. About a year later Timothy developed paralysis and became housebound.On March 3, 1892, the Catholic priest of St. Francis Xavier Church near Three Mile Creek was summoned to his side. The father gave him the last sacraments, and the captain passed away. It was a peaceful death of old age, at eighty. Timothy Meaher’s passing made the news not only in Mobile, but as far away as New York.
Known Africans Deported to Mobile on the Clotilda
Authors: Diouf Sylviane A
Published: November 2023

On A January Night In 2002, a truck backed up to a statue in front of Union Missionary Baptist Church, north of Mobile, Alabama. One or two people got out, cut through parts of the heavy bronze bust, ripped it from its brick base, and disappeared with their loot. The theft shocked and angered the congregation of pastor A. J. Crawford, Sr. They had just celebrated the New Year and were preparing to commemorate, the following month, the 130th anniversary of the church. Unlike those of the Virgin Mary or George Washington, this statue was the only one of its kind in the country. The theft struck at the very core of a community that will never have any equivalent in North America. Determined to bring the statue back home, the congregation established a reward fund. In case the bust was not found, the money would be used to cast a new one. The wooden model, carved fifty years earlier, was still in town.
Mobile and the Slave Trades
Authors: Diouf Sylviane A
Published: November 2023

It The Time Of The Young Africans’ Arrival, Mobile, their future home, was Cotton City. And it is cotton that brought them there in a tale of two slave trades, one over land, and the other over sea. A tale of migrations, it is the story of white men attracted by fabled economic opportunities; and of black men and women transported against their will. Blacks and whites were two sides of the same story, one group uprooted and exploited so that the other might prosper. And on a particular day in 1859, many fates were sealed on a steamer named Roger B. Taney going up the Mobile River.
West African Origins
Authors: Diouf Sylviane A
Published: November 2023

Eighteen-Sixty Was A Good Year to buy captives in Ouidah. The previous three years had been a boon for slave dealing in Dahomey. Such activity had not been seen for a long time, be- cause, since the early 1850s, when it got involved in the legitimate commerce in palm oil, the kingdom had reduced its slave-trading activities. King Ghezo had been firmly encouraged down this new path by Great Britain, and, parallel to diplomatic exhortation, London had blockaded the Dahomian ports for six months in 1851–1852 when it had become apparent that the kingdom had not renounced the transatlantic slave trade. Finally, on January 13, 1852, Ghezo had reluctantly agreed to sign a treaty abolishing the “export of slaves to foreign countries” and promising to punish severely any person who broke the law. Deprived of the revenues brought by the trade in people, the kingdom was to receive instead the income generated by the export of oil needed by the European industries.
Chronology of Verdi’s Life and Operas
Authors: Parker Roger
Published: November 2023

Born at Roncole, near Busseto, in the Duchy of Parma, northern Italy, to Carlo and Luigia Uttini Verdi Baptized Giuseppe Fortunino Francesco Begins musical studies in Busseto Becomes organist at the church at Roncole Sponsored by the merchant Antonio Barezzi; begins studies with Ferdinando Provesi, director of the municipal music school in Busseto Moves to Milan, initially applying to attend the Milan Conservatory; when he is rejected, enrols for private study with Vincenzo Lavigna, maestro concertatore at La Scala
Life and Works
Authors: Parker Roger
Published: November 2023

A month after Verdi’s death, a solemn procession through Milan accompanied by hundreds of thousands of mourners assisted the transfer of his remains to their final resting place. The procession was sent on its way by a rendition of ‘Va pensiero’, the chorus of Hebrew slaves from one of Verdi’s earliest operas, Nahucco.
Nabucco
Authors: Parker Roger
Published: November 2023

Dramma lirico in four acts set to a libretto by Temistocle Solera after Anto nio Cortesi’s ballet Nabucodonosor and Auguste Anicet-Bourgeois’ and Francis Cornu’s play Nabuchodonosor; first performed in Milan, Teatro alla Scala, on 9 March 1842. The cast at the premiere included Prosper Derivis (Zaccaria), Giuseppina Strepponi (Abigaille), Giorgio Ronconi (Nabucco), Corrado Miraglia (Ismaele), and Giovannina Bellinzaghi (Fenena). Babylonian and Hebrew soldiers, Levites, Hebrew virgins, Babylonian women, magi, Lords of the Kingdom of Babylon, populace, etc.
I Lombardi Alla Prima Crociata
Authors: Parker Roger
Published: November 2023

Dramma lirico in four acts set to a libretto by Temistocle Solera after Tom maso Grossi’s poem I Lombardi alla prima crociata; first performed in Milan, Teatro alla Scala, on 11 February 1843. I Lombardi was revised in French in 1847, as Jerusalem. The cast at the premiere included Giovanni Severi (Arvino), Prosper Derivis (Pagano), Carlo Guasco (Oronte), and rminia Frezzolini (Giselda).
I due Foscari
Authors: Parker Roger
Published: November 2023

