bluuebunny/crossref_metadata_2025 huggingface dataset:
CHAPTER SIX WORDS, MUSIC, AND SONG: THE NINETEENTH‐CENTURY LIED
Authors: Zbikowski Lawrence M.
Published: May 2008

This chapter explores further the nature of song and also the process of conceptual blending. As noted in Chapter 2, conceptual blending is a pervasive and often transparent process in which elements from two correlated mental spaces combine in a third. The mental spaces basic to conceptual blends can be set up by music as well as by language. This idea is discussed based on the assumption that music can set up complete discourse structures, which can be correlated with the discourse structure of a text to give rise to a unique domain for the imagination.
CHAPTER SEVEN COMPETING MODELS OF MUSIC: THEORIES OF MUSICAL FORM AND HIERARCHY
Authors: Zbikowski Lawrence M.
Published: May 2008

This chapter begins by exploring static and dynamic models of musical form that emerged in the 18th century and the way these models were transformed by changes in ideology and music education that took place beginning late in that century. It then considers two models of musical hierarchy that were initially developed to apply to domains other than music. It was only in the early 19th century that they were applied to music, and then to two rather different aspects of musical organization. The first model views hierarchy as a matter of control: each level in a hierarchy (with the exception of those at the extremes) controls the next-lower level and is itself controlled by the next-higher level. This model stretches back at least to the Middle Ages and is most often used to account for tonal organization. The second model of hierarchy relies on a more componential approach: the elements of level A of the hierarchy combine to make up individual elements at the next-higher level (level B of the hierarchy); the elements of level B then combine to make up individual elements at the next higher level (level C of the hierarchy), and so on, until the account of structure is exhausted. This model emerged during the 17th century and is most often used to explain music's metrical structure.
CHAPTER 3 The Lion Tamed
Authors: Lott R. Allen
Published: May 2008

During his second season in America, Leopold de Meyer came under attack for his manipulation of the press, the staging of ovations by claques, and the filling of concert halls with deadheads as well as being uncooperative with fellow musicians. Highlights of his concerts in New York and Philadelphia were performances of his Marche marocaine and Marche d'Isly as orchestrated by Hector Berlioz, the latter in its world premiere. The arrival of the French pianist Henri Herz sent De Meyer on his inland tour early, during which he forged a successful partnership with the Irish-born violinist Joseph Burke (1817-1902). During his two-season tour of the United States and Canada, De Meyer performed at least eighty-five concerts in twenty-six cities, with his original compositions captivating the musical world surfeited with fashionable operatic fantasias and his flamboyant performance style exciting a public with little experience in hearing exceptional piano playing.
CHAPTER 6 French Pianos, Italian Opera, and California Gold
Authors: Lott R. Allen
Published: May 2008

While in the United States, Henri Herz actively established agents to sell his own pianos and explored the possibilities of building a factory, concert hall, and conservatory, none of which came to fruition. Herz's claim that Americans covered the legs of their pianos because of their prudishness is not true; it was a means to protect them. During the 1848-9 season, Herz toured with the Dutch violinist Frans Coenen (1826-1904) and an Italian opera troupe. After appearances in Mexico, Herz gave concerts in San Francisco and Sacramento, California, in 1850 during the height of the gold rush. Herz's American tour reflected a more businesslike approach to musical management under Bernard Ullman, and included almost two hundred concerts in at least fifty-eight cities. His simple but elegant stage manners and his graceful music charmed the American public.
CHAPTER 10 “ The Shaggy Maestro”
Authors: Lott R. Allen
Published: May 2008

The pianist whose American visit was by far the most spectacular was Anton Rubinstein (1829-94), whose tour in 1872-3, in conjunction with the Polish violinist Henryk Wieniawski (1835-80), was sponsored by the Steinway piano firm. Rubinstein offered a wide-ranging historical repertoire, focusing on the music of Beethoven, Mendelssohn, Chopin, and Schumann; he also presented a healthy dose of his own compositions. His performances were frequently technically flawed but filled with passion and never failed to excite his audiences.
CHAPTER 13 Joint Venture with Theodore Thomas
Authors: Lott R. Allen
Published: May 2008

An artistic highlight of Anton Rubinstein's American tour was a series of more than forty appearances with Theodore Thomas and his orchestra. Rubinstein and Thomas had a successful musical rapport, which inspired some of the pianist's best performances. Rubinstein conducted six performances of his Ocean Symphony in its then complete, six-movement version, four with Thomas's orchestra, one with the Harvard Musical Association, and one with the New York Philharmonic. Rubinstein's series of seven farewell recitals in New York (and three in Boston) that surveyed the history of keyboard literature is deservedly famous. Each recital was substantial and generally well performed, but Rubinstein's occasional memory lapses and technical slips were evident. By primarily performing the music of other composers, Rubinstein played a strategic role in the canonization of the standard piano repertoire, and his impassioned performances of these works made them palatable for the first time to the general public.
The Power of Precedent
Authors: Gerhardt Michael J.
Published: May 2008

In this book Professor Michael Gerhardt provides the first comprehensive effort to use both social science methods and conventional legal analysis to explain the role of precedent in constitutional law. His analysis demonstrates how precedent influences more than social scientists claim, but less than most scholars claim. He further shows how precedent, broadly understood, performs multiple significant but underappreciated functions in constitutional decision making both inside courts and outside of them. Last, but not least, his analysis explains a fundamental tension in constitutional adjudication in which precedent is generally respected as an abstract principle but particular precedents rarely constrain the decisions of courts and nonjudicial actors.
The Multiple Functions of Precedent
Authors: Gerhardt Michael J.
Published: May 2008

In this chapter Professor Gerhardt demonstrates that precedents end up influencing and contributing to constitutional law in many ways other than constraint, which is the predominant concern of social scientists who study courts. These multiple functions include educating the public about constitutional law, shaping constitutional discourse in and outside of courts, implementing constitutional values, clarifying constitutional structure and history, resolving particular cases or controversies, and democratizing constitutional law.
1 EROTIC REPRESENTATION FROM MONTEVERDI TO MAE WEST
Authors: Scott Derek B.
Published: May 2008

This chapter examines some of the conventions involved in representing the erotic in music, and reveals the ideological character of these conventions. The disparity and mutability uncovered by a comparison of representations of sexual desire in three differing musical styles (Baroque opera, the Victorian drawing-room ballad, and Tin Pan Alley in the 1920s and 1930s) show that a genealogy of sexuality in music needs to address disjunctions rather than developments, historical contingencies rather than evolutionary questions. There is certainly no progress to be discovered in the way eroticism has been depicted in music: representations of eroticism in contemporary music are not more real now than they were in the 17th century. The fact that the latter can seem cool or alien to us today points to the way sexuality has been constructed in relation to particular stylistic codes in particular historical contexts, and is therefore cultural rather than natural.
2 THE SEXUAL POLITICS OF VICTORIAN MUSICAL AESTHETICS
Authors: Scott Derek B.
Published: May 2008

A sexual division of musical composition emerged in 19th-century Britain: during that period, metaphors of masculinity and femininity solidified into truths about musical style. Contemporary social theory, domestic sphere ideology, the new scientia sexualis, and aesthetics of the sublime and the beautiful ensured that certain musical styles were considered unsuitable or even unnatural for women composers. Female creativity was also denied or inhibited by educational and socioeconomic pressures born of ideological assumptions. In consequence, many women found themselves marginalized as composers, restricted to “acceptable” genres such as the drawing-room ballad. Men, too, were affected by the sexual politics of the age, because the supposed revelation of biological truths in music meant that the presence of feminine qualities in their compositions could lead to invidious comparison with the less elevated output of women.
4 INCONGRUITY AND PREDICTABILITY IN BRITISH DANCE BAND MUSIC OF THE 1920S AND 1930S
Authors: Scott Derek B.
Published: May 2008

This chapter is concerned with the ideology of “high” and “low“ art, and how this impacts upon both musical style and reception. Defenses of the popular that relate its value to its historical context often provoke the question: how is it to be valued once its historic moment has passed? The purpose of this chapter is to show how a “popular musicology” might tackle the problem of discussing music once loved but now regarded by many as valueless. To this end, it explores qualitative issues in British dance band music. A critique of musical style needs to take account of incongruity between styles. The argument in Chapter 1 was that modes of representation needed to be related to different styles; here it is argued that the same goes for qualitative values. For instance, what is admired as good singing in one style may not be so perceived in another.
5 Lux in Tenebris: BRUCKNER AND THE DIALECTIC OF DARKNESS AND LIGHT
Authors: Scott Derek B.
Published: May 2008

This chapter discusses the construction of the sacred in music by way of a study of the composer Bruckner, chosen because he is widely seen as a “pure” musician, impervious to ideological assault. It becomes clear, however, that he often makes musical choices with reference to Christian religious discourse and thus for ideological rather than structural reasons. The chapter examines the usefulness of a “darkness and light” trope for understanding the compositional process in his music. The strategy is: (1) to establish the sacred character of Bruckner's music and show how he inherits religious signifiers for darkness and light; (2) to show how he uses these signifiers; (3) to explore the appropriateness of the darkness/light trope; and (4) to put forward a theory of “transfiguration of themes”. It affords an opportunity to import ideas from Gilles Deleuze and Félix Guattari, as well as to draw on Jacques Derrida's anti-dialectical arguments.
6 Diabolus in Musica: LISZT AND THE DEMONIC
Authors: Scott Derek B.
Published: May 2008