Tragedia lirica in three acts by set to a libretto by Francesco Maria Piave after Byron’s play The Two Foscari; first performed in Rome, Teatro Argentina, on 3 November 1844. The cast at the premiere included Achille De Bassini (Francesco Foscari), Giacomo Roppa (Jacopo), and Marianna Barbieri-Nini (Lucrezia). Members of the Council of Ten and the Giunta, Lucrezia’s maids, Venetian women, populace, and masked figures of both sexes Walk-on parts: II Messer Grande, Jacopo Foscari’s two small children, naval commanders, prison guards, gondoliers, sailors, populace, masked figures, pages of the Doge Setting Venice in 1457 Soon after the premiere of Ernani in Venice, Verdi agreed to write a new opera with Piave for the Teatro Argentina in Rome.
Giovanna d’Arco
Authors: Parker Roger
Published: November 2023

Dramma lirico in a prologue and three acts set to a libretto by Temistocle Solera in part after Friedrich von Schiller’s play Die Jungfrau von Orleans; first performed in Milan, Teatro alla Scala, on 15 February 1845. The cast at the premiere included Antonio Poggi (Carlo), Filippo Colini (Giacomo), and Erminia Frezzolini in the title role. King’s officers, villagers, people of Reims, French soldiers, English soldiers, blessed spirits, evil spirits, nobles of the realm, heralds, pages, young girls, marshals, deputies, knights and ladies, magistrates, halberdiers, guards of honour Setting Dom-Remy, Reims and near Rouen in 1429 There is virtually no evidence, but it seems that Verdi had arranged to write an opera for the 1844-45 Carnival season at La Scala as early as December 1843, and that soon afterwards he suggested to the impresario Bartolomeo Merelli that Temistocle Solera be engaged as the librettist. Solera was duly hired, wrote a text, and then-with typical exaggeration-made much of the fact that his libretto on the life of Joan of Arc was ‘original’, owing nothing either to Shakespeare or to Schiller.
Attila
Authors: Parker Roger
Published: November 2023

Dramma lirico in a prologue and three acts set to a libretto by Temistocle Solera (with additional material by Francesco Maria Piave) after Zacharias Werner’s play Attila, Konig der Hunnen; first performed in Venice, Teatro La Fenice, on 17 March 1846. The cast at the premiere included Ignazio Marini (Attila), Natale Costantini (Ezio), Sophie Loewe (Odabella), and Carlo Guasco (Foresto). Leaders, kings and soldiers, Huns, Gepids, Ostrogoths, Heruls, Thuringians, Quadi, Druids, priestesses, men and women of Aquileia, Aquileian maidens in warlike dress, Roman officers and soldiers, Roman virgins and children, hermits, slaves Setting Aquileia, the Adriatic lagoons and near Rome, in the middle of the fifth century Verdi had read Werner’s ultra-Romantic play as early as 1844, and initially discussed the subject with Piave. However, for his second opera at La Fenice (a highly suitable subject, dealing with the founding of the city of Venice) the composer eventually decided on Solera, the librettist with whom-at least until then-he seems to have preferred working. Solera set about preparing the text according to his usual format, with plenty of opportunity for those grand choral tableaux found in Nabucco and/ Lombardi; but the progress of the opera was beset with difficulties. First Verdi fell seriously ill, and then Solera went off to live permanently in Madrid, leaving the last act as only a sketch and necessitating help from the ever-faithful Piave. Verdi instructed Piave to ignore Solera’s plans for a large-scale choral finale and to concentrate on the individuals, a change of direction of which Solera strongly disapproved. The premiere was coolly received, but Attila went on to become one of Verdi’s most popular operas of the 1850s. After that it lost ground although recent times have seen several important revivals. In 1846 Verdi twice rewrote the Romanza for Foresto in Act 3: the first time for Nicola Ivanoff, the second for Napoleone Moriani.
Rigoletto
Authors: Parker Roger
Published: November 2023

Melodramma in three acts set to a libretto by Francesco Maria Piave after Victor Hugo’s play Le Roi s’amuse; first performed in Venice, Teatro La Fenice, on II March 1851. The cast at the premiere included Raffaele Mirate (Duke), Felice Varesi (Rigoletto), and Teresa Brambilla (Gilda). Verdi first mentioned the idea of setting a version of Victor Hugo’s drama (with Salvadore Cammarano as the librettist) as early as September 1849, shortly after he had returned to Italy from Paris; but it was a contract with the Teatro La Fenice, Venice, signed in April 1850, that eventually brought the opera into being. Perhaps encouraged by the presence in Venice of the accomplished baritone Felice Varesi (who had created the title role of Macbeth in 1847), Verdi suggested to Piave, the resident poet at La Fenice, that they adapt Hugo’s Le Roi s’amuse, ‘one of the greatest creations of the modern theatre’. He had fears that there might be problems with the censor, but Piave-after seeking advice in Venice-managed to reassure him and the plan went ahead under the working title of La malediz.ione. By summer 1850, however, signs from Venice over the suitability of the subject were not encouraging. Verdi insisted on continuing, saying that he had now found the musical colour of the subject and so could not turn back.
La traviata
Authors: Parker Roger
Published: November 2023

The cast at the premiere included Fanny Salvini Donatelli (Violetta), Ludovico Graziani (Alfredo), and Felice Varesi (Giorgio Germont). By April 1852 Verdi had agreed to write a new opera for the Carnival 1853 season at the Teatro La Fenice in Venice, with Francesco Maria Piave as librettist. But even as late as October no subject had been decided upon: the unusually tight schedule was due in part to Verdi’s continuing work on fl trovatore, the premiere of which in Rome eventually took place less than two months before that of La traviata. By the beginning of November, however, Verdi and Piave had elected to base their opera on Dumas jils’ play, which had first been performed in Paris earlier that year. The working title of the opera, later changed at the insistence of the Venetian censors, was Amore e morte (‘Love and Death’). As Verdi wrote to his friend Cesare De Sanctis on I January 1853, it was ‘a subject of the times. Others would not have done it because of the conventions, the epoch and for a thousand other stupid scruples’. The composer even proposed that, contrary to custom, the opera should be performed in modern costume; but again the Venetian authorities would not agree, and the period was put back to the beginning of the eighteenth century.
Aroldo
Authors: Parker Roger
Published: November 2023

Opera in four acts set to a libretto by Francesco Maria Piave after their ear lier opera Stiffelio; first performed in Rimini, Teatro Nuovo, on 16 August 1857. The first performance of Stijfelio, at Trieste in November 1850, had met with severe problems from the local religious censors, particular objection being made to the final scene, which had to be changed radically and Verdi thought-damagingly. The few subsequent revivals also tended to run into trouble, and in 1854 Verdi decided to collaborate with Piave on rescuing the opera by setting it to a different, less sensitive plot. In 1856 they started work, changing the tale of a nineteenth-century Protestant pastor into that of a thirteenth-century Saxon knight returned from the Crusades, Verdi taking the opportunity to make a number of further modifications. The brilliant young conductor Angelo Mariani directed the premiere at Rimini. The revised opera was a huge success; but revivals fared less well, andAroldo soon disappeared from the general repertory, receiving only the occasional performance. In the discussion below, musical detail will be mentioned only if a passage differs substantially from Stijfelio or is new to Aroldo.
Un hallo in maschera
Authors: Parker Roger
Published: November 2023

Melodramma in three acts set to a libretto by Antonio Somma after Eugene Scribe’s libretto Gustave III, au Le Bal masque; first performed in Rome, Teatro Apollo, 17 February 1859. By February 1857 Verdi had agreed to write a new opera for the Teatro San Carlo in Naples, to be performed in the carnival season 1857-58. His first idea was King Lear, a setting of which he had planned with the playwright Antonio Somma, but (not for the first time) the San Carlo singers were not to his liking and the project was postponed. By September 1857 the composer was becoming anxious about his approaching deadline, and eventually proposed to Somma and the San Carlo-albeit with some reservations about the libretto’s conventionality-that he set a remodelled and translated version of an old Scribe libretto called Gustave I II, ou Le Bal masque, written for Auber in 1833. Somma and the theatre agreed; Verdi set to work advising his librettist, who had no experience writing for the musical theatre, on the necessary poetic proportions of the subject. The opera was at that time called Gustavo 111.
La forɀa def destino
Authors: Parker Roger
Published: November 2023

Opera in four acts set to a libretto by Francesco Maria Piave after Angel de Saavedra, Duke of Rivas’s play Don Alvaro, o La fuerz_a del sino, with a scene from Friedrich von Schiller’s play Wallensteins Lager, translated by Andrea Maffei. La forz_a del destino was first performed in St Petersburg, Imperial Theatre, on 29 October/ 10 November 1862. The revised version, with additional text by Antonio Ghislanzoni, was first performed in Milan, Teatro alla Scala, on 27 February 1869. The cast at the 1862 premiere included Caroline Barbot (Leonora), Francesco Graziani (Carlo), Enrico Tamberlik (Alvaro), and Constance Nantier-Didiee (Preziosilla). The cast for the 1869 revised version in cluded Teresa Stolz (Leonora), Luigi Colonnese (Carlo), Mario Tiberini (Alvaro), and Ida Benza (Preziosilla).
Don Carlos
Authors: Parker Roger
Published: November 2023

Opera in five acts set to a libretto by Joseph Mery and Camille Du Lode after Friedrich von Schiller’s dramatic poem Don Carlos, Infant van Spanien; first performed in Paris, Opera, on II March 1867. The revised Don Carlos, in four acts (the French text was revised by Du Lode, and an Italian translation was supplied by Achille de Lauzieres and Angelo Za nardini), was first performed in Milan, Teatro alla Scala, on IO January 1884. The cast at the 1867 premiere included Louis-Henri Obin (Philippe), Paul Morere (Don Carlos), Jean-Baptiste Faure (Posa), Marie Sasse (Elisa beth), and Pauline Gueymard-Lauters (Eboli). The cast for the 1884 re vised version included Alessandro Silvestri (Filippo), Francesco Tamagno (Don Carlo), Paul Lherie (Rodrigo), Abigaille Bruschi-Chiatti (Elisa betta), and Giuseppina Pasqua (Eboli).
Otello
Authors: Parker Roger
Published: November 2023