This chapter presents a typology of the demonic in the music of Liszt, and seeks to answer the questions: what impact did his representations of the demonic have on his stylistic development as a composer? Do demonic elements appear even where Liszt has not chosen to indicate their presence by title? Liszt plays an important part in establishing particular demonic genres, such as the danse macabre and the demonic scherzo. He bequeathed a fertile legacy to the likes of Saint-Saëns, Dvorak, Mussorgsky, and others. The primary demonic technique for Liszt is that of negation: negation of the beautiful, the noble, the graceful, and so forth. The secondary technique is parody, though qualities are often negated and parodied (or mocked) at the same time. Liszt's strategies are discussed in the context of ideas of the demonic in the work of Goethe and Kierkegaard.
7 ORIENTALISM AND MUSICAL STYLE
Authors: Scott Derek B.
Published: May 2008

This chapter examines constructions of the East in Western music, and the development of Orientalist styles independently of the objective conditions of non-Western musical practices. It explores a variety of questions concerning the impact of Orientalist ideology on Western music. Is there any consistency to be found in the way non-Western cultures have been represented? Is it often only the exotic, or the cultural Other, that is signified rather than a particular ethnic musical practice? Are there reductive sets of musical conventions that signify something vaguely Asian, Spanish or Chinese/Japanese and little else? When did these styles become recognizable? Once established, did they perpetuate themselves as musical discursive codes in which a musical text of the East replaced the actual East? Is there a change in representations of non-Western cultures that can be related to the growth of Western nationalism and imperialism?
8 THE IMPACT OF AFRICAN‐AMERICAN MUSIC MAKING ON THE EUROPEAN CLASSICAL TRADITION IN THE 1920S
Authors: Scott Derek B.
Published: May 2008

The lack of identification of the black African with an Orientalist style in the early decades of the 20th century is explained by the association of black people with jazz. This chapter is concerned with the impact of ragtime, blues, and jazz on music of the European classical tradition. Consideration is given to the social and ethnic connotations of references to African-American styles in these pieces. The broader European social context — modernity, the alienated creative artist, and cosmopolitanism — is also important. The chapter discusses the relation of jazz to modernism, and confronts the question: how far are African-American elements seized upon by composers as mere tricks of the trade to give a new lease of life to a tradition in crisis? It explores the use of jazz-influenced styles as satiric weapons and, finally, looks at the misconceptions of African-American music-making that were widespread among European composers of this period.
Introduction
Authors: Waldoff Jessica
Published: May 2008

This introductory chapter presents the scope and value of recognition as an approach to Mozart's operas. The terms recognition and reversal (Aristotle's anagnôrisis and peripeteia) are defined, and the larger implications of recognition as a function of both plot and theme are explored. A section devoted to the opera-as-drama problem suggests that recognition offers a new perspective on some of the particular difficulties inherent in the study of opera. To illustrate the special status of recognition scenes as problem moments, a final section is devoted to the scene in Le nozze di Figaro in which Figaro is discovered to be the long-lost son of Bartolo and Marcellina, a moment that rather obviously combines Aristotle's paradigmatic examples of strong and weak recognitions into one highly implausible scenario.
1 Operatic Enlightenment inDie Zauberflöte
Authors: Waldoff Jessica
Published: May 2008

This chapter illustrates the value of recognition as an approach by providing a detailed analysis of plot, text, and music in Zauberflöte. With its rich store of enlightenment metaphor and symbolism, its overt treatment of knowledge as subject, and its marvelous dénouement in which the ascendance of light vanquishes the forces of darkness, this opera offers a marvelous demonstration of how recognition works at the levels of plot and theme. Tamino's famous colloquy with the priest in the Act I finale is read as a recognition scene. Later recognition scenes involving Papageno, Pamina, and Tamino are also discussed. The final section suggests that the contrivance (and reversal) various critics have sensed in Zauberflöte may be understood as what Terence Cave has called the “scandal of recognition”.
Inventing the Business of Opera
Authors: Glixon Jonathan , Glixon Beth
Published: May 2008

This book explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios, drawing on the models of the already existent theaters for comedy, established Venice as the operatic capital of Europe. Based on new documentation, the book studies all of the components necessary for opera production, from the financial backing and the issue of patronage to the commissioning and creation of the libretto and score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes; and the nature of the audience. The book examines the challenges faced by four separate Venetian theaters during the 17th century, focusing on the progress of Marco Faustini, the Venetian impresario most well known today. Faustini — a lawyer by profession — made his way from one of Venice's smallest theaters to one of the largest and most important, and his advancement provides a personal view of an impresario and his partners, who ranged from Venetian patricians to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception.
CHAPTER THREE MARCO FAUSTINI AND HIS COMPANIES
Authors: Glixon Beth L. , Glixon Jonathan E.
Published: May 2008