The cast at the premiere included Francesco Tamagno (Otello), Victor Maurel (Iago), and Romilda Pantaleoni (Desdemona). As the 1870s progressed, Verdi seemed increasingly isolated from current trends in Italian music, in particular by the tendency of both public and composers to look outside Italy (to France and, later, to Germany) for new ideas and aesthetic attitudes. It is against this background that we should examine his reluctance to write new works after the Messa da Requiem of 1874: Verdi was a composer who, after being at the forefront of Italian musical taste for more than two decades, found himself accused of being oldfashioned, out of touch with the times; the fact that he probably felt so himself only exacerbated the situation. Those who sought to lure him out of self-imposed retirement, among whom the prime mover was the new young director of the Ricordi publishing house, Giulio Ricordi, had to tread carefully. Ricordi eventually teamed up with Arrigo Boito, the librettist and composer, who in the 1860s had been one of the most visible of the Italian avant-garde, but whose respect for the old maestro grew with the years and with Boito’s own gradual conservatism. In June 1879 Ricordi and Boito raised with Verdi the possibility of an Otello. Verdi betrayed cautious enthusiasm, and by the end of the year Boito had produced a draft libretto, full of ingenious new rhythmic devices but with an extremely firm dramatic thread.
A Minuet
Authors: Gjerdingen Robert O
Published: November 2023

Riepel a rgued that la rge works in the ga la nt sty le—movements from sonatas, symphonies, concertos—were nothing more than expanded minuets.1 While there was some rhetorical exaggeration in his claim, there is also a large measure of truth. Many of the skills needed to write a good minuet could be adapted to the requirements of larger pieces. The same general sequence of schemata used in a minuet could be used in a large movement, though with other schemata added and interpolated. And if one could not write a good minuet, there was little point in attempting a larger format. Riesel’s point is further borne out by our records of eighteenth-century German instruction in composition. Thomas Attwood’s lessons with Mozart, for example, show that systematic training neared its end with assignments to write minuets.2 After students had successfully dealt with the minuet, they could be expected to work on their own to emulate the larger compositions of master musicians.
The Do-Re-Mi
Authors: Gjerdingen Robert O
Published: November 2023

the “rising figures” described in the discussion of Solis’s minuet (chap. 5) were each part of a Do-Re-Mi schema.1 The French violinist Jean-Marie Éclair (1697–1764), a famous pupil of Somas, knew all forms of the Do-Re-Mi common in the early 1720s and presented them in his first set of sonatas. Here is his version of the basic type, with do–re–mi (0–@–@) in the melody and do–si–do (CD–®–CD) in the bass:
The Monte
Authors: Gjerdingen Robert O
Published: November 2023

whereas the second section of a Font is “one step lower,” that of a Monte (It., “a mountain”) is one step higher. Like the font, the Monte involves a sequential transposition of its first material. Unlike the font, however, it may continue the sequence through more steps. In Riesel’s dialogues, the teacher instructs his student that the Monte can be employed immediately after the double bar in a minuet. That was a common usage, though the Monte was not limited to that position and was not as commoon there as was the font. For a model Monte, Repel gave only a melody, following his custom:
The Meyer along with notes on the Jupiter, Pastorella, and Aprile
Authors: Gjerdingen Robert O
Published: November 2023

Giacomo Tritto bega n his Scuola di contrappunto [The School of Counterpoint] by citing his pedigree.1 He had studied “under the direction of the renowned maestro Signore Pasquale Camaro, who was a student of the celebrated Signore Leonardo Leo.” This pedigree, which was impeccable by eighteenth-century standards, meant that he had received a pure form of the largely oral tradition of instruction. Indeed, Triton’s own book contains more pages of pertinent than pages of verbal explanation. When Triton began one of his pertinent simplicity as follows, he was making a clear reference to part of that tradition:
A Cantabile by Simon Leduc
Authors: Gjerdingen Robert O
Published: November 2023

as a noted pupil of Gravities, Simon Leduc (1742–1777) had already become one of the premier musicians in Paris when the child Mozart made his first tour there in 1763–64. Mozart’s father, an acknowledged authority on violin performance, wrote approvingly of Leduc’s playing, and given the style of Leduc’s compositions it would be difficult to believe that Wolfgang did not also find much to admire and emulate in Leduc’s elegant melodies. Leduc wrote highly refined music for small aristocratic gatherings in chambers and salons. The fluency and perfection of his style was matched by few others, and almost every one of his phrases features a gallant schema presented in a way that exploits its traditions and expressive opportunities. Take, for instance, the Indigo. He included three different Indigos in the violin sonata that serves as the focus of this chapter.
Summary And Cadenza
Authors: Gjerdingen Robert O
Published: November 2023

a European n expert on the music of the Beatles, Tuomas Eerola, made a careful study of their experimental style. He compared the distribution over time of Beatles recordings that feature Indian instruments, tape manipulations, psychedelic or nostalgic lyrics, modal scales, changing meters, and so forth with the distribution over time of the Meyer, as reported in my A Classic Turn of Phrase.1 A graph of his comparison is shown below, with the much longer time scale of the Meyer contracted to match the relatively short period of Beatles recordings:
A Deaf Child in the Family
Authors: Marschark Marc
Published: November 2023

Parents of a deaf child, like the parents of any child who has special needs, want answers to what seem to be some simple and straightforward questions— questions like “What kind of language experience is best for my child, speech or sign language?” “Will my child ever learn to speak normally?” “What kind of school is best?” “Does being deaf affect how smart a child is?” and “Will my child be able to get a good job?” Regrettably, these questions are not as simple as they might appear, and parents may sometimes get contradictory information from professionals who are expected to have the answers.
Communicating With Deaf Children
Authors: Marschark Marc
Published: November 2023

To this point, I have described several similarities and differences observed between deaf children and hearing children. Throughout, I have been careful to emphasize that these differences are natural and normal consequences of differences in their early environments and should not be seen as problems to be corrected. Deaf children are not “hearing children who cannot hear,” and trying to make them more like hearing children is unlikely to be the best way to support their development and learning. Instead, we have to accommodate their needs and perhaps alter our approaches to education and childrearing. In this regard, it would not be an exaggeration to suggest that most of the ways in which deaf and hearing children are different and the factors on which their success depend revolve around the availability and effectiveness of early communication. Indeed, language is an essential component of normal development for all humans.
Early Interactions: The Roots of Childhood
Authors: Marschark Marc
Published: November 2023

Descriptions of deaf children written in the 1950s and 1960s often painted a bleak picture of them as living isolated and empty lives filled with emotional troubles and behavioral problems. Since then, investigations have provided a much better understanding of the psychological functioning of deaf children and deaf adults, and many of the earlier misconceptions and biases have been swept away. Newborn hearing screening and early intervention programs have been developed to provide young deaf children with a variety of social and educational experiences and to provide their parents with much needed information and support. Such programs now begin early and play a much more proactive role in preparing children for schooling, with particular emphasis on the importance of early exposure to language. Thanks in part to the Deaf community and to research into the psychological development of deaf children, many hearing people now have come to realize that once one gets beyond the appearances of sign language, deaf and hearing children are much the same, and in the end they grow up to have comparable roles and responsibilities in society.
“There Ain’T No Daylight”: Lyndon Johnson and the Politics of Escalation
Authors: Logevall Fredrik
Published: November 2023

For a man who led his country into what is widely seen as a disastrous war, Lyndon Baines Johnson has enjoyed surprisingly gentle treatment from historians. He has had his detractors over the years, to be sure, but most authors have been at once critical of his Vietnam policy and sympathetic to his plight. Johnson made the wrong decision in 1965, they in essence argue, but how can you blame him? After all, with the exception of poor old George Ball, the undersecretary of state, all of the president’s senior advisors advocated a military solution in the key months of decision, while in the broader foreign policy bureaucracy, the pressure was all in the direction of escalation. On Capitol Hill and in elite public opinion generally, so it is implied, the mood in the same period was likewise hawkish, or at least unquestioning. An all-powerful “Cold War consensus”—never much analyzed in this literature—reigned supreme in American opinion and dictated that the commitment to South Vietnam had to be maintained, through major military escalation if necessary. In real political terms, therefore, so the argument goes, LBJ had no choice but to expand the war. (To the extent that he had a choice, it was whether or not to move faster and harder militarily, along the lines suggested by a few military analysts.) He was thus not really personally responsible, he cannot fairly be held accountable, for his “nonchoice” to escalate the fighting. No one else in his position would have done differently.
Taking Notice Of The Everyday
Authors: Hunt David
Published: November 2023

While it has long been obvious that Vietnam was caught up in the international politics of the Cold War, the place of the Vietnamese in the social history of the period has received less attention. Summing up the global significance of the moment, Eric Hobsbawm declares that the mid-twentieth century witnessed “the greatest and most dramatic, rapid, and universal social transformation in human history.” Literacy spread, advances in communication technology overcame constraints in time and space, and commodities generated by “a single, increasingly integrated and universal world economy” found buyers everywhere. The “disintegration of the old patterns of social relationships” opened new possibilities and created new dangers for women and young people. In many regions, shifts in agricultural practice and outmigration from the countryside led to the “death of the peasantry.” “For 80% of humanity,” Hobsbawm concludes, “the Middle Ages ended suddenly in the 1950s.”
Co So Cach Mang And The Social Network Of War
Authors: Kwon Heonik
Published: November 2023

The Vietnam War was a complex reality for the Vietnamese. One way to explore this complexity is to consider a set of organizational and social networks that proliferated during the war, particularly in the urban areas of the southern region. This chapter continues David Hunt’s “history from below” approach to the subject and investigates further the movement and displacement of the people highlighted in Hunt’s essay. My discussion will focus on two analytically distinct types of network: the purposeful, political organizational network and the crosscutting, informal social network of human actors existing within and across defined political groups. These two different types of human network were both integral to the grassroots experience of the Vietnam War and were interconnected in a myriad of ways. This chapter will describe their historical connectedness and the contemporary meanings of this history based on my research in a peripheral urban neighborhood near Danang, the wartime commercial and strategic center of Central Vietnam. I call this neighborhood the community of Tiger Temple, taking note of the central symbolic importance of this animist temple for the identity of the place.
Official History, Revisionist History, And Wild History
Authors: Elliott David W P
Published: November 2023