This chapter follows the career of Marco Faustini at three different Venetian theaters: S. Aponal, S. Cassiano, and SS. Giovanni e Paolo (the most prestigious theater of its time) between the years 1651 and 1668. Marco Faustini began to participate in opera production after the death of his brother, the librettist Giovanni Faustini, who had previously rented the Teatro S. Moisè, and then S. Aponal. Throughout his years as an impresario, he was helped by a variety of men, the patricians Alvise Duodo and Marc Antonio Correr, and, for a time, the cittadini Bortolo Pasinetti and Polifilo Zancarli; over the years, Faustini built up a reliable network of artisans, recruiters, and top-notch singers. Although Faustini worked with a variety of composers, he most frequently turned to Francesco Cavalli and Pietro Andrea Ziani.
CHAPTER FOUR CASE STUDIES: COMPANIES AND OPERA PRODUCTION AT FOUR VENETIAN THEATERS
Authors: Glixon Beth L. , Glixon Jonathan E.
Published: May 2008

This chapter comprises case studies of four different 17th-century theaters that present a variety of impresarial models. Despite being the first public opera theater, S. Cassiano had difficulty maintaining a stable opera company, and had a number of different impresarios during the first two decades of mounting opera. The Novissimo was a newly built theater dedicated to opera, built on the grounds of a monastery. Although it attracted operatic stars and enthusiastic audiences, it too suffered continual financial difficulties. S. Aponal was owned by cittadini rather than patricians, and provided an inexpensive, if small, venue for opera. S. Luca, which began to present opera only after Marco Faustini left S. Cassiano, managed to present high quality opera within a short time, after a rather shaky start.
CHAPTER EIGHT DANCERS, EXTRAS, AND THE ORCHESTRA
Authors: Glixon Beth L. , Glixon Jonathan E.
Published: May 2008

This chapter looks at the expenses associated with dancers, extras, and the orchestra. Dance provided an important visual and musical component of 17th-century opera. Giovanni Battista Balbi, who appeared in the first public opera in Venice, is the most famous Venetian dancer and choreographer of the 17th century. The papers of impresario Marco Faustini introduce the names of a number of previously unknown choreographers, namely Giovanni Battista Martini, Battista Artusi, Olivier Vigasio, and Agostino Ramaccini. Faustini paid the choreographer a set fee, and also provided shoes and costumes designed to complement the themes of the dances. Costumes were also provided for extras, who added pomp and splendor to various scenes in the opera. The Faustini papers also provide crucial data for the understanding of the orchestra: its size, makeup, and means of payment. The orchestra comprised stringed and various continuo instruments, and was led either by the composer of the opera, or by someone suggested by him.
Introduction
Authors: Bohlman Philip V.
Published: May 2008

Historical moments in which music consciously identifies American religious experience provide the historical framework of this introductory chapter, which stretches from William Billings's “America” to “Amazing Grace” as a historical text to the ethnographic present in Pentecostal worship in a Chicago Romanian church. The theoretical concepts that connect the book's chapters are introduced, including concepts of genealogy, individualism, and the metaphors of American religion in sacred music-making. Charles Ives and Thomas A. Dorsey Jr, the great American modernist composer and the inventor of the gospel blues, provide case studies. The interdisciplinarity of the book's diverse contributors is introduced and connected to the chapters that follow. The importance of music as ritual, sacred language, and the performance of sacred space generates further links and shared notions of religious experience for the book's chapters.
Singing as Experience among Russian American Molokans
Authors: Mazo Margarita
Published: May 2008

Molokanism is a domain of collective meaning and symbolic order that provides common religious experience for Russians and immigrant Russians who have chosen not to embrace the teachings of the Orthodox Church. Songs and ritual practice exist in extensive oral transmission, and the need to maintain traditions orally — often outside the norms of the host society in North America — means that sacred music provides the law, or zakon, of Molokan society. Case studies, such as the communitarian performance of sobranie, illustrate the ways in which sacred music embodies the structures of Molokan society, such as the relation between men and women, the elders, and the initiates in religious practice. The chapter illustrates central issues of power and transmission by comparing religious experience and its transformations in the United States and Russia.
Fanny Crosby and Protestant Hymnody
Authors: Blumhofer Edith L.
Published: May 2008

Fanny Crosby (1820-1915) was the most prolific author of texts for hymns throughout American history. This chapter surveys the vast range of her contributions to American hymnody, and interprets the complex meanings within such that she has come to play such a critical role in the shaping of language for American hymnody. Though blind, Crosby collaborated extensively with hymn composers and compilers, such as William Bradbury, developing both an individual style and displaying sensitivity to the ways in which images and texts would appeal to the broadest cross-section of American Protestants. She chose the language of her hymns from the revivals of her youth and the changing immigrant populations of New York City in her adult life. Her life and work embodied many different aspects of American religious experience, and her hymn texts shaped the canon and aesthetics of sacred song, particularly evangelical song, from the 19th century into the 21st century.
Reflections on the Musical Diversity of Chinese Churches in the United States
Authors: Chow Maria M.
Published: May 2008

Based on a fifteen-month survey of different Chinese American churches and hymnals, this chapter examines the choices made by immigrants from different parts and different linguistic traditions in East Asia. Chicago's Chinatown is given a central role. Chinese hymns respond not only to the adaptation of immigrants to American religious experience, but also to the need to find common Chinese languages, particularly for those from Cantonese and Mandarin backgrounds, as well as Taiwanese heritage. Hymnals vary in the way in which common American traditions take place, but most of them accommodate change and create possibilities for Chinese Americans to worship and sing together. Linguistic diversity therefore coexists with common repertories.
3 Texture, Ensemble Technique, and Sonority
Authors: Grave Floyd , Grave Margaret
Published: May 2008

Conceived as a consortium of solo voices, a Haydn quartet is perpetually vulnerable to having the norm of first-violin leadership challenged, compromised, complicated, or temporarily overturned. The almost ubiquitously destabilized environment that prevails involves continuously changing relationships among the instruments, a concomitant variety of texture, sonority, and register, and numerous devices for blending and separating different strands of line and accompaniment. Separation is most intense in soloistic passages for the first violin, which occasionally climbs to its highest range. In addition to such vividly opposed states as strident unison and blended, hymn-like homophony, there are allusions to strict polyphony, including examples of canon and fugue, and many instances of loosely woven, conversational texture in which thematic threads pass from one part to another. Special effects include bagpipe-imitating drone basses, pizzicato, and the use of mutes (con sordino).
4 Sonata Form
Authors: Grave Floyd , Grave Margaret
Published: May 2008

Centrally important to Haydn's concept of the genre, sonata form's polarities, fluctuating energies, and tensional relationships between themes and sections offered countless opportunities for instrumental expression and design. Aspects explored in this chapter include the distinction between continuous expositions dominated by transitional processes and those featuring a medial caesura; the varied profiles of long, thematically diverse and tonally unstable development sections; the variety of alternatives afforded by the recapitulation, often including developmental digression and reconfiguration of material from the exposition (sometimes so pronounced as to challenge the basic principles of thematic recurrence and proportional correspondence); and the occasional inclusion of a coda following the end of the recapitulation proper. Some interior movements exemplify the so-called slow movement form, with exposition and recapitulation but no development section.
7 Other Forms: Fugue, Rondo, and Miscellaneous Nonstandard Designs
Authors: Grave Floyd , Grave Margaret
Published: May 2008

Most items within this small but important category involve alternatives to sonata form among the finales. Examples include the three fugues of Op. 20 (Nos. 2, 5, and 6) and that of Op. 50 (No. 4), as well as a number of rondo and rondo-related forms, beginning with three straightforward instances in Op. 33 (Nos. 2, 3, and 4) and including later hybrid forms that mix rondo elements with those of sonata, variation, or fugue. Other, less easily categorized designs include the “Capriccio” of Op. 20/2, which parodies mannerisms of serious opera; forms such as the slow movement of Op. 33/2, which alludes to various formal conventions without lapsing into any standard scheme; and several slow movements (those of Opp. 33/5, 50/2, and 55/1) whose form resembles that of an aria or solo concerto movement, with opening, central, and closing ritornellos, and (in the Op. 33 and 55 instances) notated cadenzas as well.
10 Op. 20 (1772)
Authors: Grave Floyd , Grave Margaret
Published: May 2008

Initially published by La Chevardière in 1774, Op. 20 acquired the name “Sun” from a sunburst image on the title page of Hummel's 1779 edition. Despite resemblances to Opp. 9 and 17, the new quartets break fresh ground in matters of cyclic profile, opus design, and sonority, and they exceed their predecessors in musical wit, technical sophistication, expressive range, and formal variety. Memorable novelties include instances of metrical dissonance, tonal derailment, and dense chromaticism as well as passages that feature the cello as a tenor-range soloist. With two quartets cast in minor keys, there are new perspectives on minor-key discourse; and the incorporation of three technically exacting fugal finales points to a new concept of cyclic profile, with the finale now a focus of cyclic culmination.
12 Op. 50 (1787)
Authors: Grave Floyd , Grave Margaret
Published: May 2008

Dedicated to Friedrich Wilhelm II and known as the “Prussian” quartets, these difficult works were clearly designed for connoisseurs. Their sale and early publication history involved complex, evidently devious negotiations with the publishers Artaria in Vienna and William Forster in London. A distinctive first-movement trait involves a new kind of relationship between meter and surface rhythm (a fast alla breve with much triplet figuration), which fosters fluid rhythmic momentum and broad melodic trajectories. Dance movements are notable for their metrical dissonances and thematic connections between minuet and trio. Learned polyphony is emphasized most notably in the fugal finale of Op. 50/4. Other finales display elaborate sonata forms, several of which have multiple, rondo-like recurrences of primary-theme material. Possibly a musical response to Mozart's recently completed “Dedication” quartets, Op. 50 rivals Mozart's contemporaneous works in promoting the quartet's ascendancy as an aristocrat among instrumental genres.
13 Op. 54/55 (1788)
Authors: Grave Floyd , Grave Margaret
Published: May 2008