In the course of many years of research and writing on the Vietnam War, I have become increasingly aware of the pitfalls of writing a “winner’s history” that mainly examines the actions of the victors of a conflict. Most of the writings on the Vietnam War have examined in detail the plans, strategies, motivations, and perceptions of the revolutionary side of the conflict.1 This chapter does not address in detail the related but separate question of American centered histories of the war (which privilege a “loser’s” perspective) but concentrates on the way the Vietnamese dimension of the “Vietnam War” is depicted by foreigners writing on the war and the way Vietnamese sources on the war have been employed by them. We should also take note of recent attempts in American scholarship to portray the US effort in Vietnam as a “should-have-been” victory in which the war was fundamentally won before political factors turned success into failure, which has produced a kind of hypothetical or fictional “winner’s history” that reduces the importance of taking the revolutionary side and its own accounts of the war seriously.
Nixon Shocks Japan, Inc.
Authors: Zeiler Thomas W
Published: November 2023

“The present U.S. balance-of-payments position is very precarious,” began the report of a task force tapped by President-elect Richard Nixon to pro- vide guidance on foreign economic problems. By the time he took office, the multilateral, market-oriented regime that permitted the United States to spend expansively at home and abroad had reached a crisis point marked by the payments deficit, or the net loss suffered by America from its trade, investment, and monetary exchanges with the rest of the world. Nixon accepted that U.S. power had entered a new era of constraints. No longer did the “American Century” promise outright hegemony.
Conceptualizing U.S. Women’s History through the History of Sexuality
Authors: Regenhardt Christy
Published: November 2023

If you say that you teach the history of sexuality, people usually laugh and make a joke. Even among historians, the study of sexuality is generally marginalized. Discussing this topic is not always easy, but the things that make it so difficult are the same things that make it so interesting. Because sexuality is so personal for most people, it helps students understand how much historical context shapes even the most seemingly private experiences. Students can generally learn to put aside questions of whether sexual orientation is natural or learned and instead learn to interrogate those questions in historical context.
Redesigning the U.S. Women’s History Survey Course Using Feminist Pedagogy, Educational Research, and New Technologies
Authors: Goldberg Michael Lewis
Published: November 2023

In the last fifteen years, advances in educational technology and research on learning have provided historians with new approaches and methods for deepening students ‘ historical understanding. With an ever-expanding choice of digital communication tools, we have a variety of new ways to engage students and assess their work. This potent combination enables instructors to enhance key feminist pedagogical goals. Recent scholarship has begun to explore the challenges of combining traditional feminist pedagogical objectives with scholarly rigor and promoting student agency. The advances in educational technology and learning offer instructors interested in introducing feminist pedagogical goals into their course the means for producing more complex understandings of women’s multicultural history.
The British Atlantic
Authors: Burnard Trevor
Published: November 2023

That the Atlantic from the fifteenth century to the present has been more than just an ocean, that it has also been a particular zone of exchange and interchange, circulation and transmission, is not only true, in the sense that these exchanges and interchanges shaped life on four continents over a very long period of time. It is also a conceptual leap forward, allowing historians to make links among places, peoples, and periods that enrich our under- standing about how societies were formed. The receptiveness of colonial British Americanists to Atlantic history can be seen in the titles of recent books, the enthusiasm for conferences incorporating an Atlantic theme, the reorientation of research institutes with an early British American focus toward Atlantic studies, and the proliferation of courses on aspects of Atlantic history. But Atlantic history also has limitations. Those limitations, increasingly apparent, have the potential to limit the usefulness of the Atlantic perspective as an exciting historical frame of reference.
Listening, Engagement, and Collaboration Skills
Authors: Romanelli Lisa Hunter , Ramos Belinda , Burton Geraldine
Published: November 2023

According to the 1999 Surgeon General report, research has shown that when parents are actively engaged in their children’s mental health service planning and treatment, their children have better outcomes (U.S. Department of Health and Human Services, 1999). Yet, for a variety of reasons, parents may be reluctant to be involved in their children’s mental health care. Or they may be somehow prevented from being active, informed participants. Even in this enlightened age, mental illness still carries a stigma. Parents often feel blamed (sometimes by care providers themselves) or at fault for their children’s emotional and behavioral difficulties. Parents’ help-seeking attitudes can be influenced by social and cultural beliefs and their own perceptions and beliefs about mental illness. In addition, their expectations about the benefits of mental health services may affect their willingness to seek help.
Boundary-Setting Skills
Authors: Ramos James Rodriguez Belinda , Romanelli Lisa Hunter , Burton Geraldine
Published: November 2023