Noted for timbral brilliance and an accent on taxing first-violin delivery, this set, Op. 54/55, is traditionally linked to the violinist Johann Tost, who served as a middleman in its sale. Extroverted and intensely energetic, especially in the fast outer movements, these works display a wide tonal range, an enriched harmonic syntax, fast tempos, and streamlined surface activity. Whereas slow movements feature expressive soloistic embellishment (notably the ternary variation design of Op. 54/3, the gypsy lament of Op. 54/2, and the concerto-style Op. 55/1), the finales concentrate on compositional intrigue — especially Op. 55/1, with its synthesis of fugue (looking back to Op. 20) and rondo (as in Op. 33), and Op. 54/2, famous for the incomparably witty inspiration of a form that thwarts expectations at virtually every turn. Chromatic harmony figures prominently through inflections within phrases and remote tonal excursions within themes.
16 Op. 76 ([?1796‐] 1797)
Authors: Grave Floyd , Grave Margaret
Published: May 2008

Initially published in 1799 by Longman, Clementi & Co. and Artaria (having initially been reserved for use by its dedicatee, Count Erdödy), Op. 76 is uniquely rich and diverse in technique and style, embracing tried-and-true strategies of the composer's well-loved earlier quartets while at the same time evidently accommodating a thirst for novelty on the part of his increasingly sophisticated admirers. Reaching beyond the subtle artistry of Op. 64 and the theatrics of Op. 71/74, these works are marked by a unique rhetorical intensity as they expand the horizons of string-quartet technique and expression through such means as relentless motivic development and volatile minor-key discourse; but they also highlight the striking purity of unembellished melodic lines in slow movements. Especially distinctive are the numerous movements that embody continuously developmental or end-weighted designs.
The Ghost of Freedom
Authors: King Charles
Published: May 2008

The Caucasus mountains rise at the intersection of Europe, Russia, and the Middle East. A land of astonishing natural beauty and a dizzying array of ancient cultures, the Caucasus for most of the twentieth century lay inside the Soviet Union, before movements of national liberation created newly independent countries and sparked the devastating war in Chechnya. Combining riveting storytelling with insightful analysis, The Ghost of Freedom is the first general history of the modern Caucasus, stretching from the beginning of Russian imperial expansion to the triumph of nationalism after the Soviet Union's collapse. In evocative and accessible prose, Charles King reveals how tsars, highlanders, revolutionaries, and adventurers have contributed to the fascinating history of this borderland. Based on new research in multiple languages, the book shows how the struggle for freedom in the mountains, hills, and plains of the Caucasus has been a perennial theme over the last two hundred years—a struggle that has led to liberation as well as to new forms of captivity. The book sheds light on the origins of modern disputes, including the ongoing war in Chechnya, conflicts involving Georgia, Armenia, and Azerbaijan, and debates over oil from the Caspian Sea and its impact on world markets. Ranging from the salons of Russian writers to the circus sideshows of America, from the offices of European diplomats to the villages of Muslim mountaineers, The Ghost of Freedom paints a rich portrait of one of the world's most turbulent and least understood regions.
Nations and Revolutions
Authors: King Charles
Published: May 2008

In the early twentieth century, the Caucasus witnessed the rise of urban environments. Tbilisi became the jewel in the crown of the Russian Caucasus, the center of administrative and cultural life. The growth of Baku, a classic boomtown, was fueled by the oil industry. Urban life also created the crucible for the emergence of local nationalism. At the end of the First World War, the south Caucasus formed three independent republics: Armenia, Azerbaijan, and Georgia. These short‐lived countries were soon conquered by the Bolsheviks and made part of the new Soviet Union. Later, the region experienced both modernization and violence at the hands of Lavrenti Beria and Joseph Stalin, both originally from the Caucasus itself.
Conclusion: Continental Shift
Authors: King Charles
Published: May 2008

Can the Caucasus ever be considered part of Europe? This concluding chapter assesses the future directions of politics and society in the Caucasus, both the three independent countries of the south (Armenia, Azerbaijan, and Georgia) and the various north Caucasus republics of Russia. The European Union has shown increasing interest in the region since the late 1990s, but the United States and Russia remain the two powers whose interests are most affected by developments there.
Creating the Solo Recital
Authors: Hamilton Kenneth
Published: May 2008

This chapter traces the development of the piano recital from the variety concerts of the early 19th-century to the present day, along with the associated repertoire and programme planning. Many great performers are covered, including Liszt, Clara Schumann, Busoni, Paderewski, Friedman, and Horowitz.
A Singing Tone
Authors: Hamilton Kenneth
Published: May 2008

This chapter analyses the Romantic obsession with a cantabile “singing tone” on the piano, with particular reference to techniques of pedaling, arpeggiation, and asynchronization of hands. The attitudes of Chopin, Liszt, Leschetizky, Paderewski, Busoni, and Grainger to the topic are discussed in detail.
The Letter of the Score
Authors: Hamilton Kenneth
Published: May 2008

This chapter analyses the evolving attitudes regarding strict adherence to the musical score or otherwise, aided by a discussion of the development of editing, of Urtext editions, and of the piano from the late 18th- to the 20th-century. It is argued that musicians today often treat a musical score with an unhistorical and pedantic reverence unlikely to have been the norm during the time most standard-repertoire scores were themselves written.
Lisztiana
Authors: Hamilton Kenneth
Published: May 2008

This chapter chronicles the evolution of Liszt's attitude to piano performance, piano music, and piano teaching, with especial reference to the performance of his own music and the playing of his pupils Friedheim, Siloti, von Sauer, and Rosenthal.
2 Hair in the Material Culture and Art of the Ancient Near East
Authors: Niditch Susan
Published: May 2008

This chapter explores the ways in which ancient Near Eastern visual representations may shed light on the role and significance of hair in ancient Israel. Critical throughout are the ways in which artists of various ancient Near Eastern cultures portrayed Israelites and their neighbors. Work with the artistic representations and the material culture of hair underscores critical methodological issues pertaining to the way we see and to the psychological, social, and political dimensions of hair as sign and symbol. The study points further to the complex relationships between hair and identity in cultural and multicultural settings. Important resources include possible depictions of Israelite warriors in the Egyptian relief of Merneptah at Karnak, depictions of Philistines from Medinet Habu, the drawings on storage jars from Kuntillet Ajrud, Judean pillar figurines, the Assyrian depiction of the Israelite king Jehu paying obeisance to Shalmaneser III, and the Assyrian Lachish reliefs.
5 Absent Hair
Authors: Niditch Susan
Published: May 2008

This chapter explores a set of biblical texts dealing with the loss or absence of hair: the tale of David's envoys in 2 Samuel 10:4–5; related texts concerning conquest and images of shaving; passages discussing mourning practices and other ritual passages; and finally the significant contrasts drawn by biblical writers between hairy and smooth men. The stories of Esau and Jacob, Elijah and Elisha, and Joseph as prisoner versus Joseph as servant of Pharaoh are discussed. Saul Olyan has explored a number these texts with insight, cautioning the reader to pay special attention to shaving in context. He notes, however, that many passages concerning the elimination of hair involve some sort of alteration in status, such as a return to a state of purity after a period of uncleanness or a marking of the death of a loved one and the reintegration to the realm of the living after the loved one's demise.
6 Letting Down Her Hair or Cutting It Off
Authors: Niditch Susan
Published: May 2008

This chapter explores two rituals patterns involving women and hair. One is a ceremony prescribed for a married woman accused of adultery by her husband in the absence of witnesses or other tangible proof (Numbers 5:11–31). It is a particularly troubling passage for modern appropriators of biblical material, with its implications concerning men’s abusive power and women’s subjugation. A key symbol of the ritual involves the woman’s hair and the difficult-to-translate term pr‘, explored in connection with heroic hair and the uncut hair of the Nazirite vow. The second symbolic complex involves the treatment of one of the most valuable and vulnerable spoils of war, captured women (Deuteronomy 21:10–14). If an Israelite man desires one of these women as a wife, he may take her, but she is first transformed by ritual actions, among which is the shaving of her hair. Both passages are disturbing, multilayered, and thought provoking regarding gender, cultural identity, and transformation.
7 Conclusions
Authors: Niditch Susan
Published: May 2008

This brief concluding chapter reviews major findings and reflects on the theoretical framework of the monograph. Allusions are made to the work of the various anthropologists, sociologists, biblicists, scholars of religion, art historians, and scholars of women's studies whose models and methodological approaches have informed this study. Key themes emerge involving the relationship of hair to cultural perceptions and projections. In ancient Israel, portrayals of and attitudes toward hair involve issues of gender, ethnicity, holiness, aesthetics, leadership, and economic status.
Hidden Children of the Holocaust
Authors: Vromen Suzanne
Published: May 2008

At the time of the Nazi invasion in May 1940, Belgium was a Catholic country with linguistic divisions between north and south. The Catholic Church was the only institution untouched by the German occupiers. Therefore many hunted Jews sought the Church's help, which was spontaneously extended by the lower clergy. The book is based on unstructured interviews with formerly hidden children, with nuns who sheltered them, and with two surviving escorts who worked for the Committee for the Defense of Jews resistance network and took the children from their families to convents willing to hide them. The interviews detail from the point of view of both nuns and children how the children were integrated into daily convent life and how they reacted to Catholic rituals and socialization. The lives are framed by their historical context. The chapter on the escorts and on the Committee for the Defense of Jews leads to a general discussion of the different facets of the Belgian resistance. A chapter on memory and commemoration then traces the emergence of the concept of the hidden child and the construction of collective memories. The chapter also addresses the formal recognition of rescuers as “Righteous Among the Nations” and offers an in‐depth interpretation of Yad Vashem, the memorial institution of Israel. At the same time, it uncovers how gender initially played a major role in the recognition of priests and nuns who were rescuers. The struggle for the souls of some orphaned Jewish children who were baptized during the war and whose return to the Jewish community was contested is discussed as a particularly painful episode. This book contributes to Holocaust literature written in English about Belgium, a country given relatively too little attention. With its focus on commemoration, the book also adds to the understanding of how memory is institutionalized and reinforced by mnemonic practices.
The Nuns
Authors: Vromen Suzanne
Published: May 2008