Parents share extremely sensitive and personal information with parent advisors. In order to develop a trusting and strong working relationship with parents, it is critical to discuss privacy and confidentiality with them. Parents need to know what information can be kept completely confidential and the limits of confidentiality. Information that indicates that someone is in danger of harm to himor herself or others must be reported—in some cases to the proper authorities. The limits to confidentiality are clear when abuse is suspected or occurring or when someone is threatening or being threatened with physical harm.
Making Home and School Partnerships Work
Authors: Rodriguez RueZalia Watkins James , Romanelli Lisa Hunter , Gipson Polly
Published: November 2023

Schools play an essential role in the lives of all children. In some areas of the country, schools provide several levels of support for today’s busy, working families. There are school communities that have health services and/ or mental health services right inside the school. There are also schools that house social service or juvenile justice offices as well. Whether or not the families you work with have comprehensive schools such as these, a school is still a community in itself with many great resources for families.
Descartes on Misrepresentation
Authors: Hoffman Paul
Published: November 2023

Any adequate theory of mental representation must include an account of how sensory experience is capable of misrepresenting the world. Misrepresentation occurs, for example, when we look at a straight stick in a glass of water and see it as bent. In order for our visual experience to misrepresent the stick, it must represent the stick, but it must represent the stick as other than it is, as bent rather than straight. To account for misrepresentation, an adequate theory of representation must therefore explain how our sensory experience can represent an object as other than it is. Many philosophers have offered accounts of representation according to which sense experience cannot or at least does not misrepresent the world in optimal conditions or even in normal conditions.1 Descartes, however, thinks otherwise. In optimal conditions, our visual experiences represent physical objects as colored. Descartes maintains that this, too, counts as misrepresentation, on the ground that color is not a property of physical objects.
Direct Realism, Intentionality, and the Objective Being of Ideas
Authors: Hoffman Paul
Published: November 2023

The aim of this essay is to understand the contrast between two philosophical theories of perception: direct realism and representationalism. In rough formulation, direct realism is the view that when we perceive mind-independent physical objects we are directly or immediately aware of them. Representationalism or indirect realism agrees that we perceive mind-independent physical objects, but denies that we are immediately aware of them. Rather, we perceive physical objects by being immediately aware of ideas that represent them.
Who is a baritone? Who a bass-baritone? Who a bass?
Authors: Miller Richard
Published: November 2023

Voice category is largely determined by the dimensions of the larynx, the construction of the vocal tract, the structure of the respiratory and resonance systems (comprising the nostrils, the nasal cavities, the pharyngeal cavities, the oral cavity, the larynx, the trachea, the bronchi), and by overall body build. Most males are baritones. Tenors and basses are deviations from the norm. Baritones may feel relieved to learn that they are not departures from the standard, but their satisfaction may be short-lived when they recognize that performance competition is greater within the baritone fach than in any other male category. The average male is a potential baritone. In addition to the general SATB (soprano, alto, tenor, bass) designations, every major voice category has its subdivisions. Shades of demarcation among baritones are based on what may at first blush seem to be minimal physical and psychological variants. Lack of recognition of subtle attributes may lead to the establishment of false subcategory designations.
The Agility Factor
Authors: Miller Richard
Published: November 2023

Although I have made oblique reference to the usefulness of agility, this important aspect of technical mastery has not yet been fully considered. Many of the exercises and the musical excerpts encountered thus far were proposed to increase the singer’s sustaining ability. Of equal importance is the capability to move the voice. Sostenuto and agility are equivalent poles of the art of bel canto. A cavatina/cabaletta structure is characteristic of many nineteenth-century arias, for both male and female voices. This twofold compositional form contrasts sustained and melismatic bravura passages. Baritones, bass-baritones, and basses must have as great a facility to execute both fioriture (ornaments, embellishments, and cadenzas) and sostenuto passages as do the higher voices. The agility factor grows directly out of the brief onset, to which it is closely related. Agility is present in laughter or panting (see chapter 2). I have already suggested that brief agility patterns can serve as liberating pilot approaches in high, sustained singing. It is time to consider agility in general.
Voice Viruses ⁽Dealing With Some Common Problems Of Male Low Voices⁾
Authors: Miller Richard
Published: November 2023

Several problems for male low voices that have received passing attention need further elaboration. These “voice viruses” invade chiaroscuro balance, and damage interpretive artistry. A few anti-viral prescriptions may prove useful, particularly in dealing with the young male voice. These descriptive titles are not to be found in historic voice pedagogy! Forty years ago, it was common for an immature male singer to bring excessive energy and tension to the onset and to the phrase. Today, there is more likely to be a lack of physical involvement. An unformed “peeping sound” pervades many young male voices. This curious change has to do with the musical environment that surrounds today’s youthful singer. His listening experiences are chiefly those of popular TV, radio, and rock. (American Idol is at the moment the most watched entertainment.) The omnipresence of the microphone in the commercial entertainment world has contributed markedly to under singing (as well as to yelling). Whatever the appropriateness of most current popular vocalism to the “show” world, it remains disadvantageous to the cultivated singing voice.
Performance Preparation And Enhancement
Authors: Miller Richard
Published: November 2023