This chapter draws on interviews with surviving nuns to show that mothers superior were responsible for accepting children in the convents and that they did so while maintaining all possible secrecy about their actions. Not only children were hidden in convents, sometimes right under the noses of the occupiers, but also entire families as well as young people who avoided labor conscription. Jewish children were expected to go to mass and were treated like all the other boarders, a strategy that, from the point of view of nuns, served to conceal them. In the contemporary interviews nuns argue that at the time hidden Jewish children were not coerced into baptism and communion; they depict rescue in a humanitarian light. In running the convents in wartime, German nuns facilitated relationships with the German occupiers. Assuring a sufficient food supply demanded great skill and the occasional recourse to collective resources from other orders. In the nuns' recollections the fear of bombardments is the most vivid one. The chapter affirms the nuns' general active stance and highlights many facets of the entrepreneurial and affective authority of mothers superior. In conclusion the contributions of these mothers superior to the Resistance and to rescue have been taken for granted and not accorded the recognition that they deserve.
The Escorts and the Resistance
Authors: Vromen Suzanne
Published: May 2008

The chapter opens with lengthy interviews with two non‐Jewish women members of a resistance organization, the Committee for the Defense of Jews (CDJ). These women picked up Jewish children from their homes and families and placed them in hiding places throughout the country. Paule Renard, a social worker, and Andrée Geulen, a teacher, describe how they joined the resistance committee and their difficult and heartbreaking assignments. Geulen also emphasizes the important roles of women in the CDJ and the cooperation she received from Church authorities. After the war, Renard kept silent about her war activities, while Geulen remained very involved in the lives of the rescued children and has become an iconic figure of the resistance. Both were named as Righteous Among the Nations, an honor conferred on rescuers of Jews by the State of Israel at the initiative of the rescued. The chapter then discusses the formation of the CDJ as a resistance network organized by Jews for Jews with the cooperation of non‐Jews, especially that of Yvonne Nèvejean, the head of the National Children's Bureau (Oeuvre Nationale de l'Enfance; ONE) overseeing children's homes. After providing a larger picture of the varied resistance networks that developed in Belgium, the chapter concludes that, with a few exceptions such as the CDJ, women resistors were given mainly auxiliary roles and that after the war the resistance movement had little effect on social change.
Epilogue
Authors: Vromen Suzanne
Published: May 2008

The organization of the Committee for the Defense of Jews was a remarkable ecumenical achievement transcending religious and political differences and overcoming xenophobia in a country where 94 percent of the Jewish population was foreign born. The convents as closed institutions were in a particularly favorable position to offer safe hiding places. The cooperation of the mothers superior was essential to successful rescue. The motives of rescuers in general are discussed and the Belgian case examined. The question of how the former hidden children were affected by their experiences is raised, as well as how they deal with these experiences today. As for the issue of commemoration, in France recent ceremonies honoring the French Righteous have come to symbolize and unify all resisters, while in Belgium an extensive report on the collaboration of the Belgian administration with the Nazi occupiers has recently been published. The book's focus on the Belgian Righteous is therefore more than ever timely.
9 Representations of Voluntary Arm Movements in the Motor Cortex and Their Transformations
Authors: Georgopoulos Apostolos P. , Karageorgiou Elissaios
Published: May 2008

This chapter discusses the neural mechanisms of voluntary movements in the motor cortex — a major node in the brain network of initiation and control of such movements. Specifically, it discusses the neural mechanisms of reaching movements in space with respect to the encoding of movement parameters in the activity of single cells and the decoding of information from neuronal populations. This decoding scheme can be used to monitor the processing of movement-related information in various contexts and, ultimately, to drive motor prostheses.
10 Events and Actions as Dynamically Molded Spatiotemporal Objects: A Critique of the Motor Theory of Biological Motion Perception
Authors: Bingham Geoffrey P. , Wickelgren Emily A.
Published: May 2008

The motor theory of biological motion perception hypothesizes that motor commands (or records thereof) are used to recognize human event recognition, motor theory, biological motion perception movements when they are visually perceived. However, current theories of human action render this motor theory redundant. This chapter argues that motor commands are not responsible for the specific forms of different kinds of movements such as running or walking. Rather, passive dynamical organizations are used to generate forms of movement that are then controlled by parametrically adjusting the dynamics. However, it is the dynamically generated movement forms that can provide the information that allows biological motions to be perceived and recognized for what they are. This possibility has been systematically investigated in a number of studies inspired by an ecological approach to visual event perception. The approach hypothesizes that lawfully generated information must be available to allow perception and support recognition. Trajectory forms generated by event dynamics would provide such information. The studies have shown that trajectory forms can be used by human observers to recognize events.