In writing this book, I have tried to distinguish between the needs of young artists who are engaged in the demanding professional world, and those of courageous young singers who are hoping for a performance career. In both cases, it is essential to keep in mind the developmental continuum for all of them. The events of puberty are far more decisive for a male than for a female. If a youth has undergone puberty at age fourteen and he is now eighteen, his voice is essentially four years old. On that account, it is rare to find a young man of conservatory or university age who can compete on a technical level equal to that of a woman of the same age. The larger the instrument, the later its maturation. Whereas the soubrette may be ready by her mid-twenties to take on professional demands, most male voices require additional time. It is traditionally and logically thought that the lyric tenor voice is the first of the male instruments to reach its fullest potential, followed in order by the baritone, the bass-baritone, and the bass.
Success and Failure in Milan
Authors: Budden Julian
Published: November 2023

in his ‘storia di milano dal 1836 al 1848’ antonio ghislan-zoni, future librettist of Aida, gives a pungent description of the city at the time of Verdi’s arrival there. Capital of the Austrian province of Lombardy-Venetia, it had become an Italian Vienna, a walled city of some 150,000 inhabitants marked by hedonism, political torpor and—until the hygienic reforms of 1844–5—dirt. Bread and circuses were the order of the day. The coronation of the Emperor Ferdinand I in September 1838 had provided the occasion for a round of public entertainments, open-air balls lasting far into the night, equestrian and acrobatic displays—all referred to by Verdi as a ‘bordello’. Austrian soldiery was everywhere in evidence; police vigilance unceasing. But in general the lives of ordinary citizens were rarely interfered with. From the safety of exile Mazzini might preach rebellion; the romantically minded might nourish their dreams of Italian unity on the writings of Pellico, Guerrazzi, Tommaso Grossi and Manzoni; intellectuals might glance with envy across the border to the Kingdom of Piedmont where, through the activities of Massimo D’Azeglio, Carlo Alberto had granted a constitution. But, says Ghislanzoni, ‘men who chafed at the foreign yoke were few. Most people were not aware
The Journeyman
Authors: Budden Julian
Published: November 2023

of medium height; not unprepossessing but not good-looking either; solemn and haughty.’ This vignette of 1845 by an anonymous correspondent of the Allgemeine Musikalische Zeitung gives a fair idea of the view of himself that Verdi presented to the world, and would continue to present until mellowed by age. Fortunately we have a more sympathetic witness to the real man.
The Last Years
Authors: Budden Julian
Published: November 2023

so fresh, so apparently effortless had been the miracle of Falstaff that Boito had little doubt that it could be repeated. His biographer, Nardi, relates an anecdote to the effect that one day in the company of some friends Boito approached Verdi and said, ‘Now dear Maestro, we must set to work on King Lear, only to see a look of desperate alarm on Giuseppina’s face. Later she drew him aside: ‘For Heaven’s sake, Boito! Verdi is too old, too tired.’ That was the end of that.
Verdi as Man and Artist
Authors: Budden Julian
Published: November 2023

great artists rarely live up to their best work. the more they put into their art, the more they are likely to be found wanting in the prosaic dealings of everyday life. The ruthless egotism of a Wagner or a Bellini can be seen as a necessary protection of their genius. While Beethoven the composer rose to ever greater heights, the man, beset by growing deafness, became ever more difficult and disagreeable. Mozart was feckless and often undignified. Schubert was an impractical Bohemian, Bruckner pathetically naïve, Mahler a neurotic, and so on.
From Oberto to Ernani
Authors: Budden Julian
Published: November 2023

for his first opera verdi characteristically chose a subject out of the common run. The provenance of Oberto, Conte di San Bonifacio has never been established; nor can we be sure how much of it was carried over from Rocester. The hero is an outraged father who returns to the land of which he has been dispossessed to find his daughter, Leonora, seduced and abandoned by the usurper, Riccardo. Together they present themselves to Cuniza, the bride-to-be; then having enlisted her sympathy they confront Riccardo in the presence of his followers (the usual concertato-finale). The wedding is broken off; but this does not prevent Oberto from challenging Riccardo to a duel and being killed by him. Riccardo, remorseful, goes into exile bequeathing his possessions to Leonora, who concludes the opera with the prima donna’s traditional ‘rondò-finale’ of grief and delirium.
The High Noon
Authors: Budden Julian
Published: November 2023

from the third act of luisa miller to rigoletto, the first full flowering of Verdi’s genius, seems but a short step. Both proceed by a swift succession of short, simple ideas spontaneously generated one from another. In between, however, Verdi found time to write a work of an entirely different character. Stiffelio concerns the minister of a Protestant sect who returns from his travels to find that his wife has committed adultery and whose feelings therefore impel him to a course of action which his cloth forbids. He is thwarted by his father-in-law, Stankar, not from any motives of Christian forbearance but because Stankar himself wishes to take vengeance in secret on his daughter’s seducer and eventually succeeds in so doing. Stiffelio’s conscience is embodied in the old minister Jorg, who, after the rather undistinguished overture, sets the tone of the opera with a magnificent recitative, pregnant with the suggestion of liturgical chant: